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^?5Kc World's Leadin^<LMovin^ '^AureQ^^a^azAne

r* ^ c D

cJyla^azine

cJanuary

20 Cents

A Merry Christmas

and

A Happy New \ear

'^waimr'i

Photoplay Magazine — Aovfrtisixo Section

All the music you delight to hear

Ibull find your kind of music
in tKe\^ctor Record Catalog

So fascinating is this book that we doubt if you could
glance into its 530 pages without becoming absorbed in it.
Whether you own a Victrola or not, this is the kind of
book you will find yourself browsing through just for the
pleasure.it gives you. And if you are a music-lover,
this Victor Record Catalog will increase your knowl-
edge and appreciation of good music many fold.

It contains portraits of Victor artists with bio-
graphical sketches and has a complete Red Seal
section devoted to the greatest artists of all the
world who make Victrola Records.

There are also portraits and short biographies
of the great composers, and a pronunciation table
of the names of artists, composers and operas.
In addition to this, the Victor Record Catalog
gives brief stories of the opera, shows illustrations oi
various scenes, indicates under the title of each opera the dif-
ferent acts and scenes, and lists all the selections in the exact
order they are sung or played in the opera.

Free at any Victor dealer's

Be sure to get a copy of this interesting book — the greatest
catalog of music in all the world. There is a copy for you at
any Victor dealer's, or we will mail you a copy upon request.

Victor Talking Machine Co.,Camden,N. J.

When you writa to ajvertisers please mention PHOTOPLAY ^rAGAZINE.

Photoplay Magazine — Advertising Section

o o >> o 7'^y^ ^^tf^^'^ ^^$v '^ i^Vi-^ o q o o o o o o o o o o o o o o o o o ^j o o o -■ ..■ o j

Times have changed
since Shakespeare

SHAKESPEARE thought of all the world as a stage. Motion
pictures have made that thought a fact

When the olden plays were lirst put on at that queer Httle
cockpit in London, called the Globe Theatre, the audience had to
imagine suitable settings to the action of the drama.

How the old playwrights would have been amased and delighted
by Paramount Artcraft Pictures, in which are supplied all the
living realities of romance — scenery, climatic conditions, tall forests,
salty oceans, and the very flesh and blood of men and women !

"The play's the thing" still, but think what has happened to
tlie motion picture theatre also, the comfort of the audience, the
luxury of the presentation !

Hardly a community anywhere that lacks a theatre worthy to
show Paramount Artcraft Pictures.

Hardly a community an)'where that does not know enough to
demand them.

Watch the theatres' announcements and know before t^ou pay

paramount QrtcraSi

jHotiwi g>ictur&s ^

1
1

Ij FAMOUS PLAVERS-LASKY CORPORATION

» ADOLPH ZUKOR/'/'i':, JESSE L'LASKYLWvPrv^C£CllB.DhytllXEDfr*\-tPrCcncnd

f-^TLV: VORK^

Latest

Paramount Artcraft

Pictures

Released to December 1st

Billie Biirko ./ "SAnih L.OVK"

Irene C^usile -.• "THii lN\ isiurr Honu"

Marguerite Clark z';^ "J.iu K in rA\\>"'

l.thel Clayton I'/t "A SroK'iiNG Chance"
i'ecil B. OeMille's Production

"Mai-t. and Fr.MAi r."
l-.Isie Ferguson //.• "f oi.ntkkfki 1 "

Dorothy Gish . ■ "Tikmni; i hk Tables"
O. ^^'. <iriffith's Production

"Sc:a){lkt Days"

* Wm. S. Hart ?;: "Wagon Tkacks"
Houdini ' ■ "The (^rim Gaivh-:"
Vi^ ian Martin /;; "His Oi-E-u'iAr. I-ianCKH"
M'allaoe Reid /k- "Tin: Lnri liRY MAN"
Maurice Tourneur's Production

"Thi: UiFi: LlN']'-"
George Loane 1 ucker's Production

"Thk iMiKAc i-i: Man"
Robert ^^'arwick /n "In Mi/zuiha"

Bryant \\'ashburn <■•

"1 r I'A^STO AUVKHTlSli"
•The Teeth of the Tiger" AVith ii Star Cast
" Ihe Miracle of Love"
_ _^^_ A Cosmopolitan Pn-chictiun

* Stiper^'ision Thotnas H. Ince

Thomas H. Ince Productions

KnitI Bennett i?c

"What EviiRY AVoman l.i akns'*
Dorothy Dalton m "T.'Ai'ACHK"

Douglas MacLean & Doris May z;:

":'^'- Hot IW I.hAVH"
Charles Ray /,.• "CitooKED Stkaight"

Paramount Comedies

1*11 ranio II lit -Ar buckle (^onietlies

(>;/-■ }\<,-h Month
raranujutii-Mack Senneti Comedies

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Paraniotini-AI St. John Comedies

Ov..' J.Ach Mmth
l^aramouni-Krncst Truex Comedies

I'm- J,ach Month
l';iraiiiouiit-De Haven Comedies

Oi!'- Lack M:i:h

Paramount Short Subjects

Paramount Magazine issued -ivccf.-ly

Paramount-Post Nature Pictures

.'1 ^ifJ fT'^yy :ith''r -ro-l-
Paramount-Burton Holmes Travel Pictures

■n,-.\ir;! 7i:rk

Paramount-Burlingham Adventure Pictures

r'-i-)-y other tv't'k
Paramount-Briggs Comedies . «r each -.vc^k

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Brery adTertisenient in PHOTOPLAY MAGAZl>rE is guaranteed.

"THE NATIONAL MOVIE PUBLICATION'

PHOTOPLAY MAGAZINE

JAMES R. QUIRK, Editor

Vol. XVII

Contents

No. 2

January, 1920

Cover Design

From the Pastel Portrait by Rolf Armstrong.

Norma Talmadge

Rotogravure

Constance Binney, Alan Forrest, Corinne Griffith, Wallace
Reid, Zena Keefe, Douglas Fairbanks, Ina Claire and Phyllis
Haver.

The Law of Example

Editorial

Clarksville or Williamsburg? (Photographs)

The Marguerite Clark- Williams Home in California.

And a Couple of Lions! Adela Rogers-St. Johns

Stewart Edward White's Best Thriller.

The Censor

Illustration by Stuart Hay.

Look Who's Been Shopping!

Norma Talmadge— and Some New Gowns.

Randolph Bartlett
(Photographs)

The Pope's Pictures Rev. Will W. Whalen

The Catholic Church Now a Film Producer.

Dorothy Allison
Stuart Hay

Lombardi, Ltd. (Fiction)

The Story of the Famous Play.

The Plaint of the Character Man

Hark to the Words of Sir Anybody.

But Three Months Didn't Cure Him

Douglas MacLean is Still in Filmafornia.

Mostly, Standing is a Born Actor

Wyndham of the Famous Standing Family.

Victuals and Voice

Wanda Hawley Found They Didn't Go Well Together.

Her Applause (Illustration)

(Contents continued on next page)

27
28

37
40
42
43
Van Courtland 44

Published monthly by the PHOTOPLAY PUBLISHING Co., 350 N. Clark St.. Chicago, lU.
Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. R. M. Eastman, Sec.-Treas.

W. M. Hart, Adv. Mgr. Randolph Bartlett, Associate Editor, Los Angeles.

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba:
$2.50 Canada; $3.00 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 maner Apr. 24, 1912. at the Postotfice at Chicazo. 111., under the Act ot March 3. 1879.

Pictures Reviewed

in the Shadow Stage

This Issue

Save this magazine- refer to the criticisms be-
fore you pick out your evening's entertainment.
Make this your reference list.

Page 71

Twenty-Three and a Half Hours'

Leave Ince -Paramount

Page 72

In Old Kentucky First National

Everywoman Artcraft

Please Get Married Metro

Page 73

The Mystery of the Yellow Room

Realart

Strictly Confidential Goldwyn

Page 115

Almost a Husband Goldwyn

The Lottery Man Paramount

Stepping Out Ince-Paramount

Back to God's Country. First National

The Country Cousin Selznick

The Glorious Lady Selznick

Page 116

A Regular Girl Selznick

Cassidy of the Air Lanes. .Universal

Flame of the Desert Goldwyn

The Vengeance of Durand. Vitagraph

The Trembling Hour Universal

A Scream in the Night Select

The Wolf Vitagraph

Sacred Silenro Fox

Mutt and Jeff Fox

Should a Husband Forgive ?.... Fox
Page 117

Impossible Catherine Pearson

Why Smith Left Home. . .Paramount

In Mizzouri Paramount

Fair and Warmer Metro

Sadie Love Paramount

His Official Fiancee Paramount

L' Apache Ince-Paramount

Page 118

Back Stage Paramount

Turning the Tables Paramount

It Pays to Advertise Paramount

Dangerous Waters Robertson-Cole

Copyrieht. 1919, by the PHOTOPLAY PUBLISHING Company, Chicaeo.

Contents — Continued

Close-Ups

But He Doesn't Dance

Editorial Comment
Sidney Valentine

Arabella Boone

Otherwise, Harrison Ford is Entirely Romantic.

Nearly a Bean Magnate

The Farm Lost a Great Tiller, in Sid Franklin.

Anne of Green Gables (Fiction)

The Story of the Photoplay.

A Flyer in Pasts Adela Rogers-St. Johns

Some Things You Don't Know About the Stars.

Rotogravure:

Pauline Frederick and Her Mother

Good Boy, Bad Boy

Frankie Lee Plays Both Parts.

Miscellaneous.

Gene Copeland

A New Art in an Old University

Frances Taylor Patterson

Columbia Establishes a Motion Picture Department.

MaxwdlTarg-er }"""^- *""'■'""» "> "" ""

Specs Without Glass Anabel Leigh

But Now Harold Lloyd Wears the Real Thing.

And Now "Cinematic Mensurgraphy"

How Films Are Used in Reclaiming War Cripples.

The Shadow Stage

A Review of the Month's Pictures.

Delight Evans

-and Three Real Sons.

Gene Copeland

Mother of the Sub-Deb

Mar>' Roberts Rinehart — Parent of Bab

The Story of Rosie and Jimmie Smith

Two of Mr. Griffith's Right- Hands.

The Indifferent Lover Drawing by J. Carl Mueller

Better Wake Up, Chas.

What Do You Think of These Husbands? (Photographs )

They Teach Other Men to Make Love 10 Their Wives.

The Master of the Show

George Loane Tucker, Maker of "The Miracle Man."

The New Family Album ( Illustration;

Thanks to the Movies.

"Hey, Little Boy! What's Your Name?"

Lost:— a Sennett Find.

That Very Promising Young Author

Miss Peggy Wood — More Than a Mere Author, However.

They're the Life of the Party

Mr. and Mrs. Carter DeHaven.

The Squirrel Cage A. Gnutt

New Nuts and Old.

The World's Greatest Theatre (Photographs

The Capitol — Just Erected in New York City.

Beginning as Lincoln

You Couldn't Say Joseph Henabery Started Humbly.

Five Years Ago

A Bevy of Early Day Film Celebrities

Plays and Players

News from the Studios.

Questions and Answers

It Didn't Happen!

The Real Screen Start of June Caprice.

Whv Do They Do It?

Film Flaws Noticed by the Fans.

A Real Indian Princess

And She Dances in "Hitchy Koo, 1919."

Major Robert Warwick in France

His Experiences in the War Finally Leak Out.

(Picture)
Cal York

47
49

66
67

A. B. Elliott 70

Julian Johnson 71

74
76
78
79
80
82
83
84
85
86
87
88
90
92

The Answer Man 97
Suzanne Stevens 101

107

(Photographs) 103

110

The Mystery oj the Stars

This Man

Will Tell You

Next Month

how stars are
really made. They
are not made by
advertising, by
managerial favor,
nor by accident.
Be sure to get the
. February issue of
Photoplay for the
real answer. It is
there given for
the first time.

As\ your newsdealer to
save for you a copy of
the February Photoplay

Photoplay Magazine — Advertising Section

- 4«

Pays
for

Latest and Finest New Oliver

A year and a half to pay ! Only $3 a month. Payments so small as to average only
about ten cents a day. That is our easy payment plan on the Oliver. And you have
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$43 and on payments so easy that you won't miss the money.

Only $57 for the $100 Oliver

A full saving to you of $43 on the famous
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That is what our new selling plan makes pos-
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We found that it was unnecessary to have

such a vast number of traveling salesmen and
so many expensive branch houses. We were
able to discontinue many other superfluous
sales methods. As a result, $57 now buys the
identical Oliver formerly priced at $100.

Try It Free— Send No Money

Not a cent in advance. No deposit of any
kind. No obligation to buy. The coupon is all
you need send. The Oliver comes to you at our
risk for five days' free trial in your own home.

Decide for yourself whether you want to
buy or not.

If you don't want to keep the Oliver, simply
send it back at our expense. If you do
agree that it is the finest typewriter,
regardless of price, and want to keep
it, take a year and a half to pay at
the easy rate of only $3 a month.

Only the Coupon!

No pre-payment required. This is a real free trial offer. All at
our expense and risk. Fill out and mail the coupon and get the
Oliver for free trial. If you should wish further information before
requesting a free trial, mark the coupon for the free books men-
tioned therein. Clip and mail the coupon now.

Canadian Price, $72

The Oliver Typewriter Company

1471 Oliver Typewriter Bldg., Chicag

JO, 111. ^^\

THE OLIVER TYPEWRITER COMPANY

1471 Oliver Typewriter Bldg:., Chicago, 111.

□ Ship nie n new Olivej' Nine for live d^ys frp© inspection
I keep it. T will pay 857 at the rate tif 83 p*^r raonth.
title to remiiiu in jou until fullj p;nrl for.

. If
The

My shippiiit^ point is

This does not place lue iindev any o))ligatiou to buy. If I choose
to return the Oliver, I will ship it baek at your expense at the end
of five days.

□ Do not sent! a machine until T order it. Mail me yoor book
—•'The Hiji;h Cost of Typewriters — The Reason and the
Remedy." your de luxe catitlog and further information.

Name

Street Address

City

I Occupation or Business ,

State

When you write to advertisers please mention PHOTOPLAY MAG.^ZINE.

Photoplay Magazine — Advertising Section

What Would \bu Say in a

-for the best love letters from a girl to Ker sweetheart. Any girl may
enter the contest and but one letter will be allo\<?ea to each contestant.
QUALIFICATIONS' — Sincerity-of Appeal — Construction of letter
-^-Originality — Beauty of language used — BreA)ity —

With these qualifications in mind, sit down and write your best.
Tell us—

WHAT WOULD YOU SAY
IN A LOVE LETTER?

Tou merel}) Write us a regular letter just as tho' you were writing to
your own sweetheart. Picture him or her in ^our mind as you write and
make your letter the best you ever penned. Judges will be announced later
andwill be chosen for their fitness to judge the merits of the qualifications
as explained above. Sit down and Write your letter today and mail it
at once

Send your letters to Lew Cod))
care of Robertson-Cole, 1600
BROADWAY, NEW YORK CITY
Contest closes MarcK 3rd, 1920

ist Prize •....-. $150.00

2nd Prize 100.00

3rd Prize 75-^°

4tK Prize 50-0<^

TKe next five best letters will be awarded
prize of $25.00 each.

STARTINO TO PLAY THEATERS JANUARY 1020

Every advertisement In PHOTOPLAY irAGAZINB Is guaranteed.

PlIOTOrLAY MA(iAZINE — Al)\ ERTISIXG SeC'I'ION

Love Let t e

^;H:m'i«i«i:iaii:fc!

ROBERTSON-COLE SPECIAL

Wieu you write to advertisers please mention PHOTOPI^Y MAGAZINE.

I'llOlOrLAY ]\I.\(.AZL\E — ADVERTISING SECTION

Feature Photoplays

reveal the Progress In Motion Picture Art,
an Art which had its Origin with Pat he

THE rirst motion picture feature, a
scant two hundred feet in length,
but truly picturizing a written story and
enacted by experienced actors, was made
by Charles Pathe over twenty years ago.
Never before had a story been put into a
motion picture !

T\\&Jirst comedy, the Jirst drama and the Jirst
of the longer pictures were all made by Pathe.

More than fifteen years ago Pathe was repro-
ducing in picture form the works of famous
novelists and playwrights, — the very first com-
pany to see the necessity for giving to the
public for its entertainment the best work of
the best minds.

Thus each step in the evolution of the well writ-
ten, well directed and well acted feature of today
was first taken by this great pioneer. And today,
as yesterday, Pathe Photoplays present the best
in authorship, direction, acting and production.

Among the producers are Frank Keenan,
Hobart Henley, Edgar Lewis, J. Stuart Black-
ton, Albert Capellani, Leonce Perret, Edwin
Carewe and Jesse l3. Hampton. Man for
man, measured bv achievement, these producers
have no superiors in the business.

Ask the manager of your favorite theatre when
he will show Hobart Henley's "The Gay Old
Dog," adapted from Edna Ferber's story ;
Blanche Sweet in "A Woman of Pleasure,"
produced by Jesse D. Hampton and adapted
from James Willard's famous play; Albert
Capellani's "The Right to Lie," with Dolores
Cassinelli; and J. Stuart Blackton's "Dawn."
They are first presented this month.

Pathe Exchange, Inc.

25 West 45th Street, New York City.

For your entertainment's sake seek the theatre with the Pathe Rooster

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

QharlesVciihe

on Its screen .

Photoplay Magazine — Advertising Section

^Jie Varedevtl of the world
is seen as a motion picture star only in

ENTERTAINMENTS

/?EFORE going into the motion pictures
^%miULx belonged to the iTimousTexas
%aniers ■ He has had actual battles with
outlaws, and in his amazing acting for
the screen he only lives over again
what he has been through in life *

^o to the theatres that show uommijc
^Lays of which these are amang the greatest

"ROUGH RIDING ROMANCE

"THE SPEED MANIAC"

"THE DAREDEVIL"

"THE EEUD"

"CHINATOWN"

^omtflijc is one of the brilliant array

of stars who appear only in
FOX ENTERTAINME

WILLIAM FOX

Tresideni

VOX FILM CORPORATION

PHOiopr.AY INIagazixe — Advertising Section

Carl LaeiuralG
offers

TW Most Engrailing Kciwre Brama
tWi iKe Art has «ver prodwccd

LOVE-STORY as appealing as the most
beautiful romance in your memory — an
adventure story as gripping as any Serial
thriller — a scenic marvel as wondrous as the
most inspiring travel picture you've ever
known. But most of all, a human drama
whose people are real flesh-and-blood —
whose faithful details are an eye-and-mind
delight — whose story holds your heart a
helpless prisoner until the last great moment
comes and brings the glorious surprise that
sends you away in a glow of happiness. See
it without fail— "BLIND HUSBANDS"—
the picture you'll never forget.

UNIVERSAL-JEWEL

PRODUCTION DE LUXE

Ercry aihertiscment in PHOTOPLAY MAGAZINK is tniaiaiiteed.

Photoplay Magazine — Advertising Section

iiioiiim- - — nriiiiiiin- iiniiimi 'lllMUIIIi lULIIIuq^- U >i--

^p°

nil nLiiii.ll iiiiii.uii i.u.uLil^ mriTlTrm uuiuum imllll.

iiii'iill" ii^iiimr- — niiimu ■ uiunilll

/^HHY SAY "SELZ-
^^ NICK makes stars/'
This is wrong. Selznick
recognizes star talent and
by intelligent advertising
and brilliant produc-
tions, establiiihes stars in
the public favor to
\\ hich they are entitled.

Create
Happy
Hours

. At theatres where quahty rules Elaine hammei^tein

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

HIGIf SCliOOli

COURSE IN
TWO y EARS

you ARE BADiy if you lack
HANDICAPPED f;|^^fn°°|
You cannot attain business or social
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FIT rOURSELF FOR A

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you RUN NO

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Check and mail the coupon NOW for full
particulars and Free Bulletin.

AMERICAN SCHOOL

or COBRiSPONDENCE

Dept. H-71 1 Chicago, Illinois

Explain how I can qualify /AOu
for the position checked.

Hlffh School Graduate Lawyer

..„Electrical Engineer Business Manage/

..Elec. Light& Power Supt Certified Pub. Aceonntant

....Accountant and Auditor

....Bookkeeper

....Stenographer

....Fire Insurance Expert

....Sanitary Engineer

....Master Plumber

.... Heating & Vent. Engineer

.. .Autonioliile Engineer

....Automobile Repairman

....Airplane Mechanic

..-General Education Course

....Common School Branches

Hydroelectric Engineer

Telephone Engineer

Telegraph Engineer

Wireless Operator

Architect

Building Contractor

Civil Engineer

.....Structural Engineer

Mechanical Engineer

Shop Superintendent

.....Steam Enginetr
.....Draftsma:! and Designer

Name

Addrees..

CLASSIFIED ADVERTISING

ttm

QXyi£l

Rate

SOcents

per

word

. 'i J'f».«V

rsr^.^:nr\r\.n:n

All Advertisements

have equal display and
same good opportuni-
ties for big results.

asiim

ptiofioei^

h: rt'nn n H^n-n^r^f^jfn r

This Section Pays.

85'- of the advertisers
using this section during
the past year have re-
peated their copy.

|i/;^W'UU.iJ'U:UUUAU-U'UMU U U'U UUU U'g U U'tF^

FORMS FOR MARCH ISSUE CLOSE JANUARY HRST

HELP WANTED

THOT SAXDS U. .S. (JOVKRN.MENT CKNSU.S AM)

Railway Mail Positi!)n3 now opfii. Mpii-Women, IS
up. .'S1100-$170i) year. Commnn cdiu'ation sufficient.
Write imniiiliaK'ly for list positions. Franlilin Institute
])opt. >l-:i04. lioi'liBater. N. Y.

15E A l)Lri:rTIVK:--EXCi:i.T,r.NT OPPORTUNITY:

good pay : travel. Write C. T. Ludwig, 567 Westover
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JEWELRY

<!OVT. POSITION.S AP.li DKSIRABLE. SIOOO -
$1200 t'^ start. Let our expert (Former Govenimen^
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WOMEN TO fmw. GOODS SENT PREPAID TO
your door; plain sewing; steady work; no canvassing.
Send stamped envelopo for prices paid. Universal Co..
Dept. 21. riiiladolpllia. Pa.

WANTED— 5 BRTCHT. CAPABLE LADIES TO

travel, demonstrate and sell dealers. $25.00 to
$50.00 per \yeeli. Railroad fare paid. Wiite at
once. Goodiieh Dnig Co., Dept. 59. Omaha. Nebr.

RAILWAY TRAI.TIC INSPECTORS: $110.00 A
month to start and expenses; Travt.'l if desired: !'"■
limited advancement. No ago limit. Three monllis'
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manent position. Write for booltlet CM26 Standard
Business Training Institute. Buffalo. N. Y.

\vo:mi;\— $i25-$2iin montu. he( o.aib expeih'

Dress Dtsi,s4ners. Siuniili- Ics^uli- flei . W^rite iinlmdi-
ately. Frauliliii Iii-i.. Deix. .M-Sili;, Itoduster. N. Y.

AGENTS AND SALESMEN

.$40 JO 5.100 A \M.1.K. FKKE .■^.\.Ml'l.i:,S. <;i)LI>
Sign Letters anyone can put on windows. Bis demand.
Liberal offer to general agents. Metallic Letter Co.,
431 -K N. Clark. Chicago.

TELL THE BJ^ADERS OF I'lIOTOPLAY' WHAT

ynn liavo of interest to iliem. Von can reach tlieni
at a very small cost through an advertisement in tl'e
classified section. A^^'o of the advertisers nsinjf this
section during the past year have repeated. The section
is read and lirin;:s results.

AGENTS: A BRAND NEW Hi).SIEBY PROPOSl-

ti;n for men, women and children. Must wear 12
months or replaced free-. AW styles, colors and finest
filk hose. You can sell at less than store prices.
Kvcvv homo a pvositect. Write for samples. Thoma^
Hosiery Co., ,TSCl Noiili SI., Dayton, OhLu.

FOR SALE— DOGE

rOI! SALK \JI!1:DALE pip. MNEST SPIiCTES.
t^tnisualiy inuliiyuit, ('h.-tcr Williamson. ,\rgos Ind.

$200,000.00 GIVEN AWAY FREE. OUR BEAUTJ-

fidly illustrated Jewelry Booli Lelnxe for 1920. ccst-
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IIiiil!illlllllMIIIIIIIIIIni:iiiiii[|;ii;ii)i|iiii:|ii|ii|ii|it|ii|;i|ii^,lirL

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Photoplay Magazine — Advertising Section

iiiiiii iiSuMiiiiwiiij^ iiiiiiiiiiiiii^iMiinirfnTwwi

from MEMORY — which cannot be always accurate —
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Photoplay Magazine — Advertising Section

NERVE EXHAUSTION ajS?

By PAUL VON BOECKMANN

Lecturer and Author of numerous books and treatises on Mental and Physical Energy, Respiration. Psychology, Sexual Science and Nerve Culture

THERE is but one malady more ter-
rible than Nerve Exhaustion, and that
is its kin, Insanity. Only those who
have passed through a siege of Nerve Ex-
haustion can understand the true meaning
of this statement. It is HELL; no other
word can express it. At first, the victim is
afraid he will die, and as it grips him deeper,
he is afraid he will not die; so great is his
mental torture. He becomes panic-stricken
and irresolute. A sickening sensation of
weakness and helplessness overcomes him.
He becomes obsessed with the thought of
self-destruction.

Nerve Exhaustion means Nerve Bank-
ruptcy. The wonderful organ we term the
Nervous System consists of countless mil-
lions of cells. These cells are reservoirs
which store a mysterious energy we term
Nerve Fqrce. The amount stored repre-
sents our Nerve Capital. Every organ
works with all its might to keep the sup-
ply of Nerv. Force in these cells at a high
level, for Life itself depends more upon
Nerve Force than on the food we eat or
even the air we breathe.

If we unduly tax the ner\es through over-
work, worry, excitement or grief, or if we
subject the muscular system to excessive
strain, we consume more Nerve Force than
the organs produce, and the natural result
must be Nerve Exhaustion.

Nerve Exhaustion is not a malady that
comes suddenly. It may be years in de-
veloping and the decline is accompanied by
unmistakable symptoms, which, unfortunate-
])y, cannot readily be recognized. The average
person thinks that when his hands do not
tremble and his muscles do not twitch, he
cannot possibly be nervous. This is a dan-
gerous assumption, for people with hands
as solid as a rock and who appear to be
in perfect health may be dangerously near
Nerve Collapse.

One of the first symptoms of Nerve Ex-
haustion is the derangement of the Sympa-
thetic Nervous System, the nerve branch
which governs the vital organ (see diagram).
In other words, the vital organs become
sluggish because of insufficient supply of
Nerve Energy. This is manifested by a
cycle of weaknesses and disturbances in
digestion, constipation, poor blood circula-
tion and general muscular lassitude usually
being the first to be noticed.

I have for more than thirty years
studied the health problem from every
angle. My investigations and deductions
always brought me back to the immutable
truth that Nerve Derangement and Nerve
Weakness is the basic cause of nearly every
bodily ailment, pain or disorder. I agree
with the noted British authority on the
nerves, Alfred T. Schofield, M. D., the au-
thor of numerous works on the subject,
who says: "It is my belief that the great-
est single factor in the maintenance of
health is that the nerves be in order."

The great war has taught us how frail
the nervous system is, and how sensitive it
is to strain, especially mental and emotional
strain. Shell Shock, it was proved, does not
injure the nerve fibres in themselves. The
effect is entirely mental. Thousands lost
their reason thereby, over 135 cases from
New York alone being in asylums for the
insane. Many more thousands became
nervous wrecks. Tho strongest men be-
came paralyzed so that they could not
stand, eat or even speak. One-third of all
the hospital cases were "nerve cases," all
due to excessive strain of the Sympathetic
Nervous System.

The mile-a-minute life of today, with its
worry, hurry, grief and mental tension is
exactly the same as Shell Shock, except that
the shock is less forcible, but more pro-
longed, and in the end just as disastrous.
Our crowded insane asylums bear witness
to the truth of this statement. Nine people
out of ten you meet have "frazzled nerves."

Perhaps you have chased from doctor to
doctor seeking relief for a mysterious
"something the matter with you." Each
doctor tells you that there is nothing the
matter with you; that every organ is per-
fect. But you know there is something the
matter. You feel it, and you act it. You
are tired, dizzy, cannot sleep, cannot digest
your food and you have pains here and
there. You are told you are "run down"
and need a rest. Or the doctor may give
you a tonic. Leave nerve tonics alone.
It is like making a tired horse run by tow-
ing him behind an automobile.

Bronclii.ils
Cliesr Rtc athinj

Diaphragii

Stomach

SOLAR PLEXUS

Liver

Intestines

Kidneys

Coign

-Bladder
i*^''^' Pelvic Organs

The Sympathetic Nervous System

Shmi'iiid lioiv F.vei-y Vital Organ is governed bii the

Nerx-ous Hi/stem, and how the Solar Plexus, coninionlg

known as the Alidoinfnal Brain, is the Great Central

Station for the distribution of \erve Force.

Our Health, Happiness and Success in
life demands that we face these facts under-
standingly. I have written a 64-page book
on this subject which teaches how to pro-
tect the nerves from every day Shell Shock.
It teaches how to soothe, calm and care for
the nerves; how to nourish them through
proper breathing and other means. The
cost of the book is only 25 cents. Bound in
cloth, 50 cents. Remit in coin or stamps.
See address at the bottom of page. If the
book does not meet your fullest expecta-
tions, your money will be refunded, plus
your outlay of postage.

The book "Nerve Force" solves the prob-
lem for you and will enable you to diagnose
your troubles understandingly. The facts
presented will prove a revelation to you,
and the advice given will be of incalculable
value to you.

You should send for this book today. It
h for you, whether you have had trouble
with your nerves or not. Your nerves are
the most precious possession you have.
Through them you experience all that makes

life worth living, for to be dull nerved '
means to be dull brained, insensible to the
higher phases of life — love, moral courage,
ambition and temperament. The finer your
brain is, the finer and more delicate is your
nervous system, and the more imperative it
is that you care for your nerves. The book
is especially important to those who have
"high strung" nerves, and those who must
tax their nerves to the limit.

The following are extracts from letters
from people who have read the book and
were greatly benefited by the teachings set
forth therein:

"I have gained 12 pounds since reading
your book, and I feel so energetic. I had
about given up hope of ever finding the
cause of my low weight."

"I have been treated by a number of
nerve specialists, and have traveled from
country to country in an endeavor to re-
store my nerves to normal. Your little book
has done more for me than all other meth-
ods combined."

"Your book did more for me for indiges-
tion than two courses in dieting."

"My heart is now regular again and my
nerves are fine. I thought I had heart
trouble, but it was simply a case of abused
nerves. I have reread your book at least
ten times."

A woman writes: "Your book has helped
my nerves wonderfully. I am sleeping so
well and in the morning I feel so rested."

"The advice given in your book on re-
laxation and calming of nerves has cleared
my brain. Before I was half dizzy all the
time."

A physician says: "Your book shows
you have a scientific and profound knowl-
edge of the nerves and nervous people. I
am recommending your book to my pa-
tients."

A prominent lawyer in Ansonia, Conn.,
says: "Your book saved me from a nerv-
ous collapse, such as I had three years ago.
I now sleep soundly and am gaining weight.
I can again do a real day's work."

The "FLU" Coming Again

A warning has been sent forth by the
Board of Health of various cities that the
Spanish Influenza will break out again this
winter. Dr. Royal S. Copeland, the Health
Commissioner of New York, is especially
emphatic in this warning.

The "Flu" killed more than twice as
many people during the few months that it
raged than were killed in the war duriny;
the entire four years, and those who re-
covered from the disease were left seriously
weakened in constitutional power. Over
6,000,000 died of the "Flu" in India alone.

The real cause of the "Flu" is not known.
We know that it is -a disease involving the
respiratory tracts, therefore, by making
these tracts healthier through breathing
deeply, a great step will be made toward
immunity. The proper method of breath-
ing is described by diagrams in the book
"Nerve Force."

Clothing the body scientifically is another
important factor in the prevention of the
"Flu." This subject and other important
points are clearly and exhaustively dis.-
cussed in a special 16 page booklet I have
written on the Prevention of Colds. I shall
agree to send a copy of this booklet free to
purchasers of the book "Nerve Force," men-
tioned above. Address:

PAUL VON BOECKMANN,

Studio 55, 1 10 West 40th Street, New York

Every advertisement in PEO^OPLAT MAGAZINi; is guaranteed.

Photoplay Magazine — Adveutising SiiCTioN

k ^-.:ti

The Beauty Market

"X/TAN visits the mart of covimerce
daily, to gamble with chance,
and to battle with his own hind in
the strii^^le for power and wealth,
to buy .... Beauty.

^*T5^

JITOMEN of Fashionable Society
vie with each other in a stru^-
^le just as keen, to win position, to
make a successful marriage, by sel-
ling .... Beauty.

jDt/T many are those who fail, and
many who find that their tri-
umphs are as dead sea fruit, that
there is only bitternsss in the ?ner-
cenary exchange of fashion — The
Beauty Market.

WATCH YOUR THEATRE FOR

"The Beauty Market''

presenting

Katherin^iDonald

The American Beauty

The story of a girl struggling between
the demands of her world of society for
a marriage of wealth and position, and
her desire to wed the man she reall_'
loves. What would you do in her place?

A First
tJational

Piioropr.AY M.uiAZixE — Ai)\i:«tising Slctiox

If you long for
more color

L'se this fmnous treatment
for rousing shiggish skin

]ti:-i before retiring, wash your face
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Facial Soap and ivariti ivater. If
your skin has been badly neMleclert.
rub a generous lather thoroughly
into the pores, using an upivard and
outjvard motion. Do this until the
skin feels somewhat sensitive. Rinse
mell in warm ivater, then in cold
Whenever possible, rub your skin
for five minutes with a piece of ice
and dry carefully.

For pate, sallow skins requiring
greater stimulation, use the JVEW
STEAM TREA TXJENT. You will
find it in the booklet wrapped around
every cake of Woodbury's Facial
Soap.

To make your skin

noticeably lovely— GW^ \t the regular care it

had when you were a baby

WHEN 3'ou were a Sabr,
your skin was exquisitelv
soft — clear, delicate — daintily
rose-pink and white.

People loved to touch your
rose-petal cheeks, your soft,
smooth, little hands-
Do you ever stop to think
what kept your skin so fine and
soft? What is keeping it now
from being as fine and soft as
it can be?

No matter how you have
neglected your skin, you can
make it exquisite in texture.
You cin have the glorious color
of )outn. You must begin at
once to give your skin the
tender, regular care it received
when you were a baby.

Every night before retiring,
cleanse it thoroughly — just as
thoroughly as a baby's skin is
cleansed every night. If your
skin has lost its delicacv and

clearness, use the particular
Woodbury treatment indicated
for its needs.

Do you want more color?
Are your pores enlarged? Have
you disfiguring blemishes or
blackheads? These conditions
are the result of neglect and
the constant exposure to which
your skin is subjected. The
right Woodbury treatment, used
nightly, will correct them.

Get a cake of Woodbury's
Facial Soap and have your first
treatment tonight. The feel-
ing the first two or three treat-
ments leave on your skin will
tell you how tnuch good its reg-
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a week or ten days you will
begin to notice a decided im-
provement— the gieater clear-
ness, smoothness, fineness and
color you long for.

\\'o(iclbui\ 's is for ,>ale at drug'
stores and toilet goods counters
tlirougiiout the United States and
Canada. A 25 cent cake will last a
month or six weeks.

Siii'i pie cake of soap, booklet of
famous treatments, samples of
Woodbury's Facial Foivder,
Fa ciat C r la m a nd Co I J C rea m ,
sent to you for I § cents.

For 6 cents we will send you a
trial size cake (enough for a week
or ten days of any Woodbury facial
treatment) together with the booklet
of treatments, "A Skin You Love to
Touch." Or for 15 cents we will
send you the treatment booklet and
samples of Woodbury's Facial Soap,
Facial Powder, Facial Cream and
Cold Cream. .Address the Andrew
Jergens Co., 501 Spring Gro\e
Avenue, Cincinnati, Ohio.

If you live In Canada, address
the Andrew Jergens, Co., Limited.
501 Sherbrooke St., Perth, Ontario.

^ Wrapped around every
cake of Woodbury's
Facial Soap is the book-
let. "A Skin You Love
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skin and scalp, and full
directions for all the
famous Woodbury treat-
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Every adtertisement in PHOTOPI.AT M.\OAZINE is guaranteed.

'MMg

/CONSTANCE BINNEY has become one of the busiest young ladies of the
^^ theatre. After a day's work at the studio — on "Erstwhile Susan," her first
starring vehicle — she speeds to a playhouse where she speaks her lines in "39 East".

!■*

Alfred Cheney Johnston

\ LTHOUGH Ina Claire has not cast her shadow on the silversheet lately, you
•'"^ will remember her in "The Puppet Crown''. Now she is the principal player
in a new David Belasco comedy, "The Gold Diggers," running in Manhattan.

AllTtd Cheney Johnston

S the lovely figurante of purposeful pictures. Corinuc Grifhtli fulfills the rosy
predictions made for her wheii she was playing small parts. She is very
southern, Corinne, and frankly confesses she rides no hobhies.

HixoQ-GonneUy, E.G.

O 1^1 PLY— a new portrait of Wally. And from this correct resemblance you'd
^ ne\er believe that one of Mr. Reid's early parts was that of the heroic if grimy
blacksmith in "The Birth of a Nation". He's "The Ijottery Man" now.

Alfred Cheney Johnston

r^BNA KEEFE, destined for early stardom, is one of the youngest veteraJis in
•^ pictures — meaning that, while her film experience has been long and varied,
she's so young that close-ups hold no terrors for her.

ALAN FORREST holds the record for screen fidelity. He was Mary Miles
Miiiter's leading man i'or three years, when the little blonde was with American.
He did a serial for Universal, and now he is playing opposite May AUiaon.

A BIT rough and western, what? Douglas Fairbanks is slinging a wicked sneer
'^*- here, but the name of his new picture is "Cheer Up !" He always seems glad
to have an opportunity t^ wear a woolly shirt and a tilted stetson.

"VT^ E have never been proficient in mathematics, but we're willing to wager that

'^ none of the ladies who figure in the Ziegfeld entertainments have anything

on Sennett's Phyllis Haver. Hasn't she grown amazingly, these last few months?

^Uhe World's Leading cJVLovin^ ^i6iure CyVfa^azine

PHOTOPLAY

Vol. XVII

January, 1920

No. 2

^Uhe Law of Example

HERE and there in verse we come across some version or other of the
rhapsodic exclamation, "Let me write the songs of a nation, and I care
not who makes its laws!''

Investigation proves that it was Andrew Fletcher of Saltoun who wrote with
a great deal of cool truth in 1703; "I once \new a very wise man who believed
if one were permitted to ma\e all the ballads he need not care who should ma\e
the laws of a nation.""

The fact remains that the law of example has always been of more far-
reaching influence than the law of the statute-boo\s. V\/henever an art has
become part of a people's daily life it has been more than a reflection; it has been
a hand-boo\ of manners and morals; a code of existence.

The great art of the Gree\s gave its form to every phase of Hellenic existence.
The more monumental arts of the Egyptians became the thing they lived for.
The luxurious commerical arts of Augustan Rome became the daily pattern of
the Imperial world. The splendors of the Italian Renaissance were reflected in
a corresponding uplift of all the cities from whence they shone — and who shall
say whether the awa\ening of the people made the art, or whether the art awa\ened
the people'^ Assuredly the rise of a grand literature in Elizabethan England
reflected a day of power, but as surely the English culture of today has its roots
implanted in the deep subsoil of Sha\espeare and his contemporaries.

The Motion Picture in America is the most comprehensive movement toward
a universal art- expression in several centuries. The picture is an admitted
force, but if it is to be a force for betterment it must mirror life — not a saccharine
ma\e-believe nor a perverse existence. We can adjust our moral ma\e-up in a
mirror, but not in the distorting glasses of Coney Island. The songs of our day
are for the eyes, and in the great art that we have created there rises a law potent
though unsummoned: the law of example.

AT tlie side of the house
is a garden of multi-
colored flowers. It reminds
you of a millionaire s con-
servatory in the cold coun-
tries during midwinter, ex-
cept that instead of possess-
ing glass for a roof it has
the blue sky, and its -warm
winds are not the exhala-
tions of steam pipes and
artificial humidors, but the
breezes of the Pacific,
warmed in the radiance of
semi-tropic sunshine. The
house itself is white, and at
a 'distance it looks like a
T*'hite jewel in an emerald
setting.

Clarks

Williams

PROBABLY it's nei-
ther— or both. Mr.
and Mrs. H. Pal-
merson Williams seem
to be equal partners in
their marriage concern,
and while she is by no
means merely an officer's
wife, his activities prove
that he is considerably
more than merely an
actress' husband. Be-
fore her marriage Miss
Clark was quite averse
to working on the Wesi
Coast, but the possibili-
ties of a real home in
the wide spaces of yard
and room which Cali-
fornia affords seems to
have completely over-
come that •feeling. Her
whole photoplay reputa-
tion was based on pic-
tures made in and
around New York City.

At the left. Marguerite
Clark — a doll figure,
veritably! — in the
drawing-room of her
splendid house.

ville |f

burgf?

THIS is the first
photograph the
Williamses have
had taken since he
dropped Lieutenant
and whipcord, to re-
s u m e civies and
Mister. Also, this is
very first series of
pictures of their
lovely home. To
those who do not
know Los Angeles, let
us say that the Wil-
liams' choice of a
home on Wilshire
Boulevard, rather

than on Sunset or
Hollywood or any of
their adjacent streets,
speaks volumes for
their love of quiet
and high-class con-
servatism. Wilshire is
the aristocratic Way
of social Los Angeles,
a westering thor-
oughfare of wealth
and fashion. The
other streets are the
brilliant avenues of
filmdom itself, and
are much more pro-
fessional.

Directly below, you
may behold Marguerite
Williams and a lot of
other flowers. At the
right of this floral ob-
servation, an apart-
ment which might be
described by almost
any genius at naming
things as the music-
room.

A talk with Stewart Edward White makes
you feel like a six year old at the circus.

NO, the list above is not a new version of the animals
that went in two by two nor a list of the 1919 tenants
of Mr. Noah's well known ark.

Merely a leaf from the sporting notebook of
Stewart Edward White, famous author, sportsman, society
favorite and major of the California Grizzlies during their recent
service in France.

Novelists as a general thing aren't thrilling talkers. But
when I got through with Stewart Edward White I felt like
a six-year-old who has just seen his first circus. I had learned
so much and so intimately about lions that if I'd met one on
Hollywood Boulevard I should have walked up to shake hands.

Mr. White, who a short time ago burst into the movies with
a picturization of his well known novel "The Westerners,"
had been lured from his fashionable Burlingame home to the
movie precincts of Hollywood to see a preview of his first
screen venture. He slipped unobtrusively into the dim lobby
of the Hollywood Hotel and no doubt cherished fond visions
of being able to slip out the same way.

Doubtless the majority of the celebrities and satellites that
frequent that section of moviedom failed to connect the sandy,
slender man in worn and unfashionable tweeds with the mighty
hunter who once slew four lions in about as many minutes.
Frankly, he looks most harmless. I darn near overlooked him
myself. In which case I should not have had a peep into the
famous notebook nor heard about the greatest lion battle ever
.staged single-handed by a white man in Africa.

The news recently drifted through from England that the
British Government during its campaign against the Germans
in East Africa used the maps of routes and waterholes made
and explored for the first time by White during his 22-months
trip into this unknown section, also carried the tip as to the
four lions. ,

Now Mr. White didn't want to talk about it, never had
talked about it and, except for his conscience and my previous

.30

49 rhinoceroses
17 elephants
52 buffalo
27 leopards

And here is a lion fight yarn
that will thrill you — if you are thrillable.

By ADELA ROGERS
ST. JOHNS

knowledge, would have denied it flatly. Under the terrific
fire of my cross examination he admitted the feat, and when
he once got warmed up on his favorite topic of lions, I was
able to sit back and listen. Since he tells it much better than
I can ever hope to write it, I can give you his own version of
the thrilling battle, probably one of the most daring, unusual
and startling encounters that ever took place in the dense
jungles of Africa between a white man and wild beasts.

"It was really quite simple," he said, trying not to look as
annoyed as he felt, "nothing to talk about, you know. The
lions had been Wthering a bit, roaring at night, so that we
couldn't get the sleep we needed and so on this particular
morning I wandered out to see if I could dig up any of 'em.
I was strolling along with my gun bearer when over the top of
an ant hill — they're about three feet high out there — I saw a
big lioness peeping at me.

"I took a pop at her for luck and her tail flipped up, which
is generally a pretty good obituary. Just then, a lion stepped
around the corner of the ant hill and paused to look at me
accusingly. His suspicions evidently being justified, he started
for me and I let him have it, stopping him with a wound in
his shoulder. I glanced down at my gun and when I looked up,
there, on the other side of the ant hill stood the most magnifi-
cent lion I ever saw. When we measured him later the top of
his head stood even with my shoulder.

"Right there I made one of those mistakes that lead the
murderer to the gallows. Instead of finishing up the first lion,
who came back just then, I took a shot at this new one because
he was such a beauty. I only wounded him and both of them
started for me. At precisely the same moment the old lady
had a resurrection. Where the fourth one came from I never
knew. Apparently he materialized out of blue air. If the
remains had not been present afterwards, I should have be-
lieved him the figment of my overwrought brains — which was
slightly overbalanced on the subject of lions just then.

"From that time on it was like trying to shut a door on a
bunch of puppies — you shove it closed, but you never get 'em
all at the same time — some darn fool always' has his nose out.
My gun bearer was a good boy and he stuck. Otherwise the
entire bunch deserted. The trees around there rained darkies
for half an hour afterwards. I'm admitting freely if it hadn't
been for maintaining my prestige as a little tin god with those
savages, I'd probably hold the African altitude record myself.
But I decided that I might as well be eaten by a nice, clean
lion as sliced up by a bunch of black heathens. But for a
while there was hardly any place I could think of where I
wouldn't rather have been.

"One lion is sport, two are thrilling, but three is indecent and
four is like the prohibition amendment — they can't do it.
Lion shooting is sport but excess is always a curse.

"I shot 18 times and luckily only missed three times. I put'
15 shots into the four. The last lion was just four feet away
when I got him.

Couple

Lions !

"Lions are good sports
as well as good sport,"
he went on, after a
reminiscent pause. "They
are game, they are
courageous, they can
take an enormous
amount of punishment.
They have dignity and a
sense of humor.

"A lion will never
attack you in the day
time unless you annoy
him or start something.
He will pass you by with
dignity, not to say dis-
dain. I have never
known a lion to attack
in daylight unprovoked.
So invariable is this rule
that when once a lion
seemingly attacked me
without cause, I investigated, to lind that
the old devil had my entire sympathy.

"I was walking along the edge of a
ravine when a lion suddenly charged me
from the brush. It was so unusual that
when I had shot him I slipped around to
see if I could discover what was up. As I
reached the far end. I saw a beautiful
honess just lea\'ing. The ravine was a de-
hghtful spot and near the center I found
a fat zebra, freshly killed and hardly
touched. The old sport had picked out
this spot and invited a lady friend to
luncheon. No wonder he jumped when I
disturbed him. Better men than he have
done the same.

"People have the impression that a lion
charges in bounds, because when he runs
he bounces along the ground. But that
isn't true. He charges exactly as a dog
goes after a ball. I was attacked by one
once and my traveling companion, who had
ap analytical mind and a stop watch, was
sitting on top of a bluff some distance away.
He was too far to give me any assistance, so
he took out his watch and timed the bird
between a rock and a tree. We reduced it
afterward to terms of a hundred yards and
discovered he was running in 7 tlat. Which
shows that speed is necessary in dealing
with them.

T-wo of tKe four lions — martyrs to the fallacy
that one man is not equal to four such big
kitties. Picture taken at Mr. Whites Bur-
lingame home. At the left — the African Chief
and t^vo of his wives, whom he offered to lend
to Mr. White on his lion-hunting expedition.

"If you get the jump on a lion you can em-
barass and bluff him out of everything. He is not
afraid, only annoyed."' (I was willing to take his
word for it.) "Of course at night in Africa no
man who doesn't court death will step outside the
light of his camp fire.

"There was a fellow in one part of the country
who was known as 'the friend of the lion.' He
had succeeded in getting certain game laws passed
in their favor. He had a motorcycle and while
he was riding it across the veldt one day he acci-
dentally ran over some good old lion's tail. You
have doubtless seen a dog chase a motorcycle, but
(Continued on page i2g )

Mr. White with R. J. Cunninghame, the famous
lion-hunter and guide of the Roosevelt expedition.

III!-

T h e C

e n s o r

By Randolph Bartlett

Illustration by S. Hay

THE censor lives in a world, not made by God,
but by his own dismal imagination.

When God made His world, all living things
"male and female created he them"; the censor's
world is sexless.

God made sunlight in which men and women
should know joy and laughter; the censor fears hap-
piness and shrouds his world in gloom.

God clothed His world in brilliant colors, flowers
and grass and leaves; the censor looks upon these as
"the devil's gauds," and his world is barren.

In the censor's world men and women cannot love
and children cannot be born.

God's world is a world of love and life; the cen-
sor's world is a world of suspicion and fear and
death.

Look Who's
Been Shoppin

Pictures that show us how

w^e w^ould appear w^ere w^e

as fair as Norma Talmadge

and as well gowned.

Suggestive of war-time days is the smart little hat with its military-
like visor which Miss Talmadge wears at such a bewitching angle. Of
gold embroidered brocade shot \vith black; it is very up to date with
its monkey fur and raw ostrich feather trimming placed at the top

of the crOMvn.

Miss Talmadge chooses for her evening wrap a
gorgeous affair of black and silver brocade. Form-
ing a most becoming background is the large col-
lar of black velvet which is also used to face the
sides. Monkey fur, of course, is the trimming,
but to enhance its silky blackness a fringe of heavy
silver cord is used under each row of fur

There is nothjBg to take the place of a smartly tail-
lored trotteur and this is the type of frock which Miss
Talmadge so very effectively wears for the busy hours
of the day. Of puritan-like simplicity, it has a nar-
row collar and cuffs and a tucked vestee of sheerest
organdy. The black grosgrain ribbon tie is an attrac-
tive addition.

Photoplay Magazine

It has been rightly said that black
satin is the most striking color. And
indeed ^vho would not look ^vlth
special interest at a black satin frock
having a lace underskirt and trim-
mings of jet where it is set off by the
gleaming whiteness of beautiful neck
and arms. Frances knew this Tvhen
she designed it.

Norma Talmadge is )ust the type to bring out the gracefulness of
this draped frock. Satin -with the most lustrous sheen is used
for the girdle and cleverly draped skirt vi^hile georgette of match-
ing color forms the waist collared and cuffed with the daintiest
of net and lace. A single ornament -with an enormous tassel is the
only trimming a model so clever as she requires.

There is nothing left to be desired in furs w^hen
one is the happy possessor of this coat from
Russek's. Baby lamb being the material it is
easily draped and so in draping this coat gets its
smart effect. The voluminous sleeves in kimono
style are -widely cuffed -with chinchilla and this
same fur makes the cape collar of unusual shape.

Photoplay Magazine

^Ve dont know -who to admire most — Russek
for making such a wonderful ermine coat, or
Frances for such a be^vitching, thoroughly
youthful frock. We can t see much of the coat
but we re glad Norma did not entirely cover the
soft drapings of this satin and lace model.

Frances was daring but nevertheless most successful
in the satin frock of purple — over-bloused with
terra cotta chiffon — and as if that were not enough,
there's green, blue and yellow -worsted embroidery
for good measure.

When she is very, very youthful — well, no matter, -sve
can't all enjoy a baby lamb coat richly but nevertheless
youthfully trimmed with squirrel. And when there s
a robin s egg blue brim to a squirrel hat that has tiny
buds for trimming, one is bound to sigh over the years
that have passed since s-weet sixteen. Why did Rus-
sek do it?

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! I

1:^

The Pope's Pictures

By REV. WILL W. WHALEN

The Catholic Church is now
a successful producer of pho-
toplays, intended as whole-
some entertainment rather
than propaganda.

IT is estimated that more tiian one
million Catholics attend the movies
daily. Some of them attend their
own pictures, produced for them,
and exhibited by them.

There is in New York City the
Catholic Art Association, which is three
years old and looks as if it has come
to staj'. In three years it has turned out
three pictures, with a still-unnamed eight-reeler in embryo. It makes its appeal
to its own people, but it is not a busy puritan trying to legislate all pleasure out
of the other fellow's existence.

O. E. Goebel is the scenario writer, the director, and the distributor of the films.
None of the ordinary release channels are used. The association has its own
corps of agents, its otlices in all the principal cities. It doesn't advertise in the
m.oving picture journals. The pulpits hand out all the boosts these pictures need.
The first picture made by the association was "The Victim," dealing with the
confessional. This was a nine-reel feature. Then came "The Transgressor." Later
the association sent out "The Light Eternal," a pictured life of Christ.

A scene from
the Catholic
Art Associa-
tion's photo-
play, "The
Victim."

O. E. Goebel,

president of

the Catholic

Art Association,

and author, director

and distributor of its

films. Belo'w, a scene

from "The Transgressor."

Tito laughed loyously. "How can I expect you to have the face and hody like that, and be shut up like a nun?"

LOMBARDI, Ltd.

In which it is revealed that the rarest gift
of money is leisure to those in pursuit of love.

THE atelier of Tito Lombardi shone warm and glow-
ing and rose-hued in the spring sunshine which crept
through its spacious skylight. A brilliant medley of
tapestry, statues, draperies and antiques of all kinds,
it might have been the favorite room of a millionaire con-
noisseur. Nevertheless, it was known to thousands on the
social register as the sanctum-sanctorum of the most exclusive
designer this side of Paris.

At this precise moment, however, the master of the estab-
hshment was not concerned with robes and fabrics. He was
standing beside the model throne engaged in a half earnest,
half bantering conversation with a girl who posed there in an
easy attitude although she was obviously conscious of the
power of her beauty. For her beauty was undeniable in spite
of the shallow brown eyes and the selfish lines of her wonder-
fully carved lips. But these defects are not apparent when one
is twenty and a symphony of curves, flesh-tints and a certain
charm. And Phyllis Manning was all of this and more.

'"And do I not give you lots of things
and spend my monee to make you
happy?'.' ..Tito was asking anxiously, his
dark, vivid face upturned to the blond

DOROTHY ALLISON

head of the girl. "And is there anything between us which is
not good? No, no. Carissima."

"You're just the best man ahve," Phyllis answered purringly.
"When I think what you have done for me! The other girls
just die of envy. And to think you've never even kissed me!
Why have you never kissed me, Tito?"

Tito smiled with a tlash of white teeth and then grew serious
instantly.

"Listen, bambina, I tell you. Me, I am queer fellow. All
the girls, the pretty girls who work here, they not under-
stand me. One girl — that little what you call imp Daisy — she
think when she come here that she must let me give her the
kiss to hold her job. She follow me around my shop to make
what she call 'the sacrifice.' At first I no understand, then I
do and I get the scare. This I am not used to. All my girls
they are good girls, they make 'no sacrifice.' I do not — what
you say — know they are alive.

"Do you know why this is so, carissimo?" he went on, his
soft brown eyes growing more tender. "It is because one
woman she has all my dreams and hopes. When she say,
'Tito I love you, I be your wife,' then there will be that kiss
for which I wait so long. But till then, never."

Phyllis seated herself more artistically
on the model stool and answered his pas-
sionate tones in her own icy, composed
voice

Photoplay Magazine

"You know I never promised to marry you!" said Phyllis, the
nequin. "I said 1 d try to love you — and I ■will!

"I must have my career first, Tito," she said calmly. "You
know I want to become a great actress before I marry. Mar-
riage is so sort of final. And I must leave you now."

"Where you go, sole mio?" Tito asked caressingly.

A slightly embarrassed expression flitted across Phyllis' per-
fect features.

"A friend of mine, a Mr. Tarrant, has asked me to go for
a spin in the park," she said nervously. "A rich broker. I
met him at a party. Are you jealous?'

Tito laughed joyously. "How can I expect you to have the
face and body like that and be shut up like a nun? Of course
every man in this world is craze for you. Carissima, when I
do not trust you I do not love you."

"Well, I"m off then," said the girl carelessly. "Au'voir, old
dear. Thank you for everything." And with a kiss blown
from her pink fingers, she was gone.

Tito stood in the long room in which dusk was fast gather-
ing. So engrossed was he in the memory of Phyllis' beauty
that he failed to see the figure of a young girl which entered
softly and stood near the model throne watching him. It was
the figure of Norah, his devoted assistant, who had been his
right hand ever since he started his establishment in a small
shop on lower Fifth Avenue. Her beauty was not as obvious,
as blatant as that of Phyllis, but a keen eye could have seen
that it was undeniable in spite of her plain, somber shop
dress.

"Tito," she said gently.

He turned sharply at the sound of .her voice and welcomed
her with an elaborate, Italian gesture.
' "Ah, 'Norah, my little friend, how it goes to-day?" he

beamed. "But you have not the care-free air. Is
it Hodgkins who bothers you with those so tiresome
accounts?"

"It is only for your sake that we are worried,
Tito," the girl said gravely. "Hodgkins would not
be a good business manager if he did not tell you
how involved your affairs are. You could free your-
self from debt if you would collect the money people
owe you."

"But these people, they are my friends," Tito
remonstrated. "You do not make a dun on a friend,
Norah."

Norah s piquant face first frowned, then dimpled.
"You're impossible, Tito," she said gently. "Run
along now to the reception-room. Mrs. Warrington
Brown is waiting for you, that fat wife of the oil
magnate, you remember. She says you promised her
a gown that is 'different.' "

Tito arose languidly and started toward the door.
"I make her the gown called 'The Husband at Home.'
Very restful, very chic and a little bit naughty. But
that fat woman! With all my genius, the gown
would keep her husband at home. She spoil the
day for me."

He went out, murmuring imprecations on the un-
happy dowager. Norah, her face betraying the love
which she never hinted at in his presence, followed,
to quiet his mutterings as they neared the patron.
Long igo, she had accepted his passion for Phyllis,
and with the poise of her firm little character she
had learned to treat him merely as her friend and
employer. But she could not help her dreams or the
look of longing that woukl creep into her eyes when
she knew he could not see it.

Just now, however, her mind was not on her own
troubles. Lida Moore, a show-girl, and her devoted
friend for years, had telephoned that she was in
great trouble and must see her at once. Norah had
left word that she was to be shown into the private
office of the establishment, but she was unprepared
for the girl's entrance as she rushed in. tear-stained,
sobbing, half-hysterical.

When Norah had soothed her until her words
became more coherent, she told the old. old story
of violated trust and brief, shattered happiness.

"You ne\er knew, Norah." she sobbed. "I tried

to keep it from you. I wish I had never left here.

Tito was so good to me and you and Mollie were

^°' like big sisters. But I did leave, and I suppose you

know the rest."

"I only know what the girls ha\e gossiped about,"
said Norah steadily. "They said you had mo\'ed into a wonder-
ful apartment and had a big blue car and gorgeous furs and a
string of pearls. Lida, I know what your salary is and you
couldn't do all that unless some man — who is he. Lida?"

"I had hoped you wouldn't hear." said the other dully.
"Well, here are the pearls, the car is outside and the man is
the man I love.

"And he has left me," she went on, her voice again rising to
hysteria. "He has gone to someone as young as I was when he
first met me. He made me a settlement and left. There was
nothing I could do. 'Gocd-by. Lida," he said. '1 wish it hadn't
been you.' " and with another outburst of self-pity, the girl
threw herself full length on the chaise-longue.

Norah bent over her, aching with pity. "The brute,'" she mur-
mured. "But he isn't worth one of your tears. Lida. You must
forget him and love some decent man as your husband — an
honorable love."

"Never in all my life," sobbed the girl, "can I care for any-
one as I have for Robert Tarrant."

At the name, Norah suppressed a gasp of recognition. She
had met Tarrant on one of the trips he had made to the atelier
to see Phyllis. She had also reason to believe that Phylhs had
lied about the nature of the "harmless drives" which she and
Tarrant had taken. But she said nothing to Lida, only quieted
her with caresses and words of hope until she was composed
enough to make her way back into the car again.

Meanwhile a little romance of a far more cheerful nature was
progressing in the anteroom just off the atelier. The heroine was
the diminutive "Daisy," who had startled Tito with her willing-
ness to be "sacrificed," and the hero was Riccardo Tosello, whose

Photoplay Magazine 39

wealth as a "vermicelli king"" had for Lombardi, Ltd. ^^ to ^^- ^^^ Y^'J can"t, and l"m not

years made him the target for ambitious TV JARRATED, by permission, from the going to marry a mere mechanic.""
mannequins with object, matrimony. IM Screen Classics, Inc. production, (re- "if that's the case, I'm off,'' said

Daisy, however, knew him not as the leased by Metro), adapted and scenarioizcd Ricky broken-heartedly. "Good-by,
"vermicelli king." To her he was simply by June Mathis from the play by Frederick Daisy, forever and forever."
"Ricky," a handsome young Italian who and Fanny Hatton, produced on the stage As he started for the door. Daisy

hung about the place out of working by Oliver Morosco. Directed by Jack called him back in a small, startled voice,
hours. When she asked him what he did, Conway under the supervision of Maxwell uj^^,^,^ ^^ ^^^^ ^^,^^^^ Rickv," she

he told her that he "ran an automobile," ruT'^Lotnbardr Bert Lytell Pleaded. "I like you awfully, honest I

and neglected to mention that the huge Norah ^'" "'^ ' .. . ...Alke Lake ^^- *-*"'y ^^ ^° ^^^^ °^ being poor!

touring car which he drove was his own. Alollie . . . . . . • ............... Vera Lewis Couldn't we play around and be pals and

Just now Ricky was pouring a flood of Phyllis Manning Juanita Hansen not talk about getting married so soon?"

persuasive language into Daisy's pink Rkcardo Toselli ("Ricky") George McDan:el The old joy flashed back into Ricky's

ear while she listened half frightened, Robert Tarrant Jos. Kilgour expressive face. "Surest thing you

half fascinated. Lida Ann M:iy know," he said gayly. "I'll swipe a car

"Say, duckie. I must have you, just Max Strokm John Steppling from my boss and we'll go joy riding

naturally must," he insisted. "And you Daisy Jean Acker to-night. Better run now. The fitting-
might just as well slip me that 'Yes' now room is calling you."'
because I'll bother you to death till you do. Come on — won't As the child flitted away, Ricky clenched his slim brown
you have me, lovey?" fist in a gesture of determination.

"Are you offering me marriage?"' asked Daisy primly. "I must have her," he said, half aloud. "'But she must

"Surest thing you know," he answered with conviction. come to me for myself alone and not for my money. If she
"Honorable marriage. Bride's cake, veils, rice and that little couldn't love me as a poor chauffeur she would never love me
gold band that your sex thinks so well of. And besides that, as a millionaire."
Daisy, heaps and heaps of L. 0. "V. E."

"It's my first honorable proposal," said the child dreamily. "With the passing of a month, the business affairs of Lom-

"My, it does give you a thrill just like the movies. I just bardi, Ltd., grew more and more involved. Finally a day came
wish you wasn't a chauffeur, because I do like you. Only I when Hodgkins, the shrewd, harassed business manager, called
can't, honest I can't." a conference in which Tito and Norah alone were present.

Ricky started back in surprise and disappointment. "Why, "I've been over the books several times," Hodgkins was say-

Daisy?" he asked in a voice choked with emotion. ing. "I've told you what to expect. But you'd never listen

"I've made up my mind to have money and plenty of it," to me."
answered the little mannequin firmly. "All my hfe I've longed "All-a-time you tell me dese business things," Tito remon-

for the luxury you read about in those swell stories by Elinor strated, gesturing \iolently, "but all time business goes oq
Glynn. I'd rather have you than anybody if you could give as you say usual."

NoraK followfid, to quiet tke mutterings of Tito, as tliey neared the distinguished patron.

Photoplay Magazine

"I'm sorry, T. L.," said the business manager firmly, "but
tliis time it's final. We're busted. The bank won't renew our
loan and it's due to-morrow. We put up that oil stock of yours
as security. Well, the company's stock has taken an awful
slump and all of your other securities are tied up at the bank
on your last loan."

Tito ran his fingers desperately through his black hair. "You
mean to tol' me those swift running oils, they have quit?" he
gasped.

Hodgkins nodded his head in dismal assent.

"The bank, he won't renew?"

"No."

"That look pretty bad," Tito admitted gloomily. Then his
face brightened with his irrepressible Latin optimism. "But
me, I have always my two hands to work and my genius to
design the robes. And I have the wonderful assistant,'' he
went on, reaching out his hand to Norah. "And soon," he
added softly, "the most beautiful wife in world."

But when he sought out this prospective perfect wife, he
found not consolation but a greater loss. For Phyllis had heard
of the financial fiasco in the establishment of Lombardi. Ltd.,
and her only thought was of how to escape from her entangle-
ment with the firm and still keep her reputation for sweetness.

"Tito, I have something to tell you, and I'm afraid you will
be angry with me," she murmured plaintively.

"Angry with you!" Tito gasped, raising her slim hand to his
lips. "Do not get such imaginations. Do I not love you more
than any other man loves a woman?"

"But perhaps I'll never learn to care for you the way you
want me to," wept Phyllis, who now gathered it was time for
the fears. "And perhaps — perhaps I love someone else."

Tito shrank back as if someone had struck him a physical
blow. But when he spoke, it was very quietly and with great
feeling.

"Don't say it, Phyllis," he begged. "It hurt me too much.'"

"You know I never promised to marry you," said the manne-
quin with the air of a beautiful martyr. "I said I'd try to love
you and I will. There isn't really anyone else."

"What a httle rotter you are," said a voice from a settee
in the darkened corner. "Lying to Tito like that. Why don't
you tell him the truth?"

Tito and Phyllis both turned as if moved by the same me-
chanical hand and faced Lida, who had been lying, half asleep,
in the chaise-longue.

Phyllis, alarmed and angry, began to gather up her furs.
"I'm going," she said in a frightened voice which she tried in
vain to make dignified.

"No, you're not," said Lida, firmly. "You're going to stay
right here until I'm through." Then turning on the girl before
Tito could intervene, she asked, "Well, are you going to tell
him or shall I?"

"I don't know what you mean, " answered Phyllis brazenly.

"Don't you?" rejoined Lida, ironically. "Well, then, I'll
tell you one thing, you are a httle fool to trust Bob Tarrant."

At the name, Tito recoiled in disgust. "But Phyllis." he said
in a broken voice, "he is not a good man."

Phyllis, by this time thoroughly aroused, threw discretion to
the winds.

"I can take care of myself, thank you," she told them. "Any-
way, the whole row is all her fault. If you had kept your
mouth shut he would never have known it was Bob. But all
this won't do you any good. Bob is mine now and I intend
to keep him."'

And with a swirl of skirts she was gone, leaving Tito crushed
and broken in the darkened room amid the ruins of his dreams.

But when the first shock of this new blow was over, he began
to find consolation in unrealized devotion from his friends and
helpers, although this could never take the place of the great
love that was gone. But it was soothing to feel that he had
gained such true affection from sources that he had never sus-
pected. Old Mollie, the fat, untidy fitter who nevertheless
could evolve a vision from a few yards of tulle and five pins,
came to him sobbing and swore that, wages or no wages, she
would never desert Lombardi, Ltd. His three prettiest manne-
quins shyly offered to lend him their joint savings which, how-
ever, would not retrieve the fortunes of a toy bank. And
Eloise, the most perfect 36 that ever displayed a negligee, for
once discarded her chewing gum and affected airs for a simple,
sincere expression of regret at his misfortunes.

But it was Ricky — careless, inconsiderate, irresponsible
Ricky, who gave to Tito the final proof of what real friendship
might mean. It was not entirely to his credit since he had

Photoplay Magazine

thought for only one person and that suggestion came from
her. He had sought out Daisy for one fmal attempt to breaic
the ice of her mercenary little heart.

"It's me, cutey." he said resignedly. "Back again to be re-
fused. I hate to let a day go without asking you, because
some day you might get a change of heart."

Daisy s big blue eyes sutldenly dropped and her peach-blow
color deepened. "Well, Ricky," she faltered, "1 guess perhaps
to-day's the da}'."

"What?" shouted Ricky, as with one bound he cleared the
space between them and gathered her up in his arms. "You
mean you'll take me, honey? I thought you loved someone
else, someone richer — like Phyllis."

"I am tired of being poor," Daisy admitted, her head snug-
gled against his shoulder, "but oh, Ricky, monev isn't every-
thing." .

There was a long moment of silence and then Ricky spoke
very softly.

"I have a great surprise for you, dear. Better than a ring
even or the limousine 3'ou wanted. You think I'm poor, don't
you — just a chaufl'eur? Well, you're wrong, kiddy. I'm really
a millionaire."

"Then the first thing you do," gasped Daisy as soon as she
could speak for surprise and delight, "the very first thing is
to get Hodgkins to tell you how much money Mr. Lombardi
owes the bank and then hustle and pay it. I'd rather have that
than all the limousines on Fifth Avenue."

So it was arranged as simply as all that. And mingled with
the pleasure of helping an old friend, Ricky had the joy of
knowing that the first thought of his little sweetheart had not
been for her own selfish amusement but for another's sorrow.

It was Hodgson who told Tito in the prim little business
ofifice that had been the scene of so many bitter struggles with
the hated accounts. At first the head of Lombardi, Ltd., had
wept and stormed and refused to accept so great a favor
even from a friend. But when Hodgson explained that Daisy
had insisted on the arrangement as a condition to her mar-
riage, Tito grew calmer and agreed. Then, just as his delight
at his financial rescue was beginnin';; to dawn, Hodgkins,
darkened it by another revelation.

"I have something to tell you about Norah," said Hodgkins.

Tito uttered an exclamation of alarm. "Norah," he cried
"she is not ill? There is nothing wrong?"

"It's worse than that," said Hodgkins, sheepishly. "T want
to marry her."

If one of his wax models had walked up and proposed an
elopement, Tito could not have been more astonished. Then
his amazement changed to a deep distress, even terror at the
thought of losing Xorah.

"Dio!" he cried, "you should not gel-a married. You old
ledgers and cash books. Don't make me laugh. Besides,
Xorah she is going in these little shops with me."

"But you'd give her up to me," said Hodgkins with confi-
dence.

Suddenly Tito became inflamed with a wild fury of indigna-
tion. "Me give her up!"' he almost shouted. "Maybe you the
best bookkeeper in the world, but for a husband for a girl like
my Norah — never, never! My little girl who work for me all
these years!"

"Well, I haven't asked her yet," said Hodgkins calmly
"You might ask her for me and explain all my good points."

"Me, ask Norah to marry you?" gasped Tito, "I never heard
such nervousness! You send Norah to me and don' speak one
of those words we been talking about.''

Hodgkins promised with a vigorous shake of his head.

"Nothin' about marriage," Tito insisted; "no proposes, no
love, no spoons. Send Norah to me quick and don't mention
no words."

With unwonted meekness, Hodgkins agreed and went down
to send Norah to the atelier. But when the girl arrived and
stood questioningly in the threshold, all Tito's domineering
bravado had left him. He met her eye imploringly.

"Why that dismal look, Tito?" she asked lightly. "Just when
everything has turned out so lovely. And something e\'en more
wonderful is going to happen."

Excited and alarmed, Tito flew into a sudden and violent rage.

"He told you, he told you," he shouted. "And just now
sitting on top of those couches he promise me he would not say
any of those words. Don't listen to him, Norah. He craze
in the head. He just like those North Poles — so cold you never
reach him."

Norah's eyes opened with (Continued on page 128)

I AM a priest, my child! Be-
neath this tasseled hat I re-
flect, with the philosophy of
years and learning, upon the
sadness of a world where for-
giveness and mercy, not cold
justice, should rule. Beneath my
robe there is a heart beating with
compassion for all mankind.

I am incarnate justice ! I am
the vengeance of the law.

I am Sir Ronald Vere de Vere !
My creed? A lady's wrongs to
avenge, my king to acclaim, my
sword to keep bright, my
knightly honor to preserve un-
tarnished. With my lance in
rest, a gallant steed beneath, a
sunlit field before — what ho I
Fight today, and think naught of
tomorrow !

I am the Duke of Disdain !
Out of my way, common herd I
And you, priest, made to shrive
me in my ultimate hour — you,
learned judge, created to defend
my rights in courts of law — you,
knight, to kill where neither
priest nor potentate prevails —

I am — dear me, who am I? I
am the glass of fashion. My
top-piece came from Paris, my
coat from Bond street, my boots
cost eight pounds the pair —

Honest, now, v.'ho am li

Only the character man.

Yes, sir— coming, sir — imme-
diately, sir — what part now, sir?

But Three

Months

Didnt

Cure

Him

ONE of Douglas MacLean's staunchest ad-
mirers is a minister in Washington, D. C. —
a fine, lovable old man who started his son
on a career as a mechanical engineer, and
consented to the boy's fling at the stage only be-
cause he thought "three months would cure him."

In compliance with his father's wishes, Douglas
MacLean went from Philadelphia to the North-
western University preparatory school at Evanston,
111., and then entered the Lewis Institute of
Technology in Chicago.

After leaving school, he met Daniel Frohman in
New York, and unburdened a dramatic enthusiasm
dating from his appearance with the school ama-
teurs in Chicago. The producer told him young
men of education were needed on the stage, and
{•ave him a letter of introduction to John Emer-
son. Engagements with Maude Adams and as a
stock leading man followed; then — the movies.

He has appeared in support of Mary Pickford,
Alice Brady, Enid Bennett, Vivian Martin, Clara
Kimball Young, Mollie King, Frances Nelson and
Gail Kane. On the stage he has played with Mar-
garet Anglin, Maude Fealy, Marjorie Rambeau,
Mary Servoss and Jane Grey.

Photoplays in which he had especial opportuni-
ties were "The Hun 'Within," starring Dorothy
Gish; Mary Pickford's "Captain Kidd, Jr.," and
"Johanna Enlists."

Now be is a star in his own right.

What good IS his
mechanical edu-
cation doing him
now?

Douglas MacLean tried engineer-
ing and banking, travel and the
stage, and hit his stride and the
thing he liked to do only when
he met LosAngeles and the lenses-

Mostly,

Standing is

a Born

Actor

Not an unpleasant

^vay to spend an

afternoon —

■wtat?

Wyndham Standing's histrionic
ancestry entitles him to be listed
in the theatrical peerage; and as
a matter of fact his distinguished
brother. Sir Guy, is a Knight.

SOME men are born actors, some achieve act-
ing and some have acting thrust upon them.
If the theatrical "Who's Who" is any guide,
Wyndham Standing is the result of all three.
But mostly he was born one. For, if ever an actor
came into this world with his lines in his mouth,
as it were, and his make-up on his face, that actor
was Wyndham, the son of Herbert Standing, the
brother of Sir Guy Standing, cousin of William
Carleton and god-son of Sir Charles W^yndham.

Not a chance had he at escaping the footlights.
He couldn't be anything but an actor any more
than he could look like anything but an English-
man, although he is a naturalized American now
and very proud of his newly acquired "papers."

Photoplay found him in his "chambers" in the
upper West eighties. The mere fact that he is in
it, makes a New York apartment look like "Cham-
bers"— he is as English as that.

He had just finished his part with Constance
Talmadge in "A Temperamental Wife." Standing
supported the brunette sister, Norma, in "By Right
of Conquest," one of her more recent vehicles.
For Thomas" Ince, he served in "The Bugle Call"
with William Collier, Jr. With Elsie Ferguson he
was in "Rose of the World;" with Pauline Fred-
erick in "Paid In Full." Tourneur recruited him
for "My Lady's Garter."

He is thirty-nine years old; married to an
English wife.

Every so often Wanda Hawley and Ker husband pack up and go camping.

BURTON HAWLEY insisted that he ought to doff the wringled khaki shirt
that he wore for something more fashionable. Mrs. Burton insisted that
he oughtn't.

"Can't you be comfortable when you're comfortable?" she queried. "You
know, he owns a garage, — I mean, we own it, — down the boulevard, and he thinks
that he must always he stylish when he's at home." (The last to the writer.)

Mrs. Burton Hawley, alias Wanda Petit, more recently alias Wanda Hawley, is
one of those modem women who can do several things at once. She told me that
she is quite used to the problem of boiling her husband's eggs, putting on her
make-up and eating her breakfast at the same time in the morning, and that any-
thing so seemingly intricate as finding his collar button, darning his sox and
autographing a few dozen of her latest photographs in fifteen minutes is quite a
mere bagatelle.

And,^ — listen, girls,-^iiere's her formula for successful cuisine:

Take voice culture! ■

It happened that Wanda's family had her career mapped out for her before she
ever had a chance to think for herself. She was to be a grand opera prima donna,
she was informed as soon as she was old enough to know the meaning of that
pretentious word, and her mother had her put through a strict course of training
vocally, as well as at the piano. The result is that she can sit down now and tick
off a few Rachmaninoff preludes and Bach fugues without winking an eye, although
she claims that she can't sing because an operation for laryngitis caused her to lose
her voice and all that, and because she's a picture player she isn't expected in the
ordinary course of events to warble.

"But," she said, "I'm not at all sorry I learned how to sing. The study of voice
gives you something that nothing else does. It teaches you poise. — how to stand
on your feet, — and you can even apply it to cooking. It's this way. You learn
proportion and economy; make every Httle bit of breath count, just like you have
to measure out the eggs and salt and make a little cream do the work of a whole

Victuals

You can't combine tke
t"Wo; so Wanda Hawley
became a silent star and
did her own cooking.

lot in these days of the H. C. of L."

And then, girls, she went on to
say that voice culture gives you an
eye. — or is it an ear? — for the beau-
tiful; teaches you to garnish your
dishes, and to make your things look
pretty on the table. At this point
Friend Hubby interposed. Said that
his wife had better study more voice,
because she'd burned the biscuits
that morning.

"I didn't at all," she said near-
tearfully. "You're horrid to say all
these things before a strange man.
I never burned the biscuits, and be-
sides, I gave you lobster for dinner
tonight. I broiled it."

""You did not broil it," from
hubby, "you baked it."

"I did," said his wife. "Lobster
is the nicest thing in the world next
to movies."

Whereupon it was gleaned that
Miss Hawley's favorite things in this
Hfe are beside the foregoing crus-
taceous delicacy, strawberry ice
cream and, sh! near-beer, a combi-
nation which if eaten together, is
warranted to make you sick.

A little later in the conversation
Miss Hawley remarked that she

As "Peg," in the screen production of Laurette

and Voice

By
VAN COURTLAND

thinks that Norma Talmadge is the apple of her eye,
just perfectly darling, and too brunettely beautiful to
talk of at random. You ask her if she wishes she
were a brunette, and she says that she's glad that
she's a blonde, but please not to look at her because
she forgot to curl her hair.

And! Wanda Hawley, that dainty, entrancing her-
oine of "The Way of a Man with a Girl," says that
she'd like to be a man! She's always wanted to go
out at night without an escort, and be able to go in
swimming in the village creek like the fellers do,
although she guesses that women are 'coming into
their own' now and so she needn't bother to eat her
heart out because she was born feminine.

"She never has anything to wear and her hair al-
ways looks terrible," thrust Hubby when his wife
said that her hair wasn't curled. "Women are always
like that, and believe me, after four years of conjugal
existence I will inform the rest of my sex that their
wives always manage to get the best of them."

"Yes, I guess the male sex is following where it's
led," .suggested Miss Hawley dryly. "You always
want me to play tennis and shoot off 12-gauge shot-
guns and ride frisky horses"

"What do you like to do?" I ventured.

"Eat," popped Mr. Burton. "She says she's diet-
ing, but she always eats everything in sight."

"Uh — huh," answered his wife, "I guess so. Next
to that and pictures and playing the piano I'd rather
drive a car."

"Yes, and she always insists on going forty down
Hollywood Boulevard," rejoined the wearer of the
khaki shirt. "The other night a cop
stopped her and told her that she'd better
slow down after this to twenty miles an
hour; that she'd be arrested if she ever

^Vith Major Robert Warwick in "Secret Service," one of

the first productions she appeared in after the signing of

her three-year contract with Lasky.

Taylor s stage success; with Thomas Meighan.

went faster. Gee! if it 'ud been me I'd have got pinched."

This young married couple, in spite of differences of opinion in places so minor
that differences don't count, is one of the happiest in the cinema colony. Between
pictures they sneak away from town and go camping, and Mrs. Hawley says that
she gets freckled and sunburned and begins to peel, and Mr. Hawley groans
that the mechanics at the garage forget to ring up the change in the cash register
and lose all the tools.

But in spite of all the arguments anent lobster broiled vs. lobster baked, and
whether or not the biscuits were burned, they never find any particular difference
due to the fact that Mrs. H. is getting into the big lights of picturedom and re-
ceives proposals by mail from admirers w'ho don't know that she's married. And
Hubby never objects to his wife going away on location and not taking him along,
because he knows that she knows that he has to watch one Mount Olive garage
and see that Bryant Washburn's car has sufficient oil "and that of Wally Reid no
flat tires.

He never had any objection at all when word was received some two years ago
that William Fox wanted his wife to play ingenue in "The Derehct" with Stuart
Holmes.

"She always used to emote into the mirror and watch Norma Talmadge like a
hawk," said he, "and we both thought that since she had once wanted to go on
the stage and was successful several seasons in playing piano accompaniments on
the tours of Albert Spalding and other singers, — she went then by her given name,
Selma Pittack, — she might perhaps be a success."

The day that pictures first saw her, Wanda Petit, — as she was then known, — was
frightened to death. At any rate, she finished the Holmes play successfully, played
two more Foxes in the East, and was at length sent West to play in Tom Mix
woollies.

And then is when she showed the first signs of temperament. One day they
wanted her to ride a horse that everybody knew was frisky. She climbed aboard,
and the crittur got skittish-like and she unclimbed and said that she positively
wouldn't go yachting on the bronc'l

"Do you know?" the Blonde One interjected, "I've always had a secret desire to
play tough parts. Not the kind where the girl is all wrong, but where her tough-
ness is merely the veneer over a good soul. They're so peppy!"

She did say, moreover, that her three Won'ts are thus: (i) she will not "vamp";
(2) she won't overact, nor (3) will she adhere to one type of screen heroine.

(Continued on page 127)

Her Applause

/w\:vv

CLOSE-UPS

EDITORIAL EXPRESSION AND TIMELY COMMENT

Propaganda . During the war, we heard
Ct--u w/vV. TT i"^ whispers that the melo-
btlll Wltn us dramatists would describe
as dark, much about the insidious propaganda
that the Germans would like to put across in
pictures. Incidentally we put across a great
deal of propaganda ourselves, pictorially, and
some of it is semi'officially credited with buck-
ing up the French nation in the crisis of the
conflict.

Most people imagine that picture propaganda
is directly international, and with the resumption
of a general peace signed or unsigned, the screen
drama with a purpose can be levelled only at
poor red Russia, where we would like to have
them get down to a government that amounts
to something, and quit calling strikes over here.

As a matter of fact, the propaganda film is
flourishing today, in America, as never before.

The political propaganda is in the form of
advance volleys from the masked batteries of
the Republican and Democratic parties. Each
of these parties would like to collar, very pri-
vately, at least one of the big news reels. Per-
haps they will round up several before the open
stump season commences, but to date they have
made very little impression on any of the estab-
lished services. In addition to these — if they
get them — they will have films very plainly
marked "Hands off — political argument!" And
they will have the same argument in other films
very heavily sugar-coated. Money is said to
have been advanced for the film purposes of
several favorite sons, and one perennial visitor
among these promising boys has friends who
are the real parties behind a news reel just
started, according to fairly reliable reports in
the managerial offices.

National propaganda is of a broader sort,
and, generally speaking, it is constructive and
healthy. Canada, for' instance, is making no
secret of its film activities. It is boosting its
land, its wonderful crops, its great spaces still
unsettled, its "opportunities for home life and
solid wealth based upon the soil.
■ X

Then and Seven or eight years ago Roscoe
-VT Arbuckle — the same pluS'Size, ge-

nial, alert individual that he is
today — was making merriment in a little tabloid
. musical comedy shop on East First Street, Los
Angeles. The highest price of adn\ission was a
quarter, and the highest salary — which he
didn't get — would have been scorned by the
third assistant of a 1919 ironworker.

Last month the Vernon ball team, the pride
of Los Angeles as far as the National sport is
concerned, won the Pacific Coast championship,
as bitterly contested an affair as the World Ser-
ies between Cincinnati and Chicago.

One of those most pleased, of course, was the
team's owner, who counts it, notwithstanding
its tremendous annual cost of maintenance, a
pleasant side issue upon which he can bestow
some of his spending money, thus giving others
pleasure and his home town a local pride.

Mr. Arbuckle is the owner.

The diff^erence wrought by these few years
is only one of the golden stories of the photo-
play industry.

Barnum Was And he remains right. The
T>,-p.],^ American public enjoys be-

o ing humbugged today as

much as it did when the rotund circusman in'
troduced his collection of freaks to a gaping
populace that couldn't be fooled on politics,
economics or religion, but enjoyed, now and
then, a false fillip in its amusements. The state-
ment that we, nationally, respond amicably to
a showman's jest at and not with us is subject,
of course, to many reservations. We have at-
tained a critical level on dramatic entertain-
ment not thought possible even a decade ago.
Thanks mainly to the good music propaganda
in the better photoplay theatres, we are being
educated nationally in melody. We like jazz,
but at times we ask intelligently for the European
composer who never heard of jazz.

Nevertheless, now and then a bit of pure
hokus-pokus comes along which we swallow
hook, line and little lead sinker.

Witness the "personal appearance" of the
picture bathing girl.

Some sharp salesman had the idea that the
vogue of "Yankee Doodle in Berlin" would be
vastly increased by the toddling-along of the
Sennett girls. So, some girls accompanied the
picture — we never saw any of these girls in Sen-
nett's films, but they may have been there des-
pite our usually sharp eyesight — and on Broad-
way, the home of sophistication, they had to
club the crowd to keep it in order before the
box-office. A far better exhibition of anatomy
is contrived in almost any musical show.

Then a pair of enterprising young gentlemen
in Chicago found a few cabaret maidens out of
work, took them down to Wilson Beach, rolled
them over a few barrels and into the water —
filming them the while in what was kindly de-
scribed as a comedy — and started out with the
celluloid and sellyougirl combination. They
cleaned up a net of $600 the first week, but that
was a preliminary canter. In Tarkingtonian
Indiana they rounded off a profit of $1200 a
week with great regularity. A Wisconsin firm
tried it next, and they also made a golden get-
away. The latest manifestation accompanies
"A Scream in the Night," with "The Jungle
Girls in person."

Photoplay Magazine

The Samuel Goldwyn enters the

r^ . T»i ranks of the picture prophets

Costume Play ^^ ^^^^ .^^^^ costume play

will come back, but it will come back as a tran-
script of reality, a vision of life as it was lived;
not as the elocutionists and the delsarte teachers
believed that it was lived. They are responsible
for the disappearance of the costume play — not
the fashion of the play itself. Theoretically and
properly, the costume play ought to give the
motion picture its greatest opportunity. It gives
us a chance to put novelty on the screen, and
beauty. Certainly a man in our conventional
attire and a woman in a skirt too scant for
modesty and too tight to walk in are by no
means pictorial subjects as a gentleman and a
lady of the early Georges."

That eminently realistic young producer,
"Mickey" Neilan, whose major reputation is
built up on reahlife touches, feels much the
same way.

He says: "The trouble with the old costume
pictures, the ones that absolutely prohibited
period plays right at the start of the movies,
was that they were directed by queer birds who
believed that one or two hundred years ago
people really lived in blank verse, to say nothing
of speaking it. According to them, you had
to compose a sonnet to get a drink of water,
and if you wanted to be colloquially equivalent
to 'Hello, kid — how are you?' you did it with a
set of six'Cylinder words accompanied by a
twelve-cylinder flock of gestures. I believe our
great-great-great grandfathers were as snappy as
we are and got as much fun out of life as we do,
and were just about as natural and realistic and
unconventional — even if they did wear funny
collars and ribbons on their knee-pants. I want
a chance to put some real folks into an ancient
setting, and I am going to find that chance."

And the next thing will be to convince the
timid and highly modern exhibitor.

The Film's A trade item of the month

T7 ^1- .^ -vT ^X. announces that The Hud-
Farthest North ^^^ g^^ Company has

combined with the Educational Films Corpora-
tion for the making of dramatic, scientific,
educational and industrial pictures.

To such celluloid persons as are bounded
on the north by Fiftieth street and on the south
by the New York Times; or to those whose
mental confine is the valley of the Los Angeles
river, this is a mere industrial paragraph. But
to men and women of imagination, to people
who still cherish the spell of association and the
thrill of immemorial adventure, this note re-
leases enchanting reflections.

The Hudson Bay Company is the one great,
grim relic of pioneer days left to us on this
continent. It will shortly celebrate its second
centenary in London. For more than a century
it was an absolute monarchy in Canada. Its
Factors carried a rude, stern civilization into
forests untracked by human feet except those
encased in moccasins, down streams whose

waters have never been furrowed save by the
muskellunge and the birch-bark prow of a
canoe. These Factors were more than master
traders. They were the law and the gospel.
They wielded the power of life and death, and
their doings, sometimes splendid, sometimes
dark, were the inspiration of such novelists as
Sir Gilbert Parker and his whole literary follow-
ing. Nor is the Hudson Bay Company a matter
of history, by any means. With the opening-
up of most of habitable Canada to settlement
the Company's empire has come, in civil mat-
ters, pretty generally under the direct admini-
stration of the Canadian government, but its
physical resources and its artistic and scientific
possibilities still persist as never before — what
.with new advantages of accessibility.

The deal which lays its virgin miles under
the sunbright axe of the camera was made in
London, and it will undertake its cinemic mis-
sion with the vigor it once bestowed exclusively
upon furs.

The film has officially chronicled a new
farthest north.

New Times, Anyone who doubts the

TNjpw Tnsiilf<j country's ability to get accus-
JNew insults ^^^^^ ^^ ^^^ prohibition

viewpoint need only read the account of the
San Francisco woman, who, stumbling over a
keg in the darkened aisle of a salon of picture
entertainment, promptly sued the management
for $100,000.

How rapidly we progress! Anyone stumb-
ling over a keg a couple of months ago would
have surreptitiously rolled it out and away, con-
sidering the manager a true friend and earnestly
hoping that the baby barrel contained some-
thing other than the common mixture of oxy-
gen, hydrogen and nitrogen in which we live,
move and promise to pay.

As a further instance of our rapid slide to-
ward teetotality, this incident took place in
California, the wine-growing state in which
freedom of the palate once meant as much as
freedom of the press in Louisville; a state where
the prohibition law first seemed as welcome as
was the newly-drafted Emancipation Proclama-
tion in Virginia.

An Audacious Director Raymond Wells
FY«mr»lf. announces, without any

example ^^^^^ ^^ trepidation, that he

is going to film the whole Bible, allowing fifty-
two reels between Genesiac chaos and the Rev-
elations upon desolate Patmos.

Mr. Wells may have been inspired by the
speed with which our rotund residence was
put together; according to the first of the Sa-
cred Books, the greatest manufacturing job in
time or eternity was turned out of the shop of
space in six days.

That being the case, the imperturbable film
business thinks itself equal to a review at least
of the univer§aLwork ixi.a^-year.

But He

Doesnt
Dance!

THE most approved type of leading man must do three things
well: he must make love in a way which will put Adonis
and all those other old-timers back where they belong;
he must be able to conduct a rescue — whether aquatic or
dramatic — in a satisfactory manner; and — he must dance.

Harrison Ford, it must be admitted, is very much among those
present when it comes to the final fadeout and all that sort of thing.
He has given the heavy a stiff time of it more than once — but he
doesn't dance. One of the screen's best drawing-room love-makers
doesn't dance! Not that he has any particular objections to that
form of diversion, but, according to his own statement, "I simply
cannot learn — and I have tried."

"I have a phonograph in my little flat which has been as faithful
as my negro cook," he
said, "but I've learned
less about dancing than
about cooking in the
two years I've been in
California.

"I cook like a French
chef," he went on with
almost Irish glibness.
(He's plain American,
however.) "And," se-
riously, "I'm not at all
sorry for having learned
all the cuisine secrets
of said colored cook,
for she has decided to
take a flight of romance
and in two weeks I'll
be a lonely old bachelor
once more. And unless
I can induce mother to
come out from New
York, I'll make use of
my culinary knowledge.
You see I figure mother
might not stand for my
cooking."

One would expect
nothing else than to
discover him to be a
veritable couch-cootie.
a social jaguar, an ar-
dent follower of the old
King Jazz. Outwardly,
indeed, he has many of
the fashionable foibles
of his type such as the
tortoise-shell rimmed
glasses, the bandolined
black hair, the laugh-
ing brown eyes, the
wool socks, and a pen-
chant for butter scotch
pie which he doesn't
dare eat because it is
fattening. These are,

however, pictorial ward- Harrison (no relative of Henry) Ford, who

robe, necessary to his regretted falling off a street-car, recently, was

profession. the performance, sho-wing just

Harrison Ford's one

drawback to being our most romantic

leadinff-man.

By
SIDNEY VALENTINE

Mr. Ford thinks, any-
way, _ that mere hand-
someness is a pretty
poor excuse for wanting
to be an actor. He be-
lieves that the camera
registers "below the
■ skin" and that the men-
tal grasp of a role is
the important thing. He
has an idea that much
can be learned from
historic personages, and
so he turns literature's
pages where he can find
inspiration in such cel-
ebrated examples as
Abelard, Leander, Ro-
meo, Anthony and
scores of others.

In pursuing this no-
tion. !^Ir. Ford has be-
come a collector of un-
usual books. His grandc
p as s io 71 — first edi-
tions and art bindings.
He almost refuses to
talk about himself —
that is, his pedigree and
the size of his shirt and
other things, personal
and private, which usu-
ally interest a picture
hero's following, but he
will talk to an uncon-
scionable hour about his
books or about art. Art
in marble, between cov-
ers, or on red seal records.

When someone who
had recently seen him
in one of his especially
posed love scenes wrote
and asked Mr. Ford if
he had any partictilar
philosophy of lovemak-
ing, he confessed to
nothing more intricate

A")

says that the only reason he
because no one got a picture of
how he did it.

Photoplay Magazine

Above, wi'tli Marguerite Clark,

in "Girls." Center, with Vivian

Martin, in " You Never Saw

Such a Girl.

than that when one played oppo-
site such beautiful women as
Constance Taimadge. Vivian
Martin and Liia Lee. a fellow
who couldn't make love to them
wasn't much good. He was
Lila Lee's first leading man and
Cuddles has been heard to say
that he was her nicest leading
man! He has a library that she
likes to browse through and
some Beardsley sketches that
interest her tremendously. (For
Lila draws, you know. ) Some-
one asked if he was enraptured
with every one of the beautiful
girls he played opposite

"Of course I am," he admitted.
"I think that every one of those
girls is a peach. And further-
more, I think that the key to suc-
cess in acting is to have a note
of sincerity 'way down under-
neath. It's bound to tell in one's
work. I think John Barrymore
has it. And Elsie Ferguson. And
of the strictly picture-bred ac-
tresses, the Talmadges."

"Are you a 'strictly picture-
bred' actor, Mr. Ford?"

"Not exactly," he laughed. "I
left school when about fourteen
to go on the stage. That was in
St. Louis, and for a long time I
got no further than being a stage
hand. I finally did get a couple
of minor parts — one with Wm.
H. Crane in 'Rolling Stones" and
another with Robt. Edeson in
'Excuse Me.' They didn't get me
very far but I'm awfully glad for
the experience. I learned a lot
about stage direction which will
some day come in handy when
I've made enough money to pro-
duce some of the choicest plays

of Chatterton, Davidson and Middleton."
That, he said, is a secret ambition —
to give private performances of those
authors' plays in a theater like the
Greenwich Village — in downtown New
York.

"Really," he continued philosophical-
ly, "I'm glad for every experience, how-
ever insignificant it may seem to others.
I'm glad for my 'extra' days in pictures.
I'm glad for everything that may help
me to realize my remotest ambitions."
In ''You Never Saw Such a Girl."
with Vivian Martin, he had to go out
to the aviation field and take some les-
sons in piloting a plane. Long ago — or
rather before he entered his twenties
and the pictures (he's about twenty-
four now) — he had to learn to do cart-
wheels and more strenuous calisthenics
for a part in "Rolling Stones." But
none of these newly-acquired accom-
plishments detract in any way from his
consummate savoir jaire — the art of be-
ing a gallant swain to tread upon the
hearts of the sub-debs and stenogra-
phers who watch him upon the screen.

He reached in his pocket and pulled
out some unopened letters which had
come from the studio that morning and
began tearing the stamps from the ones
of foreign postmark. What was this? Some new post-
bellum thrift idea?

"Why, I save these for the cook, as she pastes them
on cardboard and frames them. She already has sev-
eral pictures, as she chooses to call them, and they
. are to adorn the walls of her new home."

Perhaps he isn't a dancin' fool — an arch-
bishop of ballroom eurythmics — but this pho-
tofamous young man who saves stamps for
his cook "to frame is unique— and he can
make love, can't he, girls?

It's funny how a ffw years can change
a fello\v"s viewpoint. We showed this
picture to two boys, and the twelve-
year-«ld said "Gee, look at the ice-

Nearly a
Bean Magnate

Sid Franklin went West

for purposes other than

picture -directing. But

look at him now.

By
ALFRED A. COHN

grountl: ami all in all. he had a harder time breaking
into the game, than many of Alger's heroes of a
generation ago had breaking into the rich broker's
office. Of course the absence of a mortgage was a
handicap to his aspirations, but had there been one it
probably would have been shaken off anyhow during
the slight misunderstanding that San Francisco and
Mother Earth had in 1006, for our hero hailed from
the city by the (iolden Gate.

Getting right down to facts, the young man who has
been guiding the artistic footsteps of Mary Pickford.
was about nineteen years old when he came to Los
Angeles to seek his fortune. Of course loyal San
Franciscans will scoff at the idea that one of her sons,
or any of them, should seek his fortune in Los Angeles,
but e\en at that early age Sid was original. He
hadn't any idea of becoming a motion picture celebrity
because there were no such animals at that time.
Perhaps he thought of being a rich orange grower. It
was reported once that he had thought of becoming a
bean magnate or

Snowing tKe Franklins directing a
kid picture in the old days at Fine
Arts. Dorothy Gish is in the center.
Due to staring at Dorothy, the en-
graver nearly clipped off
Sid. shown at the extreme
right. Brother Frank at
his left.

s 0 m e t h i ng of

that sort; but

(Continued on

page 125)

Wliile the barometer registered 100
percent sunshine, Sid befuddled the
■weather man by employing a sprink-
ling can — and that is how Mary got
■wet from the storm in "The Hoodlum."

HAD Horatio Alger lived
until the celluloid age.
that authorial "Onward
and Upward" guide to
aspiring youth would undoubtedly
have written a story about the
barefoot boy with the poor old
widow-mother who hung around
the movie studio until he got a job
carrying a camera, and things — and
became a great director in a few
months and lifted the mortgage, and
so on. And he would without a
doubt have taken Sid Franklin as his
hero.

Not that Sid hung around barefoot or
that there was a mortgage on the old home-
stead or anything else like that. But Sid, then a
beardless youth, did hang around the outer gates of
his "paradise" till his shoes were nearly thinned to the

x^i

What Anne said was lost in the honeysuckle vine of the House of the Green Gables,
and the •wise old house kept their secret as it had kept many others before them.

wherein a little orphan girl's happiness is
born of this triumvirate: a remarkable
agination, courage in a crisis, and love.

im-

LAND sakes, Manila," gasped Mrs. Pie, shading her
face with her sunbonnet as she peered down the
dusty road. "That ain't a boy Matthew's got
with him. It's a girl."

Marilla Cuthbert, gaunt and prim in an immaculate apron,
adju.sted her spectacles and anxiously followed the pointing
finger of her neighbor. Mrs. Pie and josie, her pretty, affected
daughter, had "just run over" conveniently at the time when
Marilla was expecting her brother Matthew with the little
boy whom she had adopted from the bleak orphan asylum on
the hill. All the folks in the neighboring farms agreed that
Marilla "took an awful chance," but they admitted that a
boy might be useful to help in the fields and do the chores.

The small figure bobbing up and down be-
side Matthew m the old buggy certainly did
not look like a boy. And as it drew nearer ^k ^

and Matthew stopped before ^^ "W^

the green-gabled farm-house
with a hearty "Whoa!" to old
Bess, there was no doubt left
as to its excessive femininity.

Matthew climbed out
heavily and then lifted the
child to the ground in his
sturdy arms. She was tiny
and freckled and frightened
in an ill-fitting gingham dress
and a funny little straw hat
decorated with one stiff quill
from the tail of a peacock — ■
evidently her own idea of
adornment. But something
in her wistful upturned face
touched the heart of Marilla
even while she was saying in
hfer coldest tones:

"Matthew Cuthbert, will
you kindly tell me who that
is? And where is our boy,
if you please?"

Matthew shifted wretch-
edly from one foot to another.
"There wasn't any boy," he
mumbled. "Only her."

Marilla 's steely eyes
flashed blue fire. "Well, this is
a pretty piece of business — "
she began, but her reproaches
were interrupted by a sob
from the orphan who was
inconsiderate enough to be-
long to the wrong sex.

"I might have known it
was too beautiful to last," she
sobbed. "I might have known

nobody would really want me. All the way down the road I've
been pretending to be a lady fair on her way home to her
castle. And now there won't be any castle or trees or pigs
for me after all — just only the orphan asylum."

Marilla tried not to let the smile that had crept into her
eyes reach her thin mouth. "I guess we'll have to let you
stay a while until we investigate this," she said grudgingly.

At this wonderful news, the uninvited orphan threw both her
slim arms about Marilla's neck and kissed her with a resound-
ing smack. Now Marilla's lips were still sticky from the pre-
serves she had just been tasting and the little girl licked her
own lips joyously and whispered, "It's plum, isn't it?"

Marilla's twinkle now was unmistakable. But she only
reached out one long arm and drew the little girl in front
of her like a prisoner before a judge.

"What's your name, child?" she said, severely.

The little girl hesitated for a minute and then said with a
rush, "Will you please call me Geraldine Cordelia Fitzgerald?"

Anne of Green Gables

NARRATED, by permission, from the photoplay
produced by Realart Pictures Corp., made, in
turn, from a scenario by Frances Marion, adapted
from the four "Anne" books by L. M. Montgomery,
published by Page & Co., Boston. The cast:

Anne Shirley Mary Miles Minter

Marilla Cuthbert Marcia Harris

Matthew Cuthbert Frederick Burton

Gilbert Blythe Paul Kelly

Diana Barry Laurie Lovelle

Mrs. Pie Lila Romer

"Call you Geraldine Cordelia!" exclaimed Marilla. "Is that
your name?"

"It isn't exactly my name," the orphan explained gravely.
"But I like to imagine it is. My real name's unromantic.
It's just plain Anne."

At this, Mrs. Pie, who with Josie had been regarding the
scene with critical scorn, broke into the conversation.

"It's romantic enough for you, I guess," she said with a
sharp cackle. "They didn't pick you out for your looks, that's
certain. Lawful heart, did any one ever see such freckles?
And hair as red as carrots!''

The little group turned in astonishment to her and thjn
back again to Anne, who had grown first scarlet and then pale
with indignation. She caught her breath with an angry gasp,
fixed her huge blue eyes on Mrs. Pie's acid face and answered:
"It's rude to hurt other people's feelings. How would you
like to be told that you are fat and clumsy and probably
haven't a spark of imagination?''

With well feigned horror, Marilla took Anne sternly by the
hand and led her up to the little attic room reserved for the
boy she ought to have been. But once up there, her severe

expression vanished.

"You hadn't ought to say
such things, Anne," she ad-
monished correctly. Then,
the smile breaking out from
its long imprisonment, "but
you said to Elmira Pie what
I've been hankering to say
for the last thirty years."

Left alone to "tidy up" in
the prim little attic bedroom.
Anne looked about her with
gleaming eyes. "It isn't as
dazzling as a castle chamber,"
she said, half aloud, "but
then it isn't a dank and dis-
mal dungeon like the orphan
asylum. And there are all
the trees outside and the
river. I sit by the window
and watch the river like the
Lady of Shalot with a mirror
and everything."

And thus under the green-
gabled roof began the first
day of a new life for Anne
of the orphan asylum — a
hfe which though sorrow-
ful in spots was never gray
or monotonous. For Anne
possessed God's best gift
to humanity, the vivid im-
agination which can turn
this drab everyday life of
ours into a brilliant dream
world.

Sunlight and leafy tracery
and apple-blossoms and un-
derneath it all a little girl in
a big pinafore shelling peas.
She was pretending that every tenth pea was a caramel and
was crushing them with exaggerated pleasure when a large
rubber ball came crashing through the branches and bounced
heavily on her curly head. As she sprang to her feet and the
peas went rolling in every direction, an impish laugh rang out
above her and the figure of a freckled, bare.'oot boy slid down
the trunk and sprang out of the reach of her clutching fingers.
Over the fence, into the chicken yard, through the gate and
over the haystacks ran the boy with Anne in close pursuit.
His legs were longer but Anne had learned to run at the orphan
asylum and her wind was better so that she gained on him with
every turn. She had just succeeded in tripping him up and
was pummeling the exhausted urchin with both fists when
Marilla turned the corner with a black-coated ecclesiastical
figure beside her. "Anne has improved very much since she
has been with us," she was saying. "She is so helpful with the
housework. And then she's so quiet and gentle."

At this moment a shriek of victory from the gentle Anne

5,3

Photoplay Magazine

startled both the speaker
and her companion.
Dusty, disheveled and
flushed with triumph, she
had both knees on her
tormentor's shoulders and
was commanding him to
"say uncle" before she
would release her hold.
"For pity's sake,
Anne!" cried Marilla,
and the two combatants
sprang to their feet and
tried to brush the dust
from their torn garments.
"This is the Reverend
Figtree, Anne," said Ma-
rilla severely, turning to
the tall figure be-
side her. "I was
just telling him
how gentle you
were. Stand up
and shake hands
with that boy like
a little lady. He's
a neighbor of yours
and his name is
Gilbert."

The two grimy
little paws which
had just been pum-
meling each other
met in a handshake
which' was half
shy, half belliger-
ent. But as Gilbert's
eyes caught the averted
gaze of his little assail-
ant, he suddenly decided
that girls were not so bad after all and that there was something
in the upturned glance of this one that was mysteriously appealing.

"That's right," said the reverend gentleman approvingly. "And
now as a further peace-offering, I in\'ite you both to a Sunday-school
picnic in the woods to-morrow."

Anne was thrilled through and through at the prospect of her first
picnic. But disaster followed close upon this dazzling prospect.

The day before, she had decked herself out in a gorgeous piano
scarf, a sheaf of peacock feathers and Marilla's topaz brooch — the
entire costume representing the evening dress of the Countess Geral-
dine Cordelia Fitzgerald. Marilla had appeared unexpectedly just
as she was putting the finishing touches on the costume and had
sternly ordered her back to the kitchen and her own prosaic gingham
apron. But, on the morning of the picnic when Marilla had gone
to search for the brooch, she had found it missing.

Anne had frantically denied having lost the ornament but when
Marilla sternly insisted that she confess or stay in her room all day,
she admitted with many tears that she had dropped it over the
bridge. Marilla, still further infuriated by her carelessness, ordered
her to stay home from the picnic and locked her in her Toom, turning
a deaf ear to the child's piteous pleadings.

The events of that day remained in Anne's memory long after
more important events had faded. She still laughs at the thought
of how she crept out of the window, climbed down the trellis and
stumbled through the woods in a frenzied search for the picnic party.
On the way she stopped to pet a friendly little animal which looked
like a squirrel but seemed far tamer. And then suddenly every one
she met on the road seemed to avoid her and turned away from her
questions as to the whereabouts of the Sunday-school expedition.

" 'Pon my soul," said one deaf old man to another, "but there's
been a skunk powerful noar this place."

Anne did not know what a skunk was, but she soon found it
necessary to pin a clothespin on her nose and in this state met the
picnic party. They, too, scattered at her approach and she was
forced to eat her lunch in melancholy solitude on the grass. She
wandered home, a desolate little figure and sobbed herself to sleep
on a haystack in the barn.

.And here Matthew found her just after Marilla had discovered
the missing brooch under the bureau scarf. He carried her into the
house, where Marilla burned the offending picnic finery and com-
forted her with bread and jam and much affectioi.ate scolding.

"But
you tell

"You
thought
me go.

for mercy's sake, child," stormed Marilla, "why did
me you lost the brooch, when you hadn't?"
said I had to confess," murmured Anne sleepily. "I
mebbe if I told a real good confession, you would let
And then I prayed to the Lord to get me there some-
how. And He did, but I don't think much of
His way of doing it," and her drowsy head
sunk lower on Mariha's shoulder.

These, and other memories of her later school-
days, formed the medley of recollections that
remained with Anne whenever she recalled the
house with the Green Gables. Among them was
the near-tragedy of the funeral barge which al-
most terminated Anne's career as a weaver or
dreams.

She had been reading the "Idyls of the King"
and her imagination had been caught by the
tragic story of "El-ine."

"Why can't we act it out on the river?" she

suggested to the other girls at recess. "There

is an old raft in the boat-house that would do for

a barge and we could deck it out with flowers so

that the wood wouldn't show."

So afternoon found them busy with their impro-
vised stage properties on the bank of the placid
river. Anne, by common consent, was "Elaine."
She had slipped a white nightgown of Marilla's over
her blue checked dress and her head bore the vir-
ginal crown of lilies which is always the property of
this mournful maiden.

A little group of school-boys from the village had
come to scoff at this amateur play-acting but re-
mained to direct and advise with calm masculine
superiority. Among them was Gilbert. "Better

*^5«K^<

Photoplay Magazine

look oul, Anne — Elaine, I mean," he warned her. "Thai old
raft looks mighty leaky to me."

Now if Anne had felt any doubt as to the safely of the expe-
dition before, wild horses would not have drawn an admission
of fear from her after Gilbert's admonition. She refused to
answer him but calmly settled herself on the barge, lying flat
on her back with her hands crossed on her breast in the con-
ventional funereal fashion, while the girls covered her with
flowers from the Green Gables garden.

Slowly they pushed her off from the bank while they chanted
the lyrical measures in the "Idyls." All went well until the
raft swung around the bend in the river and caught the eddies
that swirled at the turn. Then suddenly the lily maid of
Astelot came to hfe with a scream, shook her flowers from her
bier and stood swaying on the spinning barge. "It's leaking,"
she shrieked. "Help me! I"m sinking!"

The girls, knowing that they could not save her. rushed to
the house for help. But Gilbert in one bound reached the
river's bend, tore off his coat and plunged in after the half-
fainting heroine. He caught her just as she was sinking and
made his way to the shore with a few powerful strokes.

As he lifted her to the bank and saw that her eyes were
half closed with weakness and terror, he stooped and gently
kissed her cheek. Whereupon, the dying maiden's eyes suddenly
flew open and she became a very indignant little girl. She

"Geraldine isn't my real name. But I like to
imagine it is. My real name is unromantic !

■ 55

blinked for a moment and then shook her head at her rescuer
in mute reproach.

"How dare you! " she sputtered, brushing the water from her
eyes. But she neglected to remove her head from his shoulder
and somehow Gilbert kissed her again.

Safely home again, and under the ministration of Manila's
hot tea and blankets, Anne decided that the episode must have
been a dream. Her musings were cut short by the entrance of
Matthew, whom she could hear talking excitedly in the next
room. Marilla seemed to be trying to calm him but he
refused to listen.

"They are dragging the river, I tell you," he shouted it.
"They are hunting for the body of our little girl.''

Dragging the blanket behind her, Anne made three bounds
into the kitchen and flew into the arms of the astonished Mat-
thew. "You can't kill me that way, uncle," she laughed. "I
was never born to be drowned."

"But they found a body," Matthew stammered, utterly dazed
with relief and bewilderment.

"Oh, that thing," sniffed Anne, "that was the scare-crow^ who
played the part of the old boatman. Did they think that
was me? I am flattered.''

At this moment Gilbert knocked and entered. The two old
people vanished as if by magic and left him standing shyly
before Anne with a small glistening object in his hand.

"It's an engagement ring," he
whispered. "It was the best one
they had at the jewelry store.
I 11 have it all paid for a year from
next June if all goes well. But it
isn't half good enough for you.
.Anne."

Anne slipped the sparkling won-
der on her finger and cast her
adoring eyes up to his. "I wasn't
really angry when you kissed me,"
she told him. "I won't ever pre-
tend to be any more.
Try it, Gilbert, and
see.''

And Gilbert tried
— and saw.

High school days
fadecl into graduation
and Anne in the glory
of her white organdie
and carnations was
ready to face her first
term in college when
a sudden blow crushed
all her rosy dreams.
Matthew, whose
health had been grad-
ually failing through
the past year, died
suddenly at the close
of- one August day,
with his eyes fixed on
the sunset and his
hand in Anne's. And
the young girl, only
lately emerged from the
short skirts of her orphan
days, found the burden of
Green Gables' support
transferred to her slender
shoulders.

She applied for the post
of teacher at the Httle red
schoolhouse where she her-
self had been taught. Some-
what to her surprise, she
was elected without any op-
position except from Abed-
nego Pie, father of Josie
Pie, who had always cher-
ished a lurking grudge
against the young orphan.
This natural antagonism had not been miti-
gated by the fact that Josie had set her cap
very vigorously for Gilbert. But for all
(Continued on page 126)

A Flyer

Would you believe that Pauline Fred-
erick was a prim Bostonese, that Lil-
lian Gish nearly died from over-eating
or that Charlie Ray's folks raised him
to be a druggist?

as much. Rumor may even have blown it to your
ear. Well, take heart, for some of your worst con-
jectures are about to be confirmed.

I know it's an awful thing to contemplate the fact
that Mack Sennett's mother wanted him to be a
priest. It almost seems lese majesty to reveal the
fact that the groove on the side of Grant's Tomb was
not caused by a cannon ball, but was worn there by
Priscilla Dean's small — well, at least by her sliding
down it all day long on her panties — as long as they
lasted. And many hearts will ache beneath the knowl-
edge that Warren Kerrigan was the ugliest baby his
mother ever saw.

From these few facts you may have gathered that
it is the mothers who have given me my information.
Nothing can equal the indiscretion of mothers con-
cerning their offspring. Even a woman who won't
discuss the complete and natural inferiority and de-
pravity of the masculine sex, can be won into con-
versation about babies — especially her own. So I
went to H. Q.

Naturally, on such a quest, I began with the mother
of the Pickfords — Mary, Jack and Lottie. Being
mother, general manager, chief advisor, treasurer,

Warren Kerrigan s mother confesses that he was

the homeliest baby she ever sa-w in her life! Can

such things be?

Billie and Gladys Brockwell. No,
they re not sisters. Billie is Gladys
intensely youthful mother, who was not
yet thirty when her daughter essayed
a leading role in pictures!

EVERYBODY knows that you cant
get away from a past — particularly
your own.

If they don't, it's not the fault
of some of our very best dramatists, who
might have gone bankrupt long ago but for
their knowledge of this tragic fact.

No matter how virtuous you may have
l)ecome, how far along the road of redemp-
tion you may have traveled, how deeply
the skeleton may be buried, don't kid your-
self into a false feeling of security, because
in the third act the Past is going to rise
up and smite you. (Ask Mrs. Warren, Mrs. Tan-
queray, Henry Ford or others who have been suc-
cessfully smitten.)

Now movie stars, no matter how bright and
beautiful, are no different than other mortals.
They, too, have pasts. You may have suspected

in Pasts

ADELA ROGERS
ST. JOHNS

grandmamma (to Miss Mary Pickford Rupp,
Lottie's four year old daughter) must be an ex-
ceedingly exhausting business, because by the
time I caught up with Mrs. Charlotte Pickford
in Mary's beautiful bungalow dressing house at
the Brunton studio, I felt like a puppy that had
been chasing its tail.

It was a little bit hard even then, to tear
her mind away from the glowing present and
focus it upon years gone by. She sat on a cor-
ner of the cretonne hung, wicker divan, her
black hair showing not the faintest trace of
gray, her fashionable white tricolet suit re-
vealing her plump, pretty figure. She is essen-
tially the "pal" type of mother. While I found
in her an immense amount of mother instinct,
and a passionate love for children, she has es-
tablished an equality between herself and her
children that is not common.

"Mary Pickford never had a spanking in her
whole life," she said calmly. (This is the
spectre of which I warned mothers. Can't you
just hear eight year old Susie and Jane and
Agnes confronting a forthcoming licking with

Mary MacLaren is quite proud of the fact

that she looks much, much more like her

mother than her gorgeous sister. Katherine

MacDonald.

Eight-year-old Susie and Jane and Agnes
are here'with provided -with verbal ammu-
nition to wreck the American home; "Mary
Pickford never had a spanking in her life!"

"Oh mama, you shouldn't whip me. Just look

at Mary Pickford and her mother tiever

spanked her at all.") "I never believed in

punishing a child like that. Mary was an

awfully good child. I ought to know, too.

because the other two were regular little

devils. But Mary was always a kind, sweet,

happy little girl. She mothered Lottie, and

she mothered me. and it's a wonder Jack

didn't turn her hair white before it was

grown. She positively worshipped him. That

was the strongest trait of all her childhood —

her complete devotion to Jack.

"But not one of my children ever had a hand

lifted against them, though goodness knows there

were times when I could hardly restrain myself, they

were that full of mischief and inventiveness. I don't

know what my ambitions for them might have been,

if necessity hadn't forced my hand. Perhaps it's a

•
57

Photoplay Magazine

good thing it did, for they'd none of
them ever have gotten on the stage any
other way, and I might have thrown
them into lines where they wouldn't
have been successful. But with us it
was a matter of making a hving for
the whole family, and Mary started
acting when she was five years old.
As for Jack, if they'd had birth con-
trol films, I daresay he'd have been
born in the movies.

"Mary's childhood was taken up be-
tween acting and Jack. Her grand-
mother was alive then, an invalid, and
Mary used to stand against her knee
and recite her little parts. She learned
remarkably fast, too. Managers would
hardly believe it. When she wasn't at
that she was watching over Jack, whose
habit it was to carry half the state of
Ohio behind his ears and under his
nails and on his knees. He was the
dirtiest child I ever saw — a regular
magnet for it — though there wasn't an
ounce of harm in him. And how it
worried Mary! She was so neat and
dainty. She'd scrub him and scrub
him — and in ten minutes he'd be as
dirty as ever.

"Mary was my helper. When she
wasn't more than six, she'd consult
with me about our problems, while
Jack was out trying to beat Mr. Wright
by flying without an airship and Lot-
tie was sewing. From all indications

The whole Farrar family — Lou-Tellegen,
Geraldine, her mother and her father:
Syd Farrar. famous old-time ball-player.

Above, Mary Pickford when she first
went on the stage. Below, Clara Kim-
ball Young, with her father and mother,
Mr. and Mrs. Edward Kimball, in the
garden of her home in Hollyvi'ood.

I should have made a dressmaker out
of her. She sewed all the time and
everything in the house. She used to
sew our clothes up so we couldn't get
into them."

"There are lots of mothers who will
be interested to know just how you
brought Mary up," I remarked, think-
ing of the matinee audiences of moth-
ers and kiddies who had packed the
cheaters to see "Daddy Longlegs."

"Just by love," said Mrs. Pickford,
smoothing her knee with a hand whose
magnificent rings showed that in this
instance at least love had paid heavy
dividends. "Every mother in the world
would succeed if she'd use love and
reason in place of force and superior-
ity."

It didn't take me long to discover
one thing. If it hadn't been for wid-
ows and orphans, the screen would
have lost some of its most dazzling
lights. The Gishes are another ex-
ample of that.

Everj'body knows that the Gishes
and the Pickfords grew up together
and were playmates. But who would
have supposed that Mary, Dorothy and
Jack would form one te^m, and Lil-
lian and Lottie the other?

"Lillian adored dolls," said little
Mrs. Gish, as we sat looking out over
the lovely sunken gardens, the sun dial
(Continued on page 130)

'l!

Xh^

- J'*

•ff-i'^

^^-s^^

PAULINE FREDERICK and her mother, photographed in the garden of the
home they occupy in Hollywood, California. 'Tolly's" mother has always
been her daughter's best pal, and wisest counselor. They work and play, together.

Just a few pictures like this would convince any
papcr-lianger that all he needs, to l)ecome a direc-
tor, if a megaphone. Bob Leonard and his
assistants have perched on the scaffolding to
shoot directly into this balcony set.

A couple ot white slaves, judging by the
costumes. "The White Slave" was done at
Vitagraph, in the early days, by Clara Kim-
ball Young and Earle Williams, whom you
see here.

Joe Martin — the short, hairy gentleman sitting on the post
t.'ikes great pride in his perfect understanding ot the Lng
fc-. gives him an order twice it makes him so peevish that he

The great camera prizes are un-
expected accidents, caught by
chance. This side-car disaster hap-
pened during Locklear's airplane
stunts at Universal City. Tb.e car,
negotiating a turn at nearly a mile
a minute, was destroyed. No seri-
ous damage to the occupant. i

Wonder what a sunshine comedy
dog-catcher thinks about? Nothing
much. Wonder what three dog-
catchers think about? Less'n that.
Wonder what the Boston Bull and
that miserable little fluffy insect —
oh, dear! To whom were we speak-
ing of what, anyway ?

—has just informed an interviewer that he
Jish language, and that if his director ever.
Jjust monkeys around all day.

A form of joy-ride formerly popular when folks had

grievances in the rural districts. Revived, with

plenty of tar and feathers, for Ince's "Bolshevism."

Kid McCoy gets the sleep-medicine again. However, he ie

Jesse Lasky's trainer here, and the bout is on the Lasky lawn,

in Hollywood.

A male vampire off duty isn't so awfully demoralizing. These
seashore kids vote Mr. Cody, the professional home extermina-
tor, a very regular guy.

WRITE YOUR OWN THIRD ACT

ACT II

Cecil: You must he strong for us botli. Leave me before your

beauty overpowers nie. (io, girl, go.
Imtiyiiiie: Never! I have told niollier alTl 1 ai'i yours! Kiss

me I Mother ^ays a cold coronet will match my hair

perfectly.

ACT III

JThis space reserved for your own version
of a third act. Go ahead. You can't write a
worse one than the other two.

Scene from Act I

..le: A Cowtown in Nevada.
. ersona Non Grata: Cecil Crosseye, a remittance man. Imogene
the millionaire cattleman's beautiful daughter.
Time: Self-adjustable.
Scene; Millionaire Cattleman's Ranch Drawing Room.

Apologies to William Fox, William Famu?" and Louise
Lovely. A member of the editorial staff has Jiad this play
in her system for a long time and is taking unscrupulous
advantage of the editor's absence on a painting trip.

ACT!

Imogene: {pleading), I love you, sufferinjg rattlesnakes, how I
love you. Marry nie and the ranch is yours.

Cecil: (business of mental anguisk and heroic self restraint) , No,
it can never be.

Imogene: No, no, Cecil, you are too good, too noble to break my
girlish heart.

Cecil: (starting in surprise), Then you know. Yes, 'tis true
I am a nobleman. I must tell you all. I am the missing
Duke of Crosseyeshire, but I can never marry until
I clear the family name. My great grandmother once
sat down before 'he queen was seated. She was near-
sighted, and the Crosseyeshires were disgraced.

Imoptie: I still love you — marry me, Cecil. We need never go
^ack to England.

Cecil: My brave girl.

Scene from Act II

Good

Boy

Bad Boy

By
GENE COPELAND

Frankie Lee plays bott kinds, and his only
dislikes are dressed - up parts, fire scenes
and fishes.

HE'S as nonchalant as a pampered matinee idol and as
sweetly serious as .a debutante ingenue — at least,
that's the way he appears when an interviewer inter-
rupts a morning of play. But as soon as he's left
alone again he is all "boy" — and as natural, as bluntly frank,
as teasing, as rough and tumble as they make 'em.

He is veritably a little dynamo for his six and one half
years, his forty pounds, his thirty-eight inches and soft brown
hair and deep blue eyes.

Though Frankie Lee has been in pictures more or less
continuously during the last two and a half years, he had never
before been really interviewed. The event made very little
impression on his busy little brain, however, and before I had
barely spoken a salutory word to his mother, he burst forth
with "Aw, come on up stairs and see my schoolroom first!
I got lot of things I want to show you."

The treat in store for me proved to be the exhibition of his
boxing gloves which he sometimes puts on when Papa comes

home from writing subtitles, and his beetle bugs which were
a Christmas present from Theda Bara, and his machine gun,
a gift from Mary Pickford, his drawing paraphernalia from
Dorothy Dalton, and his books and numerous mechanical toys,
all presents from admirers.

When asked whom of all the famous and beautiful women
he has played with that he admired most, or rather, with whom
he enjoyed working the most, he elusively and diplomatically
replied, "Oh, I like 'em all!" And this, his mother declares,
is quite characteristic of him.

As a baby, he was never the crying kind and he has never
been known to pout except "sometimes, when they make him
do it in the pictures," his mother says.

"He is so very obedient that I sometimes almost wish he
would be naughty," Mrs. Lee laughed. "The only time he
weeps is when he leaves his pets to go to the studio."

Gladys Brockwell was the first of his screen ladies, I believe,
in "One Touch of Sin." And there have been Mary in "Daddy
Long Legs," Dorothy Dalton in "Quicksands," and Pauhne
Frederick in "Bonds of Love" and Mildred Manning in "The
Westerners" and Betty Compson in "The Miracle Man" and
now it's Mabel, for Mabel Normat>J has him working with
her — doing a comedy part and wearing ragamuffin clothes, which
is just what he likes.

Photoplay Magazine

"Dressed-up" parts, fire scenes, and fishes are his triplet
abominations.

At the studios where he works he is the pet from the
star down to the grip, yet he is entirely unspoiled because
he has such an active little brain that he hasn't a spark
of self-consciousness. The same naturalness exhibited in
preferring to show me the school-room to talking about
himself and the pictures is evidenced on the studio lot.
He is all attention and interest when he is being directed,
and insists on reading, or having his part of the script
read to him. But as soon as the scene is finished, he is
off chasing butterflies around the lot or playing with his
lasso or aeroplane, two toys which he inveterately car-
ries to work.

His naturalness, his simpHcity and unaffectedness might
suggest that he is the child Charlie Ray of picturedom.
However, it is vain to prognosticate about his future on
the screen, for at the present writing, he wants it quite
definitely understood that when he grows up he intends
to be a director. Which ambition does not seem so highly
improbable to Reginald Barker of Goldwyn and some of
the children of the neighborhood in which Frankie lives
since he startled them all the other day by producing a
scenario which he had written himself and called "The
Wife's Children."

The supreme moment of
tKat great picture, "The
Miracle Man" is the in-
stant in which the faith
•f the little crippled boy
contrives a real and as-
tounding cure.

His pergonal prides are his
mother, the boxing-gloves
he puts on ■with his father,
the beetle bugs Theda
Bara gave him, the ma-
chine gun presented by
Mary Pickford, and his
drawing paraphernalia —
a gift from Dorothy
Dalton.

With Pauline Frederick,

in her most recent picture,

"The Stronger Love."

All Frankie's dramatic sense and knowledge of the
theater has been acquired and developed by his experience
in pictures, as neither his mother or father are thespians.
He was discovered when he was four years old by a Uni-
versal director who took him out to that plant and ini-
tiated him by putting him in atmosphere. That was the
only "extra" work he ever had to do.

He is endowed with such a vividly original imagination
that it is not difficult to understand how he was almost
immediately given parts. It is probably from his Celtic
blood that he gets the glib imagination, as his mother is
of French-Irish descent. His dry seriousness would reveal
the Anglo-Saxon, for his father is of English stock, though
little Frankie is American, as he patriotically declares.

He has become an out-and-out sportsman — necessitated
largely by the character of the parts he has been cast
to portray. He swims, drives a motor boat, and has just
recently learned to "ride fancy" — as he calls English
jockeying.

Like most of young America, he is a movie fan, but not
in the usual sense of the word. For Frankie is not in-
terested in his own or the others' acting. He watches the
sets for technical details and also the direction of the
picture.

A New Art in an Old University

Columbia, of New York, is foremost in official scho-
lastic recognition to the advancingi; motion picture.

By FRANCES
TAYLOR PATTERSON

(Head of the Department of Photoplay
Composition, Columbia University)

NOT long ago a certain pathol-
ogist in Chicago, after ex-
amining a great many types,
made the startling announce-
ment that all Bolsheviks and motion
picture writers are maniacs, and
added "their mental deficiency is
shown by their terrible crimes."
This is a bit discouraging to some
of us, but perhaps he is right. At
all events it is something
of a coincidence that Colum-
bia University first chose
East Hall — the last relic of
the old Bloomingdale Insane
Asylum which, used to oc-
cupy the college site — as a
fitting abode for the newly
established courses in Pho-
toplay Composition. That
was in 1914, with Dr. Vic-
tor Freeburg as professor in
charge. But the classes soon
outgrew their early quarters
and now they are housed
with befitting dignity in
Hamilton Hall, the new art
of the photoplay trying out
its young wings side h^ side
with ancient Latin and ar-
chaic Greek and the science
of astronomy which almost
antedates the world.

One of the ideals of the
University is to bring general
knowledge within reach of
the many rather than special
knowledge to the few. The
gentle art of story telling in
words has long held an hon-
orable place on its curricu-
lum and that of other uni-
versities. Lately the study
of Dramatic Composition
has been admitted to the
esoteric circle. But Colum-
bia has the distinction of
being the first college or uni-
versity to recognize the tre-
mendous possibilities of the

gentle art of story telling by means of pictures, to realize that
the photoplay in its highest form is essentially artistic, and that
wielded by trained and skillful writers its power is illimitable.
Columbia felt that a day would come when there would be a
demand for scenario writers of culture and undisputed ability,
and in addition there was the immediate need to teach people
the appreciation of the finer things in the photoplay, which
appreciation will eventually result in a demand for better plays
on the part of the public. Hence the establishment of a course
in Photoplay Composition which has since developed into five.
To these classes there comes as diversified a group of people,
I venture to say, as ever gathered together in a common in-
terest. Any one of the classes is in itself an interesting psy-

"To teach people to appreciate the finer
things in a photoplay, that is one of
the missions of Miss Patterson s depart-
ment. Above — Hamilton Hall, head-
quarters of Columbia's ne\v department.

chological study. The students range
from the veriest amateur who has rosy
hopes of writing a photoplay in three
lessons and as many hours which will
startle the world and net its author a
cool thousand or so, to the blue-stock-
ing who is going in for a Ph. D. degree
and plans to use the science of
aesthetics as applied to a comparative
study of the photoplay and the drama
for her thesis. There are young women
who feel they ought to be able to form
bright and new opinions upon the
latest photoplay as well as the latest
books or the latest plays or the latest
turn in the political situation. A
dramatist came in order to know how
to adapt his play to cine-
matic form rather than sub-
mit it to the ungentle hand
of the hack continuity writer.
Short story writers have
come for the same reason.
Teachers of English come
that they may find out which
plays can be used as objec-
tive illustration in teaching
the classics, or for which
should they hoist the figura-
tive red flag. One man high
up in the world of adver-
tising was sent by his firm
to learn more about photo-
plays the better to advertise
them. There have been
actors and actresses in the
class who were ambitious to
write stories as well as to
act them. One young di-
rector who had a "movie
star" for a wife, was eag»r
to prepare himself to writ*
the vehicles in which she was
to be starred. I heard sub-
sequently that these laud-
able aspirations were cruelly
cut short by a suit for di-
vorce.

Then there are college stu-
dents who want the course
as a necessary part of a lib-
eral education in this day
and age when there is scarce-
ly anyone, "highbrow" or
"lowbrow," whose pleasure
and recreation does not em-
brace at least a "movie" or
two a week. There is the young reporter who has learned that
a part of the course is devoted to the development of cinematic
criticism which will be more analytical and more adequate than
much of the so-called criticism that is offered at the present
time. He may have turned out excellent copy on a variety of
subjects but he is not therefore a trained motion picture critic.
How can a writer show that a setting intensifies the dramatic
moment of a play or delineates character if he knows nothing
about the dramatization of setting? Or how can he show the
lack of artistic stress in a certain significant interior when he
knows nothing about pictorial composition? How can he com-
ment upon deviations from the printed or produced version
(Continued on page 124)

Photograph by Evans

Allan Dwan

who has composed many different kinds of sun-
shine tableaux in the past few years, began his
earning hfe as an electrical engineer in the Mid-
dle West. His pictorial service, starting with
Essanay, has been carried on with brilliance and
grace wherever photoplays are made in America.
His cinematic essays have included such widely
differing subjects as the roistering personal ex-

pressions of Douglas Fairbanks, the passionate
dramas of Norma Talmadge, and the romantic
early comedies of Dorothy Gish, an output of
plays best represented, perhaps, by "The Half
Breed," "Panthea," and "Betty of Greystone."
His latest photoplay is a version of Richard Hard-
ing Davis' "Soldiers of Fortune." This pose is Mr.
Dwan's most characteristic directorial attitude.

Photoiiraph by Evans

Maxwell Karger

came from music to the screen. This does not
mean that he clerked in a song-shop or taught
voice and other wind instruments on a side
street. He was a first violin of the Metropolitan
Operahouse orchestra in New York, and brought
to the sunny silences an intense dramatic faculty
combined with a virtuoso's love of grace, ease and
perfection of small details. He has manifested

many of these qualities in the works that have
proceeded from the Metro studio in Hollywood,
California, where he is director-general. Like
Mr. Dwan, who regards him amiably across the
page, Mr. Karger is still a young man, tremen-
dously energetic and approaching rather than
reaping the maximum harvest of a creative
life.

IMAGINE getting u p
early in the morning to
meet Harold Lloyd and
get a bird's-eye view of
Los Angeles from the ve-
randa of the Rolin studio —
and then finding said L. A.
nicely enveloped in a thick
blue haze!

And then picture to your-
self the debonair Mr. Lloyd
sitting on the front steps of
the old-fashioned mansion
that houses the comedy fac-
tory, feeding a nickel's worth
of liver to the office cat!

This Mr. Lloyd is quite
one of the most astonishing
young men in pictures, mas-
much as off stage he doesn't
look at all as he does in front
of the camera, and he doesn't
seem to use slang. He"s
business-like to the nth de-
gree, and when I encoun-
tered him, was heavily en-
grossed in telling the afore-
mentioned liver-eating feline
that she's not going to have
to have tin cans tied to her
sleekness any more for com-
edy effect.

When Lloyd used to be
known professionally as
"Lonesome Luke," he wore
skin-tight trousers and a
funny little hat that sat
squarely on the top of his
head. But now, in his silk
pongees and leather-covered

Specs ■with glass, this time,
for this is Mr. Lloyd's
newest picture, taken on
the day he emerged from
the hospital after the dis-
astrous bomb explosion
that threatened — but for-
tunately didn't bring —
disfigurement for life.

Specs Without Glass

Harold Lloyd wears 'em merely for com^edy
effect on the stage, but no-w Ke has to use the
sure-enough kind, with glass, in real life.

ANABEL
LEIGH

motor car he declared that Luke was considerable of a night-
mare to him. He was too much like Charlie Chaplin, and,
with all due respect to the world's premier farceur, Lloyd had
a hankering that he'd like to be just a little bit like Harold
Lloyd, in other words, be Mmselj.

Ever since he was a kid he had yearned to be an actor,
and even in the bread-and-milk-and-early-to-bed era he'd com-
pose and act out dramalets on the bed coverlet. And once he
got acquainted with an actor who taught him how to make-
up, whereupon he proceeded to make-up all the fellows in the

that Fay Tincher originally adopted her
stripes, Lloyd just naturally claimed
tortoise goggles as his own.

I quizzed Lloyd about his ideal girl;
whether or not he's ever been vamped,
and if he's ever been proposed to.

"Never been proposed to," quoth he
laconically. "Never been vamped, and
don't expect that I shall ever be. I'm
hopeless along that line. Speaking of
the ideal girl, — my ideal, — she isn't
anybody in particular. She must be
young, and slender, and of wonderful
disposition. I once thought that I
found her, — but I
guess I didn't. My
ideal is the quiet,
the ladylike, the
sweet-souled girl.
Like my moth-
er."
(Continued on
page 124)

neighborhood, and organize a stock company!

This same thespian craze is in his bones now,
and he'll tell you that some day, — some day when
they don't want him any more in comedy, — he's
going to direct a serious feature. He wouldn't
miss a current Tourneur or Griffith or an Elsie
Ferguson or Henry Walthall opera for a million
cartwheels, because he wants to get their ideas of
what's what.

"Everybody," he announced simply,
"loses his personal popularity, sooner or
later. When mine's gone, I want to
direct."

Comedy, — particularly the kind with slap-
sticks in it, — generally harbors a coterie of
slang-talking "eggs." Lloyd in this respect
is more like a high-school boy who's never
been spoiled by contact with the world. In-
terviewers somehow or other always seem to
make him, as they do Dorothy Gish, use an
excess of contemporary phraseology, such as
"She's the goil I'd swim th' P'cific tuh
rescew."

And actors, when they get up in the world, are
quite too often bothered with an excess of "tem-
perament," which, in the broadest sense, is nothing
more or less than a disposition to avoid doing such
things as don't appeal to them. Some members of
the profession call this exalted state "up-
stage."

"Why be upstage?" Lloyd asks blandly
when you ask his opinion. "I like to go
and see the wonderful work someone else
does, and I go out and say 'My word, how
bad I am!' You can get ideas
from everybody. Why be up-
stage and spoil your chances
of getting them?"

As he talked, my
subject kept fum-
bling an odd-looking
pair of horn-rimmed
spectacles. B u t
there wasn't any
glass in them. Why
this? methought. Why be an-
noyed with mere optical camou-
flage? But it's like this:

When he started out as Lone-
some Luke, Lloyd wanted some-
thing in his make-up that wasn't
being worn. Glasses always
lend more or less of a bizarre
effect, and for the same reason

"There's something about
Harold Lloyd — say his
admirers. ^lVe 11 say so,
too. And ■we'll say that
the something about Har-
old Lloyd is Bebe Daniels.

l\unt€d by A. B. Elliott

And Now — "Cinematic Mensurgraphy"

THE slow motion movie camera, •which has already amazed picture patrons by its revelation of the action or athletes under
greatly retarded motion, is now being used in the reclamation of crippled soldiers, and is an improvement upon mensur-
graphy, or the science of employing the still camera in the study of the human frame. Limping that heretofore puzzled surgeons
can now be diagnosed and corrected. The patient hobbles before the camera under the surgeons direction. Later, on the screen
in the clinical projection room, the creeping film shows the patient moving 250 times slo-wer than he actually did, per-
mitting the surgeons to leisurely and minutely study the movement of the ailing limb, ascertaining just ■which ligaments or mus-
cles are delinquent. The charted wall is frequently used in checking up on the faulty evolution of a limb-movement, as

contrasted with the same movement of the normal limb.

WE are not half so much in need, here in America, of
dramatic persons to tell us how far we should pro-
ceed in forgiving our wives, browbeating our em-
ploj'ers, stimulating our beverages or non-stimu-
lating our love affairs as we are of those other rare dramatic
persons who can hand us genuine laughs. Many a fight has
been busted up by a crafty jokesmith. Many a doubtful issue
has been rescued by an apropos story. Many a crushed heart
has been saved from breaking by the relief of a smile. What
if we did win the war? We seem to be engaged in a whole
series of wars at home. What if we did shake off the Teuton
yoke? Almost every man has, or thinks he has, a particularly
heavy yoke of another sort around his neck just now. The
capitalist glares at the proletarian, a^ the proletarian barks
back at the capitalist, and the bol^f^k mutters against both
of them.

We need real diversion, and while that sometimes comes
in a wonderful play about human hearts, like "The Miracle
Man," or "Broken Blossoms," it comes surest, and unfail-
ingly, when some Spencerian divining-rod touches the well-
springs of laughter.

For that reason I say that the unquestioned peak of the pho-
toplay month of which I am writing — that is to say. October,
and the first days of November — has been that delicious satire
upon an army, a nation, and boys. "Twenty-Three and a Half
Hours' Leave." Mary Roberts Rinehart wrote the original
story, and, by the T. H. Ince concern, it has been perfectly
transferred to celluloid in all its parts and meanings.

It introduces a young comedian of the first order. Douglas
MacLean, who has never done anything conspicuous, here be-
comes, in a bound, what Ernest Truex is to the stage. It is
true that the actor depends upon his material, and cannot, no
matter what his endowments, thresh his way to fame inde-

"T^venty-Three and a. Half Hours" Leave," a delicious satire

upon an army, a nation, and boys, is the unquestioned peak of

the photoplay month. Douglas MacLean, its star, threatens to

establish himself as a juvenile comedian of the first order.

pendent of any literary surrounding. But granted that Mac-
Lean goes on getting good pieces, you will witness the estab-
lishment of a high-class juvenile comedian of the first order,
judged by the tenets of any dramatic creed. "Twenty-Three
and a Half Hours' Leave" is an extraordinary story, extraor-
dinarily well put on, but even this does not befog MacLean's
issue: throughout he is doing an extraordinary piece of acting.

I liked this piece, too, because it is the first really natural
essay upon our mushroom military system, which, growing to
gigantic proportions over night, contained as many comic fea-
tures as it held features glorious. Only, we have never dared
to discant on its absurdities before; we were only, and quite
properly, praising its heroisms and its great international
efficiency.

But here we have a training camp, raw as to human life as
it is in buildings, inhabited by as cheerful, dogged, lovable
and block-headed a set of American boys as ever led a for-
lorn hope or raised inferno on Hallowe'en. The plot starts
by discarding its trousers, when Sergeant Gray — played by
]\Ir. MacLean — insists on putting on his whipcord tailor-mades
instead of his issue uniform, on the eve of leave and against
orders. Sergeant Gray's excuse, that the issue uniforms are
of such poor material, causes the irate officer of the day to
tear up the uniforms of the whole file, leaving the rawboned
lads only their shoes, their underwear and their slickers. In
this charming array our hero. Sergeant Gray, sets forth upon
his amours, and the object of the same is the fille of the
camp's commanding Major General, who has already been

Photoplay Magazine

"The Vengeance of Durand is not up to Rex Beach s best screen
material. It features the marked beauty of Alice Joyce.

"Please Get Married," adapted by Metro from a stage farce,
provides Viola Dana ^vhimsicalities, some of ^vhich are funny.

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Paris, both played strikingly by Dorothy Dalton.

unhorsed and disgraced before his men by Sergeant Gray's
over-affectionate dog.

Not to spoil a real pleasure for you by an arid Baedekkcr
of Gray's adventures, let me commend you, without more com-
ment, to the Sergeant and his chunky little confection, Doris
May. It's a real production. It has the feel and snap of the
army in it, plus Mrs. Rinehart's engaging merriment. Oh
yes — do you like hran buns? I do — always have. Possibly
that is partly accountable for my passion for this picture.
I hope 3'ou like bran buns. The plot is built on them.

IN OLD KENTUCKY— First National

"In Old Kentucky," for more than a quarter of a century
one of the perennial joys of the theater, has been translated
into celluloid by Marshall Neilan, with Anita Stewart as Madge.
Charles T. Dazey's play is a natural scenario and Neilan dis-
plays his customary keen juilgment in adhering closely to the
original. But the picture softens the somewhat stiff lines of
the melodrama by its diversity of beautiful scenery and the
introduction of quaint characters. Miss Stewart's character-
ization of the mountain girl is different from anything she
has ever done, and better than most — more interesting, more
spontaneous, p^^ps because less conventional than what have
come to be regarded as "Stewart roles." An extra thrill is
provided in the incident where Madge crosses the chasm to
rescue her sweetheart. In the play she swung across on a
rope. In the picture she jumps a horse across the broken
bridge. One doubts that the management risked the life of
several million dollars worth of star in this feat, but the thrill
remains. Some girl did it. Mahlon Hamilton is the hero —
the hardest part in any play. E. J. Connolly and Adele Far-
rington contribute much joy as the bibulous colonel and the
lady he has wooed for many years, between drinks. But the
gem of the cast is an unnamed, toothless, frock-coated negro
retainer. Neilan has always claimed to be the greatest director
of fish in the world, and he has a few working for him in the
opening scene. He extends his biological field later, by em-
ploying a colony of ants. "In Old Kicntucky" will make mil-
lions of eyes happy.

EVERYWOMAN— Artcratt

The late Walter Browne's morality play of the above nanie,
as produced by Henry W. Savage, enjoyed as wide and pecu-
liar a vogue as was ever accorded a theatrical representation in
these untidied States. While not deep enough to be classed as
a piece of literature, it was far better, far more thoughtful,
than the average play of any living author, and possessed the
added — and priceless — value of sound dramatic appeal. It has
been produced for the screen by the Lasky institution, George
Melford directing, and I think it will go around againT^nd
witftsg^n, with Violet Heming in the role that Laura Nelson
Hall, and her many successors, made lovely and pathetic and
orotund on the incandescent platforms. Screened, it also has
some of the sly qualities that made Channing' Pollock call
"The Wandd^s" a system of "smuggling thrills to the godly."
To translate: mixed up with the properest moral lessons im-
aginable there is a whole lot of magnificence, sensuous dis-
play and physical lure. Since this is not an almanac or a
book of reminiscence it is hardly the place to talk about theme
or plot of "Everywoman," one of the best known compositions
of the past two decades. Miss Heming plays the title part,
it seems to me, with her small ancl shapely foot held just a bit
100 much on the pedal of pathos.' Sometimes she nearly makes
it bathos. However — her depiction is a good one in the main.
There never has been a Vice, on stage or screen, so gorgeous
or glittering as Bebe Daniels. Irving Cummings is strik-
ingly melodramatic as Passion. Theodore Roberts, as Wealth,
is as incomparable as usual. Clara Horton makes Youth a
quaint, childish figure — a different figure from the Youth of
the stage, indeed, and just as appealing. The mature arts of
James Neill are finely deployed in the melancho-satiric, Greek-
chorus sort of figure, Nobody. And so on down the great list
of characterizations. The production is opulent and unsparing
in its edifices, its spaces, its displays, its very evident expen-
ditures.

PLEASE GET MARRIED— Metro

One of the feats of our current, apartment-house civilization
is the way we camouflage the obvious things of life. We make

Photoplay Magazine

the ice-box look like a pianola, cause the dining-room to be
seven or eight rooms in one, replace the old-fashioned attic
by the roomy box-couch, and the talking machine, when not
squeaking, resembles a writing-desk or a what-not. This do-
mestic dissembling, reflected on the screen, makes the bed-
room farce of the stage — anything but a bedroom farce. We
are awfully frank about the betlrooms on the stage. And get-
ting franker. Last year we had several plays in .which the
hero and the heroine were alternately under the covers, and
one in which she was in bed and he was under the bed, at
the same time. This year we do the impossible by having one
play in which both of them are in the same bed, at the same
time, and Mftty much all of the time, and quite discreetly!
To get do\Q* to cases — and beds: Metro has taken "Please
Get Married," one of the mattressiest of last year's footlight
farcelets, and, in transforming it into a vehicle for her stellar-
ship, Viola Dana, takes most of the coverlid effects out, and
substitutes Dana whimsicahties. Some of them are funny,
and some of them are not. One cannot help reflecting that
Miss Dana is a bit out of control, here. The comic talents
which she sprung upon a delighted world in "Satan Junior"'
have gone to seed. They are all right, at their roots. But
they need control. To me, the principal enjoyment of the
picture was in watching a real juvenile's debut. That juvenile
is Antrim Short. Walch him go, and grow.

THE MYSTERY OF THE YELLOW ROOM— Rcalart

The chief mystery is, what is it all about? I remember, and
I think you remember, Gaston Leroux's corking French mys-
tery story. In translating this to screen language, Emile Chau-
tard, director and adaptor, has missed fire. He has a series
of episodes marvellously good— if they led up to anything.
He develops characters which are breathlessly dramatic— if
they had anything to get dramatic about. Ethel Grey Terry,
as the persecuted Mathilde Stangerson, is both pretty and
intense, and you know pretty women are seldom intense, and
intense women are almost never pretty. So there's a triumph,
to start with, but when the play is over you leave feeling like
a gump for having wasted breath and sympathy over a young
person of such mild disasters, after all. Mr. Chautard's French
reporter is voluble, vivid and super-earnest. But the American
newspaper man, who is a reflection of the country he lives in,
with its cool nonchalance and effective though decidedly un-
dramatic methods, must perforce laugh at him and his pro-
fundith and his uproar. He may be a perfectly normal Gallic
journalist — though we doubt it — but here he is a lot of stuff
and nonsense. It is a pity that this finely photographed pic-
ture play, with its tense and splendid individual scenes, artis-
tically set and artfully composed, gets nowhere. If you hap-
pened in the theater and were called out at the end of five
minutes' obser\'ation, you would deplore missing a real screen
treat. But, staying for the whole performance, you deplore
wasting an evening. Just as there are many vivid episodes,
so there are many finely drawn and well played parts.

STRICTLY CONFIDENTIAL— Goldwyn

A long time ago the indestructible Fannie Ward did a rol-
licking stage play called "The New Lady Bantock." This, in
the transparencies, becomes "Strictly Confidential." The change
of name means nothing; it is merely one of the interminable
series of names changed on exhibitorial demand without reason.
Where is this nonsense going to stop? Well, anyway: Lady
Bantock, originally, was a mischievous elf in a family of aris-
tocratic servants in the family of Lord Bantock, owner of a
vast, grim, gloomy castle in rural England. She was the daugh-
ter of a band of strolling players, returned to her dour, proud
serving relatives by a kindly theatrical manager who thought
he was doing the best thing for her. How she breaks out,
scandalizes them, returns to the stage, goes far, far away, and
marries a young man who, unknown to her, is heir to the Ban-
tock ^Mroperties, comes home to conquer — all this is the tale
unfoSeti. In it Madge Kennedy is prim, elfish and captivating
in Miss Ward's old stage part, though those who saw Miss
Ward will agree that she gave a far more brilliant and dashing
(Continued on page 115)

"Strictly Confidential" from a Fannie Ward stage play, fea-
tures Madge Kennedy, prim, elfish and captivating.

William Desmond has developed a strong vein of comedy,
■which he proves in "Dangerous ^Vaters."

Kenneth Harlan is the shell-shocked hero of a murder mystery
picture, "The Trembling Hour."

The Mother of the Sub -Deb

And besides being Bab's literary parent,
Mary Roberts Rinehart has three real sons of her o^vn.

MARY ROBERTS RINE-
HART never had to
learn to write.

She never was a
newspaper woman.

She brought up three sons from
babyhood to boyhood before she
took up her pen.

When she decided to write, she
just sat down and wrote. To-
day she is one of the best-known
literary women of our time — and
she is, besides, a wife and a
mother before she is a person-
age.

She is still a young woman.
Her life now is a beautiful ex-
ample of how a busy woman can
keep busy and also keep her good
looks. She used to be a nurse,
you know — before her marriage.
Doing house-work, she says, isn't
any harder than writing several
thousand words a day, keeping a
large house in working order, and
attending to three grown-up sons
— one away at school. "Women
think of me," said Mrs. Rinehart,
"as a fortunate person — almost a
lady of leisure. As a matter of
fact, I work harder than any
other woman of my acquaintance
— whether she is the mother of a
family of six girls,
the head of a candy
shop in New York, a
successful actress or
a farmer's wife. And
now that I have, so
to speak, 'gone into
pictures,' I am busier
than ever."

I knew her literary
reputation; so when
I saw her I did not,
— despite the fact
that her pictures are
anything but for-
bidding— expect to
find a most charming
woman, who said,
after we had spoken
on a variety of
topics:

"Let's talk about
clothes."

She is a graceful
woman. The steel
buckles on her shiny
slippers sparkled —
and so did her blue
eyes. I never saw
such clear blue eyes.
She was well-equipped to talk about clothes, too; her black
satin gown was becomingly draped and frilled, and — well, it
seemed one of those gowns which are grown, not made.

"I like," she said, "the shorter skirts. Oh, not so short as
some we see. But the Frenchwoman, wjth her keen apprecia-
tion of the exigencies of the time, has sensed the fact that
tight long skirts are more out of place now than they ever
were; and so has taken a hem in her skirt and let out the

Mrs. Rinehart about to fly to San Diego, from the Gold-

wyn studios. Belo^v — with Samuel Goldwyn, inspecting

a set at Culver City. Coffee with one of the Spanish

beauties of a big scene.

By
DELIGHT

EVANS

seams. See," she stuck out hei
own shapely foot, "I am wearing
mine short."

"I say, mother," said the
Young Man Present, "I say, isn'f
yours a bit too short?"

Mary Roberts Rinehart smiled
indulgently. ' "I didn't know you
followed the styles, son."

She was looking at him with
an expression at once motherly
and amused. She seems more
like a pal to her son, than a
mother. She goes to football
games with him and they play
tennis, in vacations.

"The lady," said Allan— his
name is Allan, the youngest of
the three sons of Dr. Rinehart
and his wife — "the lady," he said
embarrassedly, "whom I asked to
gp with me to the game before I
found out that you wanted to go
—has accepted."
A quizzical look: "Well?"
"Well, mother," said Allan,
"listen: here's the way I figure it
out. I can fix it up
with Tom—"

"Never mind." The
(|uizzical look was
gone, and a very
kindly one came to
take its place, "never
mind. Your father
will take me."

A n unconscious
look of rehef. "Well,
mother," again, "I
think I'd better be
going now."

If Allan Rinehart
could be persuaded
to go into pictures,
Dick Barthelmess
and the other juven-
ile leading men would
have to look sharp.
He looks like his
mother, with very
white teeth, and a
ruddy complexion,
and black hair. His
manners are charm-
ing. One thinks
when one meets him
that Mrs. Rinehart
must have been so busy bringing up her sons, it's a wonder
.she had time to write all those stories.

When he'd gone: "He's my youngest. I have two older.
Allan's in his third year at Harvard and— the poor boy! Hii
has such a sad time about his allowance. He gets a good one;
but he makes week-end trips to New "^'ork and it vanishes.
He wires me for sheets and pillow-cases every week or so. I
give him a large stock every time he goes away to school but

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Her life is a beautiful example of how a busy woman can keep busy and also keep her good looks. "Doing house-work, she declares,
"isn't any harder than writing several thousand words a day, keeping a large house in working order, and attending to three

grown-up sons.

ing over his well-filled safe. Docior Rinehart saw ihat story
and it gave him his biggest laugh in a long lime. He said
.Allan had better inquire into the financial status of the coun-
try practitioner before he wrote about him."

But finally: "I just came back from Culver City. It's
fine out there — I didn't like to leave. And I went straight to
a Pennsylvania foot-ball game when I came back east — with
(Continued on page 104)

he can't keep them somehow. So he sleeps between blankets
most of the time."

"Yes," I said; "and now about pictures."

"Oh, I love them," she smiled; and then— "He wrote a story
once, — Allan. It was a lovely story — all about a country
practitioner (of course it was a medical story; his father is a
doctor and his mother was a nurse) and this country prac-
titioner was hit over the head with a billy while he was bend-

The

Story
of

Rosie

and

Jimmie
Smith

As Mr. Griffith's

head cutters they are the

arrow to his bow

By
GENE COPELAND

Griffitti calls Mrs. Jimmy Smith his "New York critic" and always sends for her to look at a
picture -with him before it is shown in the East. Here they are — in the cutting room, looking

over the film prior to its assembly.

AWAY off in the southern corner of the massy maze of
the erratic green buildings on Sunset Boulevard long
known as the Griffith Studios, at the top of a flight of a
very narrow and involved stairway there is a hallway
lined on either side with doors. Some are slightly ajar and if
you peek in you are apt to see piles and piles of flat round tin
cans and rolls and rolls of dark-colored something a little over
an inch wide in stacks two and three feet high. Then if you
stroll down the hall a little way a closed door will arrest your
attention with a blue-penciled sign on it that reads: "Rosie
and Jimmie Smith."

There is scarcely a sound to be heard aside from an occa-
sional shuffling of feet and not a thing in sight more preten-
tious than the names on the door. And while they are not so
fancy they do not reveal much.

Inside in a little room about four by eight you will find
them — Rosie and Jimmie — and the chances are you will find
at least one of them there any time between the hours of nine
A. M. and eleven p. m. (the rest of the day is quite their
own) seated before a workbench to the edge of which is at-
tached a reel winder and at each of their sides a receptacle
resembling a garbage can in proportions which is filled with
hundreds and hundreds of feet of film whose ends dangle over
the top for identification.

This is where the pictures are cut and put together. Which
really amounts to making them. For what is a cake until the

raw materials are stirred up together? And aptly it may
be said that the disassociated film that is sent in to the table
of Rosie and Jimmie is little more than what the raw materials
are to the cake. And however good or bad is the ultimate
result — what you see on the screen — may be attributed very
largely to the ingenuity as well as technical knowledge of the
cutters or "editors" as they are now called. All the acting,
all the Griffith methods, effects, and photography would be
like a bow without an arrow if not put together — and done
skillfully.

Inasmuch as skill and amount of experience are practically
synonomous in the business of cutting pictures Jimmie can
justly take a front seat. Because he has the distinction of
being the very first cutter of moving pictures, as Biograph's
premier cutter he put together Mr. Griffith's first picture, 'The
Girl On The Lake,' and every one of the Griffith pictures since
then, with the help of Rosie in recent years.

A glance at Rosie and you'd think she was an ingenue
temporarily out of a job in the pictures perhaps. (Bom and
raised in New York she still retains a decided metropohtan
air.) But when questioned she won't even admit ever having
aspired in a histrionic direction — a statement fully confirmed
by her action in turning down even Mr. Griffith when he
suggested that she might like to be put on the screen.

"I started in with this work the very day I graduated from
school and have thought of nothing else in six years, so I

Jimmie nearly lost his job when he married Rosie. Not that Griff itK objected, but because

he feared love would interfere with the proper trimming of "Intolerance," a task at w^hich

Jimmie and his bride had both been ■working day and night for over a year.

couldn't think of giving it up now. I am too interested in it,"
this little lady with the serious black eyes asserted emphatical-

"And it is always new," Rosie continued enthusiastically
(lyhich, by the way, is altogether characteristic of all the
Griffith Studio Household). "Many times we are working on
two stories as it is nothing unusual for Mr. Griffith to be
directing two at the same time. And every story is handled
differently and every day there are entirely new scenes to be
selected and put into story form. It is impossible to become
indifferent to your work, as it requires such constant alertness.

"A scene that you see on the screen has probably been
selected from at least a dozen camera shots of the same scene.
There are always two cameras shooting on a scene and many
times three and four. And when this scene is retaken five or
six times by that many cameras the respective shots must
be assembled. That means handling the reel of film from
each of the cameras many times. After all the scenes from
;;ll the reels have been assorted and assembled they are run in
the projection room with Mr. Griffith, camera man and cutters.
The best one of the whole lot is designated by number an(i
when the lot is returned to the cutting bench that particular
one is cut out and spliced upon the reel of scenes that are to
make the story.

"Before the story is put together the coloring of the scenes
has to be done in the laboratory. This necessitates splicing

together all the scenes that are
to go in the same dye and re-
cutting them all again to put
them into story. It is the cutter
who decides the indensity of the
color effects. Perhaps a certain
lighting may have resulted in a
tone that is unbecoming to the
star. Perhaps it is only a matter
of faulty printing. But it is up
to the cutter to know just what
and why it is. It is a thing
learned only by long experience
in handling and comparing film.
"I've been six years learning
what little I know," continued
Rosie optimistically, "but I've
got a long way to go before I
know as much as my husband
who has been with Mr. Griffith
since iqo8 when he first came to
the oft-called 'cradle of the
movies' — the old Biograph — at
It East 14th St. in New York."
If Rosie had not revealed the
relationship inadvertently my
curiosity would not have con-
tained itself much longer. But
1 had concluded that they
couldn't be brother and sister
which was my first surmise, be-
cause, in appearance, there was
no suggestion whatever of re-
semblance. Jimmie has a sort
of billiken smile though he really
isn't fat at all. It's just a
happy smiling face that would
never seem to have lost any
sleep. Though he confesses
that it is ne\'er possible for him
to make any dates even a day
ahead of time for purposes of
pleasure, because, as is general-
ly known, Griffith is a veritable
Edison for work. He thinks
nothing of directing all day and
then looking at film most of the
night. And Jimmie must be
right on the job to take and
offer suggestions.

The only time Jimmie nearly
lost his job was during the cut-
ting of "Intolerance" which took
a year and a half. He an-
nounced to Mr. Griffith that he
and Rosie were going to be married. They had both been
working day and night for a whole year on this most intricate
and tremendous story. Griffith had said "Wait till the picture
is finished."

But Rosie and Jimmie had already cut the film from some-
thing like 400,000 feet down to 20,000 and they knew that it
could not exceed 13,000 when finished. The prospect of wait-
ing that long was unspeakable. Cupid was calling too alluring-
ly. In daring desperation they went on a Sunday morning tO'
a little church around the corner and became "man and
wife."

]\Ir. Griffith relented when the deed was done and gave
Rosie a day's vacation but insisted that Jimmie be on hand
as per schedule Monday morning. This man who-leads-them-
all in the photodrama got the habit of working day and night
back in those pioneer days when they were producing two one-
reel pictures a week. And Jimmie was the only cutter then.
He did it all: splicing, patching, assembling, assorting, in-
specting and editing. Today he has a lot of girls under him
as assistants who are respectively .splicers, patchers, assemblers,
assorters and inspectors.

After he had graduated from St. Joseph's Parochial School
in igoy in the same class with Bobby Harron, Jimmie went
over' to Biograph and went to work. Bobby went too. He
started as a messenger boy and Jimmie as a shipping clerk.
The duties of the shipping clerk in those days were to prepare

Photoplay Magazine

the film for shipment as well as attending to the shipping of it.
The preparation of the film was not nearly so difficult as it
now is because when a roll of film was put into a camera they
went out and shot a whole story on the one reel. Very little
actual cutting was done.

In 1910 Jimmie came out to the
coast. Griffith, Bobby Harron and
"Billy" Bitzer — all of the Biograph
force — came too and the four of
them became later a part of what
was known as the Reliance-Majestic.
Rosie did not come to Cahfornia un-
til 1914. (She and Jimmie have been
married only three years.) She had
been laying her foundation in the
Gaumont and Eclair Studios in New
York where she, too, had gone im-
mediately upon leaving school. Here
she patched, inspected, sphced and
did all the mechanical part of the
trade for two years for sixteen dif-
ferent directors. The diversity of
her experience had taught her a great
deal and when she walked into the
Biograph one day and got a tempo-
rary job. Later, Mr. Griffith sent her out to the coast Studio.

For the last year Rosie has been doing for Mr. Griffith what
probably no other director or producer has had done. She
goes to all the different exchanges in the different cities
throughout the country and cuts down the big pictures after happy.

FEW men in the American
Expeditionary Forces had
the varied and thrilling
experiences of Major Robert
V/arwic\. But he has refused
to tal\. He brought bac\ no
pictures of himself. Finally
the story was pried out of him
piecemeal by a clever journalist.
(It begins on page no.)

the ''first runs" from say a 13,000 foot film to 10,000 feet or
less. This is because the smaller towns can not afford to run
the picture alone as a feature so it must be cut down to a
length that will make it possible to run it on a program with

the usual comedy and news weekly.
Then sometimes she has to insert
scenes to make a story more lucid, as
was recently the case in "The Mother
and the Law." In the denouement of
the film story a mysterious burglar
was discovered to have been the dead
body found in what the audience had
thought was the hero's bed and no
scene was in the picture accounting
for the manner or how the burglar
could have gotten into the bed with
the consequent reports that the
audiences were not "getting" it. So
Rosie went around to all the ex-
changes and fixed the matter — by in-
serting a scene showing the mys-
terious person outside a window of
the house and later climbing the
stairs — before the picture was sent
out to the smaller towns.
She had only returned from her tour of the country — so to
speak, a few weeks ago when Mr. Griffith told her to pack her
trunk once again. The news finally came out. The whole family
were going to move back to New York. And everybod\^ was

By J. Carl Mueller + L. M.

Miss Movye Fan:

THE INDIFFERENT LOVER

"Please pay some attention to me, Charlie dear. Don't you see that mysterious comedian
flirting ■with me? Don't you care?'

"Hey, Tom — that'll
do!" After Tom Moore
has rehearsed this scene
three times (-svithout
protest). Director
Harry Beaumont, hus-
band of the lady in
Tom's arms, decides
that the action is snappy
enough. And although
• the lady. Hazel Daly,
seems enthralled, we 11
Tvager she s planning on
what to give Harry for
breakfast tomorrow.
The Daly - Beaumont
romance is much older
than the scenario. In
old Essanay days. Miss
Daly was Honey to
Bryant Washburn s
Skinner, -with Beau-
mont directing.

What do you Think
of these Husbands?

On the other hand. Di-
rector Howard Hick-
man apparently checked
his husbandly jealousy
in the scenario depart-
ment, during the film-
ing of this scene. Here
he is, holding his ■wife
(i. e. Bessie Barriscale)
in his arms, goading
Jack Holt into a more
frenzied attack of court-
ship: "Don't mind me.
Jack — snap it up a bit,
like this, y'see. Just as
though you didn't
know I am her hus-
band." And' look at
Bessie — you'd think she
wouldn't gaze so coyly
at a lover who needs to
be coached. Oh what
a difference a camera
makes!

Scene from Photoplay Magazine Supplement T^o. lo. Released by Educational Films Corp. of America.

The Master of the Show

ADELA ROGERS

ST. JOHNS

"IVe are no other than a moving rote)
Of magic shadow-shapes that come and go

Round with the sun-illumin'd lantern held
In midnight by the Master of the Show. "

AS a nation, we are prone to admire personality as much
■ — plerhaps more — than .achievement. We love the
rugged gentleness of Abraham Lincoln almost as much
as we revere his works. The feats of Theodore Roose-
velt would lose to America much of their glamour separated
from his vivid individuality.

When we see something we like, we want to know all about
the man who made or did it.

So naturally, those who have seen that polished bit of screen
drama "The Miracle Man" want to know "the Master of the
Show." The white letters "George Loane Tucker" on the silver
sheet are not enough. Just what sort of man is he — this
director whose genius brought out scenes that caused a hard-
ened cameraman next to me to sit for five minutes with the
tears quite frankly pouring down his face? And how did he
do it?

One is likely to know a moving picture director only as one
knows a favorite writer or poet, through his work. Naturally,
if somebody told me that I was going to have an opportunity
to ask Omar Khayyam just exactly what was in the famous

jug — or to interview William Shakespeare on the Juliet poten-
tialities of every woman — I should be thrilled! So, I was
thrilled in the quiet light of the big drawing room waiting for
George Loane Tucker to appear.

A young man entered from the sunlit gardens and stood in
the doorway an instant, his tall, strong figure attractively out-
lined against the sky, a pleasant smile still in his sun-dazzled
eyes. As to age, anywhere between 30 and 40 — probably about
half way. His looks are so entirely a matter of expression
that it is difficult to describe them. He is not handsome, and
all I remember of his features beneath their vivid enthusiasm
are a pair of nice brown eyes and a rather good chin, but I do
not imagine that one would grow easily tired of them.

Neither a mummer nor a man of soul, I should say. But a
man of infinite understanding of life in all its phases.

His method? He summed it in a sentence.

"If I have a method, it is simply endeavoring by every means
at my command to aid the actor in reaching that state of self-
hypnosis where the emotions, experiences, and actions he is
portraying seem real to him."

Mr. Tucker selected Betty Compson for "The Miracle Man" because she was tired, therefore utterly natural, ^vhen he inter-
viewed her. This scene shows Mr. Tucker instructing Miss Compson in the next Tucker picture. The man is Robert Ellis.

THE light of the genius
of Director George
Loane Tucker has been
burning steadily. But it was
not until he gave the world
"The Miracle Man" that
he was recogiiized as a
planet of the first magni-
tude. Now if there is one
thing more than another
that stands out in the gen'
eral excellence of Mr.
Tucker's creations, it is the
sharp lines of individuality
in all his characters. Burke
is like no other role Thomas
Meighan ever played. Betty
Compson leaped from slap-
stick to the radiant Rose.
In what way does Mr.
Tucker achieve this result?
This keenly appreciative
article tells the answer.

Mr. Tucker witli Kis camera-
man, Ernest Palmer, studying
a li^lit effect prior to filming
a scene.

"To do thai of course," I said, "you must be able likewise to
feel and to understand the character, at least as well, if not
better than the actor."

"Of course."

dt is extremely easy to talk to a man who drops contentedly
into a big chair that "fits" him from long use. smokes with
complete enjoyment and looks interested. Behind his chair
a set of deep, full length windows, built like the nave of a
church, framed graceful sprays of wistaria, almost black
against a perfect bit of sky, like a Japanese etching. The scent
of cigarettes, of leather from the ceiling high book shelves, the
solid, dark comfort of everything, produced a sense of mascu-
linity as poignant as that of the man himself.)

"Of course if this method is carried too far," he began again,
"it produces a state of actual hypnosis that kills the very
realism one is aiming for. I have worked with a girl on a
scene until I saw by her absorbed, rapt expression that my
mind was taking possession of hers.

"That is not what one wants. There is Just one thing I
must have in people who work under me — sensitiveness. They

Portrait by
Witzd

must be alive to impressions, to actual sympathy with a part.
There are scenes that I do not believe the greatest actor in
the world, from a technical standpoint, can play effectively,
unless he becomes self-hypnotized with the character. My
work is to help them in achieving this. Sometimes this quality
is found in great stars, sometimes in raw recruits. After all,
technique is something it is almost as important to forget as
to acquire.

"It is not enough merely to say, for instance, 'Now, Miss
Marsh, this is a scene in the attic. You come on with your
basket. The scene is to show how lonely you are.' If a
director does that with that very great artist. Mae Marsh, he
wi!" find a young girl simply walking through a scene and he
will wonder where the tragic actress of 'Tlie Escape' and 'In-
tolerance' can be. But she is like a child. Sit down with her,
get her interest, then her sympathy, work her into an intense
emotional understanding of the scene, and then experience the
joy of watching her portray it."

(So that explained "The Cinderella Man,")

"I would not direct a picture I could not cast nor for which
I could not write the working scenario," INIr. Tucker resumed.

"When I first read 'The Miracle Man' I immediately began
to cast about in my mind for an actress to play Rose. I knew
that it was a part that would tax even a Norma Talmadge. As
soon as I reached Los Angeles I began to look for a screen
actress with whom I could be satisfied. I interviewed at least
a hundred, great and small. I looked at pictures, I visited

Photoplay Magazine

studios. Finally, I said to the agencies, 'Let me sec the pic-
tures of every woman you have between i6 and 30.' Literally,
I looked at thousands of pictures. Among them I found a face
that seemed to me superlatively sensitive. I asked that girl to
come to see me.

"It was a cold, rainy, disagreeable day. The girl had been
out all day on location, playing slap stick comedy. She was so
tired that she was completely natural. The pose, the veneer,
the effort to please, the thought of how best to please, was gone.
She acted and talked exactly as she felt. We didn't talk about
the part, nor the pla}', nor acting. But I told her things that
would bring out, if it was there, the expression of the thing?
that part would need. I said things to make her bitterly cynical.
I spoke of things that would be bound to stir her sweetness,
her pity, her gentleness. And I found her as responsive as a
violin to an artist's touch. That is why Betty Compson was
chosen to play Rose.

"Sometimes a director makes a mistake in casting, or it is
made for him. Then one must just camouflage — throw the
importance of a scene to some other player, cover up lack of
emotion with beautiful effects. Sometimes, one may even
resort to trickery — such as a piece of ice down the back, for
a shiver!"

A little gust of anger flamed in his face. "Well, what can
you do?" he demanded in disgust. "If you have told this
girl the circumstances, if you have said to her, 'You are alone
in this house. It's a big, lonely place and the rain and the wind
outside, mysterious and full of noises of the night, cut you off
from every feeling of human companionship. The very air
seems full of those nameless, clammy, night visitors that we
can't see, nor hear, nor touch. You have a vague, dreadful
presentiment of something behind you. You try to shake it
off, and you can't. In your distorted mind it takes ail sorts of

shapes. You finally gain courage to turn antl look, and there
on the gray wall you see — the shadow of a man, motionless,
sinister, silent.' Now if she can't understand that enough to
shi\'er, what can you do but put a piece of ice down her back?
Bah!"

As a matter of fact, sitting there in the broad daylight, I
paid i\Ir. Tucker the tribute of an exceedingly real shiver, my-
self. His voice had only dropped half a tone. His gestures
were quiet, without flourish. But his eyes seemed to see the
thing of which he spoke. And he made me see it. If he is able
to draw other emotions as vividly, other scenes as realistically
as he drew the horror of that one, it is small wonder that his
•moving row of magic shadow-shapes' answer to his call.

For the potency of the man lies entirely within himself,
within his own understanding and feeling. I am sure that he
could weep over that little, dead baby in 'The Escape' as Mae
JNIarsh did, that he could feel the hopeless hysteria that shook
Tom iVIeighan in that marvellous scene toward the end of "The
IMiracle Man' as deeply as any man that ever lived. And with
it all he has the slightest touch of humility — the humility of
one who realizes that every talent, every ability, is a gift to
guard carefully. The astounding success of his picture has
humbled in him any pride of self.

"And even then," he went on, "one must never forget the
craft of the art. After you have attained the pitch of a scene,
after you are all in it, feeling it, the director can't sit back and
just let it slide. He must be able to say 'Face a little more this
way,' or 'Chin up and not so fast,' without jarring the actor
clear out of the spirit of the thing.

"All this, too, touches only upon the director's relation to the
people. Yet a director must be 'all things to all men.' He
must be a carpenter, an electrician, a cameraman, a painter-
all things!" (Continued on page 113)

Copyri'^ht Lite I'mI-Ii

";; I oiuiimy

THE NEW FAMILY ALBUM— "This was mama when she was a little girl."

"Hey, Little Boy!

Whafs

Your Name?"

Go back to work —

Mack Sennett is out

looking for you !

Below, with Teddy.
Sennett's Dog.

THE editors of Photoplay saw this
baby in some Sennett pictures.
He handed them several thousand
laughs a foot and they wanted to know
who he was. But inquiries at the Sen-
nett studio proved without result; for
it seems that the baby came up from
nowhere to play his part in "Back to
the Kitchen" — nobody even knows his
name. The day they finished that pic-
ture they told him to report bright and
early next morning for exteriors.
"Uggl — umph," grunted the baby —
but he never came back.

<«

i ^

Peggy Wood, the film actress, in Will Rogers"
Goldwyn picture, "Almost a Husband."

Ste collaborated -witb Ker father and

Samuel Merwin on certain stage plays.

No'w she is studying the scenario game,

'tis said.

That Very

Promisin)^

Young Author

THERE seems to be several reasons for writing, and
running, a story about Peggy Wood.
To begin with, she should be considered because
she was born into the house of 'Gene Wood, the
humorist. Because she was blessed with a father who didn't
think artists were necessarily unrespectable and art necessarily
unspeakable Peggy was actually encouraged in her high-school
desires. She says she asked everybody about her voice. 'Gene
insists she even asked the cook. Finally she went to Arthur
Hammerstein. The manager was found in a large hall trying
out applicants for "Naughty Marietta." She stood in a group
of chorus girls who were still waiting to be heard, and Ham-
merstein, mistaking her for one of them, asked her to sing
a few bars. Peggy sang and was asked to stand aside with
those who had passed the test. Women have become queens
by accident but Peggy may boast of the unique distinction
among her sex of having become a chorus girl by accident.
It was in this way that she got her start which lead within
six years to her starring in "Maytime" and within a short
period after that to be playing opposite Will Rogers in pictures.
Miss Wood incidentally is the author of plays written in
collaboration with her father and with Samuel Merwin, the
well-known creator of "Henry Calverly" — of the "Passionate
Pilgrim" stories. And we have heard, too, that her dramatic
essay in pictures was, in a way, a bit of artistic camouflage.
She wanted to study the films "from the inside" — so if she
ever found time hanging heavily on her hands, she could
write scenarios!

They're

the Life of the

Party

IT was not what a free-verse poet would call a large evening.
The overture had been sad. The lady contralto between
the feature and the scenic had a fat face but a thin voice.

The feature itself — but we shudder to think of it. The scenic
showed some dispirited negroes in the south picking cotton.
Then the comedy came on, and it did to that film program
what a ghmpse into a friend's best cellar will do on one of those
near-sighted persons who forgot to lay in his stock of tea-cups.

The comedy was a simple affair. It told about the marital
adventures of two very new newly-weds; and there was a
scene in which a dilapidated white poodle fell into a pond and
shook himself all over the immaculate lovers; and lots ijiore
nonsense like that. A child could understand it. But, as one
heavy man squeezed between his wife and daughter remarked:
"Carter DeHaven: he's the Life of the Party."

The DeHavens, after a long career in musical comedy and
vaudeville — you may have seen them on the big-time or in such
m. c. shows as "His Little 'Wives" — came screenward recently
and now they are manufacturing refined laughs for us. They
were with Universal for a while, and turned out such pictures
as "Kicked Out" and "Where Are My Trousers?" Then they
went to Goldwyn. And now Famous Players-Lasky has signed
them.

■ The other family pets are not in the pictures. They are the
small DeHaven Juniors, who threaten to become slap-stick
comedians when they grow up — "like Charlie Chaplin, or
Roscoe Arbuckle."

It's a thankless job, that of being a parent.

Mr. and Mrs. Carter DeHaven, and dog.
The other family pets are not in the
picture, i, e., the DeHavens, junior.

The DeHavens used to he in musical
comedy, you will remember, hut are now
manufacturing refined laughs for the
movie-goers. Above, scene from "Their
Day of Rest" a Capitol comedy.

THE

Jqainel

A.GNUTT

ELEPHANTS do not, as a rule, live longer
than one hundred years, and after all, tak-
ing into consideration tlie few pleasures and
pastimes of an elephant's life, that would seem
to be about long enough.

ENGLAND and Ireland have been united ii8
years — if you can call it a union.

IN New York: Times Square is not square;
East River is not a river but a part of Long
Island Sound; North River is part of the Hud-
son River and runs along the west side of the
city; no one is buried in the Tombs; there is
no bower on the Cowery; Pearl Street is one
of the dirtiest thoroughfares in the city; the
governor has nothing to do with Governor's
Island; there are no guns at the Battery.

AN electrically operated machine has been in-
vented which will sell goods, deliver them
to the purchaser, make change and reject bad
coins. And it doesn't chew gum or call the
machine next to it "Dearie."

IT may not have anything to dn uitli
reducing the high cost of clothes but
those of an inquiring spirit might be
interested in knowing that The Adam
and Eve Investment Company is lo-
cated next door to a tailor in Denver.

SPEAKING of the high cost of
things those looking for a home
have an unexampled opportunity at Mo-
neta, Wyoming. .'\. Kanson who lives
there is offering the entire town for
sale at the nominal sum of $10,000. The
property includes an iS-room hotel, one
eight-room house, one two-room house,
one five-room cottage, one four-room
building, one combined laundry and
meat house, two large barns, one ice
house, an, assortment of outbuildings
and 40 building lots. Furniture in all
buildings thrown in gratis. Moneta is
80 milts west of Casper on Poison
Spider Creek.

IT took the world war to stop the
manufacture of left-handed plows.
The war industries board considered
them a waste.

MANY persons refuse to have pets
about the house because tlicy dn-
after a few years leaving the owner
inconsolable. They might try ravens.
They live to be 25 years old. Eagles
live'to 7S. while geese and swans some-
times live to be a hundred.

" r'N O you believe that it is possible
LJ to communicate with the dead?"
"I know it. I heard from \V. J.
r.ryan only yesterday." — Life.

S0MI:B0DV has ascertained that
over four million pens are de-
stroyed daily. We destroy one every
time we use it wiiich is about once
a year. How many do you destroy?

THE recent decoration of Alfred
Dreyfus with the highest honor
France has to bestow recalls that a French
coachman had his body tattooed illustrating the
famous trial of Dreyfus. His body is covered
with 120 illustrations, including portraits of lead-
ing personages connected with the case.

PEOPLE in Northern France will prob:ibIy be
uncomfortable without the walls of their
houses tumbling about their heads. We there-
fore recommend that they move to Herat, Af-
ghanistan. It has been destroyed and rebuilt
56 times.

TIIERF. 7i'(/.f a young ri'ook named Oreer,
Who passed ti bad check for near-beer.
When placed in arrest.
He frankly confessed
"That check is as good — as the beer,"

— California Pelican.

A SOUTHERN negro who lived to be a hun-
dred years old was interviewed by a re
porter on his birthday. "Ah used to remembab
seein' Lincoln but since Ah jined church Ah
doan' remembah nothin' lak that no moah."

NO wonder married men get "up in the air"
at times. A chap in New York was sent to
I'lackwell's Island for three months for telephon-
ing his wife .35 times a day. If he hadn't called
licr he probably would have been divorced.

NC)W that the country is dry you perhaps
will not be interested in knowing that the
record nmnber of bushels of corn growii to an
acre is 232.7 bushels, raised at Alexandria City,
Ala. We thought you wouldn't.

NL\' twenty-five grams of radium were pro-
duced in the United States in 1918.

"Q EIN FEIN," derived from ancient Gaelic,
O means "for ourselves alone." The Germans
didn't get away with "Deutchland^ L'ber ^ Alles,"
meaning "W c steal candy from children."

Ja2,2;ing the Classics

IN his .screen version of Sir James M.
Barrie's famous play, "The Admirable
Crichton," Cecil B. De Mille has
(hanged the title to "Male and Female." —
Xews note.

I suggest to the movie makers the allur-
ing box office possibilities in making the fol-
lowing small alterations :

Movie Title

Original Title

Alice in Wonderland
Treasure Island
Rip \"an Winkle

Tess of the D'Ubei-

villes
I.es Miserables
.\ntony and Cleopatra

Evangeline

The Moon and Six-
pence

Hotel Kiltmore Menu The Price of Pleas-
ure

N. Y. Telephone Di- The Call in the. Night
rectory

And "Tristram and Iseult" might be
presented as "An Easy Mark."

The Girl Who Dared
The Lure of Culd
What's Your Hus-
band Doing?
The Virtuous Sinner

The Slums of Paris
Coils of the Tempt-
ress
Hearts Torn Asunder
His Only Sin

-F. P. A. in the New York Tribune.

WE are going to Swansea, \\'ales. Coal
trimmers make $100 a week on the docks
there.

AM.VN can marry lii= deceased wife's sister
in tills country as well as in England. The
practice has been legalized in tlie latlcr country
only since 1906.

IN ancient Egypt, any arti-t who made pic-
tures or statues in violation of the established
rules was sent to jail. Modern n:itions were
compelled to abandon the practice because of
tlie shortage of jails.

B.\T.Z.\C said that the only thing about a man
that always tells the truth is the touch of his
hand. Uut a lot of folks do a deal of lying
before thcv make the touch.

SINCE the war, so many foreigners have been
visiting America, that New York hotels are
advertising for bellboys who speak several lan-
guages. As the. average bellboy's earnings are
about double those of the average college pro-
fessor, it is expected there will be little difficulty
in securing the necessary talent.

IF you had difficulty finding a place to live
when your base expired this fall, be glad you
are not in Omsk. That city is so crowded that
no one is permitted to occupy a bed more than
eight hours, and they sleep in relays.

"TV/H.AT is your pleasure?" the affable haber-
VV dasher's clerk asked the customer. "My
pleasure is Scotch highballs, but what I want is
a necktie to wear at my inicle's funeral."

APOIIGHKEEPSIE man has an-
nounced that he has proved bjr a
series of experiments that cows will give
more milk it music is plaj^ed in the
course of the miiking operation. Slow
classical music was found to be most
effective. The discoverer does not say
whether the cows give sour milk if
they hear discords.

SODA water is made not from soda
but from marble dust and sul-
phuric acid, either of which would be
considt rable hard on the digestive or-
gans by itself but which are put
through a process that inakes carbonic
acid gas, and this gas is what makes
soda water bubbles prickly to the
tongue. So when yoti see stonemasons
chip]iing bits off a piece of marble for
a building, remember the bits will not
be wasted. They will likely be swept
up to make soda water for you.

SANDWICHES get their name from
John, Earl of Sandwich, an eight-
eenth century English nobleman, who
was so fond of gambling that he would
not even leave the table for his meals
hut had servants prepare slices of meat
between slices of bread to satisfy his
hunger.

LI'.AP 'S'EAR was not instituted as
a means of giving women onr
\car in four in which they would have
the right to propose. There is a slight
defect in our calendar, which cainnit
he absolutely corrected, but is approxi
maleh* accurate when one day is kidded
to each fourth year, exceyit the even
cenlurifs which must he divisible by
400 to be Leap Years. For example
I poo was not a Leap Year but 2000
will be.

THERE are 1,785 kinds of sausages
known in Germany but so far
only y^ in United States. By a large
majority, therefcne, the wurst i= yet l<>
come.

THERE were railways before there were loco-
motive'-. Rails of wood were laid at an
English colliery early in the nineteenth century,
and the trucks drawn by horses.

THE. origin of billiards is wrapiied in mystery,
but no more so than its fascination for
otherwise intelligent persons, we ourself never
having been able to learn it. '

BE careful how you argue over spelling. In
September, 1872, two WcKh gentkmcn grew
so angry over the spelling of the name of their
village that one of them rublied f|uicklime in tlu
eyes of the other and blinded him. The two
ver.sions of the siielling of the village were — ■
I.lyynnggffwwddaur
Llyynnggffwwdvaur.

The
World^s
Largest
Theatre

THE Capitol Theatre, New York, which opened
in November, is the largest theatre in the
world — including the famous opera houses of
Europe and the now equally famous Hippo-
drome of New York. It seats 5300 persons, and at
that there is no gallery — only a main floor and balcony.
This theatre has two screens, one for showing topical
reviews, short comedies, and such things. It is four-
teen feet high and eighteen feet wide, and is 15Q feet
from the projection machine. The other, for showing

Photography
by White

features, is sixteen feet high and twenty-one feet wide,
and is 181 feet from the booth.

The decorations are elaborate in the extreme, one
individual item being eleven French rock crystal
chandeliers, bought from Sherry's famous restaurant
when it went out of business. The prevailing decora-
tive scheme is of the Empire period.

There is plenty of room to walk around on both
floors, the mezzanine floor looking as if it had been
designed for eight-day bicycle races.

Above — view of tlie mezzanine hallway. Belo'w — the grand staircase. Note th« Sherry chandeliers.

Beginning As
Lincoln

Not exactly an humble start in the
movies, that of Joseph Henabery

By ALFRED A. COHN

ALMOST invariably the person who sits supinely by
and waits for someone to discover his or her un-
usual qualities remains undiscovered This is no
less true in the "movies" than elsewhere in life.
Waiting to be discovered is about eighteen below zero in
fruitful occupations. Having thus laid the foundation, we
will now proceed with the story.

Back in the medieval age of the cinema — about 1913 —
Director Griffith found himself decidedly up against it. He
was looking for an actor who could play the role of Abraham
Lincoln in his film, "The Clansman," later rechristened "The
Birth of a Nation." One by one the character men would
come into the studio, make up and pass in review before the
boss. One by one they were dismissed until an even dozen had
been tried out.

There was a young leading man on the "lot" who had watched
the Lincoln candidates come and go. He watched each applicant de-
part with a sigh of relief. Finally he thought the time had come
for action and he made his way into the mogul's sanctum with consid-
erable hesitation.

The harassed director looked up.

"Well?" be said.

That's Griffith's favorite word— "Well." He can say a whole dictionary full
of words by the utterance of just that one syllable. He can mean nearly any-
thing— it all depends upon the inflection.

"Well?" he said again, and this time he meant "What the deuce do you
want here, anyhow, and whatever it is, be brief about it!"'

"I'd like to play 'Lincoln' for you, Mr. Griffith. I know I can do it."

The director laughed. Then he looked over the candidate, appraised his age
as somewhere near 24, and laughed again.

"What makes you think so?" asked D. W. He needed a Lincoln very, very
baflly- (Continued on page go)

PlroTOPi.AY Magazine — Adveiitising Section

THE RIGHT WAY TO
KEEP YOUR NAILS

ALWAYS PERFECTLY
MANICURED

JUST a little regular care makes
your hands beautiful. Nails like
rosy pearl inlaid in a delicate set-
ting— a setting of smooth, unbroken
cuticle, a perfect curve which repeats
the curve of the nail tips.

It is easy for anyone nowadays to have
this alluring grace of perfect nails and
cuticle — so easy that people no longer
excuse the lack of it.

The sensitive nail root is only
one-tivelfth inch beloiv the
cuticle. When yoH look through
a magnifying glass you see the
unpleasant results of cuticle
cutting.

Today, ill-kept nails are as unpardon-
able as ill-kept teeth. For it takes but a
few minutes of regular care each week
to keep j'our fingernails always perfect,
your cuticle smooth, thin, unbroken.

Make some day of the week your regu-
lar day for manicuring. Then regu-
larly on this day give your nails the
care they need.

Do not forget that the most important
item in the appearance of one's nails is
the care of the cuticle. Broken cuticle
is like a broken setting to a jewel.
Coarse, overgrown cuticle is equally
unsuitable.

"i et many people ruin the cuticle
through ignorance of the proper method
of caring for it. Never cut it. This
is ruinous. The nail root is only 1-12
of an inch below the cuticle. When the
cuticle is cut, it is next to impossible to
avoid exposing the nail root at the
corners or in some other little place.
The root of the nail is so sensitive that
Nature will not permit it to remain
uncovered. The moment a tiny bit is
exposed, new skin grows very quickly
in that place to cover it. It grows much
more rapidly than the rest of the cuticle.
This spoils the symmetry of the curve
at the base of the nails. It causes
uneven cuticle and hangnails. It gives
a coarse, ragged appearance to the
border of your nails.

Realizing this, an expert set himself to
the task of discovering a safe, effective
way to remove overgrown cuticle.
After years of study he worked out the
formula of a liquid, which gently,
harmlessly softens and removes the sur-
plus cuticle. This he called Cutex.

Wrap a little cotton around the end of
an orange stick "(both come in the
Cutex package), dip it into the bottle
of Cutex and work it around the base
of the nails, gently pushing back the
cuticle. Instantly the dry cuticle is
softened. Wash the hands, pushing
back the cuticle with a towel. The
surplus cuticle will disappear, leaving
a firm, even, slender nail base.

If you like snowy white nail tips apply
a little Cutex Nail White underneath
the nails directly from its convenient
tube. Finish your manicure with Cutex
Nail Polish. For an especially brilliant
lasting polish, use Cutex Paste Polish

first, then the Cutex Cake or Powder
Polish.

If your cuticle has a tendency to dry
and grow coarse, apply a bit of Cute.x
Cold cream each night. This cream
was especially prepared to keep the
hands and cuticle soft and fine.

It takes only about fifteen minutes a
week to give your nails this complete
manicure. Do this regularly and your
hands will always have that peculiar
attractiveness which adds a subtle
appeal to one's whole appearance.

To keep your cuticle a perfect
frame for your nails, you must
use the right softening method.

A complete manicure set
for only 20 cents

Mail this coupon below with 20 cents
and we will send you a complete Mid-
get Manicure Set, which contains
enough of each of the Cutex products
to give you at least six manicures.
Send for it today. Address Northam
Warren, Dept. 701, 114 West 17th St.,
New York City.

If you live in Canada, address Northam
Warren, Dept. 701, 200 Mountain
•Street, Montreal.

MAIL THIS COUPON WITH TWO DIMES TODAY

NORTHAM
Dept. 701

N ame

WARREN

, 114 West 17th

St., New

ork

City.

Street -

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When you write to advertiseis r'ease mention PHOTOPLAY MAGAZINE.

Beginning as Lincoln

{Continued from page q8)

"Well, I've been experimenting with make-ups for two weeks
and I am sure I've got it."

-Then let's see you on the set in the morning looking like
old Abe," was the decree.

Joseph Henabery knew he could look just like Lincoln and
act like him because he had made Lincoln a study. He had
read everything that was available about the great Emanci-
pator's appearance and mannerisms. He had experirnented
by the hour with his makeup box and false beard. He had
successfully reproduced upon his own physiognomy every linea-
ment and feature of the martyred president's countenance.

One look was all that Grit^th needed, next morning. But,
while he was satisfied with the makeup, he wasn't sure that
his Lincoln could act the part. The first scene was a brief
one in which the president was supposed to sign a paper.
Griffith had him walk over to the desk and sit down.

Then there was an instruction as to how the remainder of
the scene should be enacted.

"But," declared Henabery as he turned to Griffith, "when
Lincoln signed a document, he always began by adjusting
his spectacles."

"Well, where are they?" demanded the director.

"Right here," said the pseudo Lincoln, taking them out of
the upper left hand pocket of his vest, and putting them on
iust as he had read Lincoln put them on. He had had the
glasses made from a photograph in one of the lives of Lin-
coln he had perused.

That settled it. From then on the director allowed the
young actor to characterize the Lincoln he knew so well.

Just passing into his thirties, Henabery comes to the front
igain as the director chosen to make the first photoplays
starring Mildred Harris Chaplin under her new contract.

Since "Clansman" days, Mr. Henabery says that he has
simply been preparing himself. Offer after offer has been
rejected by him ever since he quit the Griffith fold as chief
assistant to the famous "D. W." During the latter days of
his stay at Fine Arts he directed several pictures for Triangle,
including "Children of the Feud," in which Dorothy Gisb
starred. Then Griffith pulled out of Triangle, and his organ-
ization became disintegrated.

About that time Douglas Fairbanks started out for him-
self and Henabery joined his organization as assistant to
Director John Emerson.

During the following two years Henabery had a hand in
practically every Fairbanks picture. Two of them he directed,
"The Man from Painted Post," most successful financially of
all Fairbanks pictures, and "Say Young Fellow," both of
which he also wrote. Then he went to war, getting married
the day before he donned the khaki.

When the armistice was signed Henabery came back to
the Fairbanks studio and became the dynamic Douglas' chief
production adviser. He was the director of Fairbanks' first
United Artists' production, "His Majesty, the American."

Although his name is scarcely known outside of inner cinema
circles, young Joseph Henabery is regarded as one of the
"comers." When it became known that he was to quit Fair-
banks, he was fairly swamped with offers, but he elected to
accept the offer from Louis B. Meyer to direct Mrs. Chaplin,
Sentiment had something to do with the ace ptance, because
Mildred Harris was playing "kid" parts at the Griffith studio
when young Henabery was a leading man there.

Mr. Henabery hails from Omaha, Neb., and was once a rail-
road clerk. He toured the Coast once with an amateur minstrel
show — which feat comprises his stage career.

(?-

Five Years Ago

Do you remember any of the film features of this happy organization, which made pictures under the direction of Etienne Arnaud,
in 1914? Commencing at the littlest — Clara Horton, now an ingenue leading--woman — we pass right up the line of human
etair-steps in the following nomenclature: Helen Martin, Mildred Bright, Julia Stewart, Barbara Tennant, Bob Fraser, Alec B.

Francis, Fred Truesdale and William Scherer.

Photoplay Magazine — Advertising Section

inuirojMDuuiWJuuuyMypH

i\\

To guide you wisely in your choice of drug-
gists, to help you in selection of the things that
mean so much to personal well-being — that
is the worthy mission of the San-Tox nurse.
^Look for her gracious face in the drug store
window. She is the San -Tox syfnbol of purity,

and identifies foryou, not only the many splen-
did San-Tox Preparations, but also the high
type of drug store where they may be obtained.
CThere is a wide range of these San-Tox
Preparations — all of perfect purity — and each
for some definite need of toilet or hygiene.

SAN-TOX FOR PURITY— DePree, Chicago

WbeD you write to advertisers please mention PHOTOPLAY MAGAZINE.

uL CLa

ays an

aysTS

Real ne^vs and interesting comment about
motion pictures and motion picture people.

IT will be months before the echoes
and re-echoes of the visit of Albert,
King of the Belgians, to the Los
Angeles film colony, die away. One
of the last to be forgotten will be the
magnificent joke played upon Victor Levy,
Syd Chaplin's business associate in the
airplane business. Levy had confided to
Syd that his highest ambition in life was
to entertain King .'\lbert at his Holly-
wood home. A few days before His
Majesty arrived in T.ns Angeles Syd im-
parted excitedly to
Levy the informa-
tion that the King
was to make an
unannounced in-
cognito visit to
Los Angeles by
airplane, and he.
Syd, had it all ar-
ranged for the he-
roic monarch to
partake of a small
banquet >«> the
guest offhoJfor a I
the Maisro de
Le\y. The night
of the event ar-
rived, the party
was gathered, the
feast spread, the
royal guest de-
scended from a
plane at Chaplin
Field attired in
fatigue uniform,
and was hurried to
the Levy home.
Not until the
"King" had gra-
ciously permitted
himself to be en-
tertained and had
departed late in
the e\ening was
Mr. Levy in-
formed of what
all the other
guests knew — that
His Majesty was
Albert R. Geldert,
a film actor who
is almost Albert's
double.

By Cal York

agents at Culver City kept bombarding
the home otfice with telegrams describing
how the King and Queen were to be en-
tertained at Culver City by the Goldwyn
forces, all garbed in uniforms of the
Belgian army — thousands of them. In
the midst of the excitement a telegram
arrived from Will Rogers, reading: "Party
just passed through here. Rumored that
King of the Belgians is with them. Can-
not verify rumor.''

.Ml that !■; lacking to complete the gay-

ANOTHER hu
morons side-
light upon the event was the stream of
photographs which poured into the office
of Photoplay, showing His Majesty and
various film stars, each photograph bear-

Alla, better known as Nazimova, with Ker ever-present cigarette
are assured, the best informal picture of the Russian actress. Th
lady is a member of the studio's office forces

believe that the arrangement is mutually
agreeable, and that INIiss Dalton will re-
turn to the Ince family after her season
at the Century Theater, New York, in
"Aphrodite." the play from the French
by Pierre Loin-s. La Dalton will play
"Chrysis."

DILLIE RHODES, widow of "Smiling
■L' Bill" Parsons, has announced her re-
tirement from the screen, owing to the
death of her husband. She has even de-
clined to go ahead
with "Hearts and
Masks," the Har-
old McGrath sto-
ry, and will be re-
placed by Eleanor
Field.

VARIOUS have
been the ex-
periences of play-
ers in making their
debuts, ranging
from those who
have been sud-
denly thrown into
a leading role be-
cause of the illness
or other disability
of the star (this
happening princi-
pally in fiction) to
those who slip ob-
scurely into pub-
lic life as carriers
of spears or palm
branches in the
chorus. Hence it
is worthy of note
that the only
player on record
who began stage
life as a corpse is
Sylvia Breamer. It
happened in Aus-
tralia, and Miss
Breamer says the
part was easy for
her because she
was "scared
stiff." It is diffi-
cult now to think
of Miss Breamer
as a dead one.

This is, w^e
e other young

ety of nations is an announcement that
His Majesty has signed a contract to star
at umpty millions a minute.

ing the assurance that "So-and-so is the pvOROTHY DALTON is going into the

only moving picture player with whom *-J spokies. It \ra^ Comstock & Gest

King Albert consented to pose for the who lured her, tenfcofcrily at least, from

camera." the movies, but iWri the earnest co-
operation the Famous Plavers-Lasky pub-

CTILL another happened in the Gold- licity department is furnishing the the-

•-' wyn New York otifices. The press atrical management there is reason to
92

GAIL KANE is
returning to
pictures after a season's absence on the
stage in "The Woman in Room 13." She
will be starred by a new producing con-
cern, the Lester Park-Edward Whiteside
company, in "Empty Arms," with Thurs-
ton Hall as her leading gentleman.

THE ranks of "star directors" con-
tinue to grow. The latest of these
is R. A. Walsh, who has left Fox for May-
(Contiiined on page 94)

Photoplay Magazine — ADviiunsiNG Section

' * IBP**"

After the Dance

THE woman who dances, or who engages in any form of exercise,
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Resinol Soap is an unusually pure and cleansing toilet soap with quali-
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your social and business success.

All druggists and toilet goods dealers sell Resinol products.

hsInolSoap

Resinol Shaving Stick
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0^1

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.yOV-

When you write to advertisera please mention PHOTOPLAY MAGAZIXE.

Plays and Players

{Continued from page g2)

Mary — or perhaps we should call Her Miss Pickford when there are visitors present
— is making a face because she only had one lump of sugar in her tea and Doug won t
let her have any more. The Duchess of Sutherland just dropped in for a visit.

flower. This latter company, by the way hold her hand in the death-cart scene of "A

seems to be specializing in the idea that Tale of Two Cities."

"the production's the thing." George Loane

Tucker and Allan Dwan already are under

contract with Mayflower and with Walsh

the company has an attractive trio. Other

companies are feclinj;
the same system.

their way toward

ANEW kind of deal in futures has been
invented. It has to do with the crea-
tion of stars. First Selznick announces that
Zena Keefe, after a year of probation a.-
leading woman for the Selznick men, Owen
Moore and Eugene O'Brien, will be starred.
Now Famous Players-Lasky follows the
example with Thomas Meighan, except .that
they do not think it will take a year to
make a star out of Thomas, for he will
get the big type and electrics in six months.

TOM MIX will remain with Fox — the
company which brought him frorn com-
parative obscurity into a prominence as one
of tlie, Jiardest-riding boys on the screen. He
will gi/^ Arizona to make his new west-
erns— XJiky has been erected for him there,
on a ranch fitted up with a corral of sev-
eral hundred horses, film saloons, dance-
halls and dressing-rooms. "The Untamed"
i.s the title of his first new picture, which
Cliff Smith will direct.

■\Y7ILLIAM S. HART has written a
W novel which, according to reports, is
called "Patrick Henry" and is soon to be
published by a New York firm, but whether
or not the theme is ''dive me liberty or
give me death." no information is available.

RAYMOND HATTON leaves Lasky at
the termination of his present contract.
He has been almost a star in the DeMille
organization — in fact there have been times
when he blurred the light of stars who
appeared in the same productions as he. He
goes to Goldwyn. There are those who
think that his greatest work at the Holly-
wood factory was as the King in "Joan
the Woman." and others who greatly prefer
his characterization of the weakling who /

BOOTH TARKINGTON, for the first time,
is taking a personal interest in pictures.
His best-known stories, the "Penrod" group,
have been bought by Marshall Neilan; while
the filmization of "Seventeen" was accom-
plished over a year ago. Now the famous
delineator of boy characters will write an
original series of twelve stories for Goldwyn.
The comedy interest will, of course, be para-
mount ; and the central figure will be an
entirely new character, "Edgar." Tarking-
ton will have an actual participation in these
pictures.

HELEN JEROME EDDY will be seen
again as the center-piece for a George
Beban Italian characterization. She was
chosen by him as the right type for his par-
ticular kind of pictures when both were with
Lasky. Since those days Helen has played
everything from stock to star parts for Uni-
versal. This new production will be the
second Beban picture, and "Bob White,"

1 J u- If • uTi wTu- ,. •„ nu^,... " who is George. Jr., in private life, will share

^ede_ems_himself m "The Whispering Chorus^ ^^^^^^ with his dad.

sanay, before Holubar turned from acting
to handling the megaphone.

(ALY'S THEATRE— cradle of Manhat-
tan's theatrical tradition, where every-
thing in the dramatic line from burlesque to
real drama has held forth in its palmy days
— has succumbed at last. It is to be con-
verted into a popular-priced picture house!

LRY THURMAN, ex-Sennett queen,
fho has risen from comedy to char-
acters and from characters to leads, will
have the chief feminine role with Bill Hart
in "Sand," the latest Hartism.

DW. GRIFFITH has branched out with
• a vengeance. He will establish, besides
his permanent New York film home, studios
in California. Kentucky and Florida. He
will take hb companies to the various plants
as the locale of his stories demands.

MRS. ALLAN DWAN is suing her hus-
band for divorce. Proceedings were
instituted at Reno in October. Mrs. Dwan
was Pauline Bush, one of the most beloved
players in the good old days, when she was
a "Flying A" heroine. When she was mar-
ried to the director she gave up her screen
work — that was about five years ago.

ALBERT CAPELLANI will direct Mar-
jorie Rambeau in her first picture on
her return to the screen. The lady whose
most successful stage vehicles have been
made into photoplays starring other
actresses: "Eyes of Youth" with Clara
Kimball Young, "Sadie Love" with Billie
Burke — will herself go into films in adapta-
"^ tions of well-known legitimate successes.

THAT Durning family is doing things.
No sooner had Bernard, formerly an
assistant director, been signed by McCauley
to play star parts, than his little wife, Shir-
ley Mason, agreed to go with Fox under a
nice little contract. She just finished doing
Jim Hawkins in "Treasure Island."
(Contivucd on page iiS)

KING VIDOR will hereafter make his
own productions. They will be re-
lease* through First National — which ar-
ranae^ient will interest you only in so far
as it involves a most satisfactory layout of
time and expenditure. Young Vidor will,
in the future, be enabled to take his own
time celluloiding his own ideas. And an in-
teresting feature of this contract is that Mrs.
Vidor, or Florence, will not be starred, but
featured. She is the girl whom Photoplay
discovered when she asked Bill Farnum to

TACK HOLT, who is one of the leading
J causes of feminine heart disease, filmat-
ically speaking, is to play in "The Best of
Luck" one of those old English Drury Lane
melodramas which Metro purchased.

IT is reported that Dorothy Phillips and
her director-husband Allan Holubar are
to produce independently. They have been
Universal's best bets since "The Heart of
Humanitv." Thev began together, at Es-

The first camera -maid — little Louise
Lowell, who covers her "assignments in
her own Spad plane. She is Fox s star
reporter for his News Weekly. Well
tell you something more about this young-
ster some day.

The

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Protect Your Cheelcs

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Cold winds injure a delicate, tender complexion; and so does the sudden change
from indoors to frosty air. ' Roughness and chapping usually follow any
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emollient like HINDS Honey and Almond CREAM. Many women who
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Coptjrtahf Ufli
AS. Hinda

QUESTIONS

AND

ANSWERS

"V^OU do not Wdve to be a subscriber to Photoplay
■^ Ma>^a/tne to get questions answered in this [depart-
ment. It js only required that you avoid questions
which would call for unduly long answers, such as
synopses of plays, or casts of more than one play. Do
not ask questions touching religion, scenario writing or
studio employment. Studio addresses will not be
given iti this rj)epartment, because a complete list of
them is printed elsewhere in the magazine each month.
Write on only one side of the paper. Sign your full
name and nddress; only initials will be published it-
requested. It you desire a personal reply, enclose self-
addressed, stamped envelope. Write to Questions and
Answers, Photoplay Magazine, Chicago.

Li'ciLK Ltd.. Mkjuphis.^TIil- idt-al man
ii always an unniarriocl man — in short, the
kind of man her husband would liave been
if he had remained sinfile. Jo'-ephine Whit-
lel who played in \'itasraph's "The Climb-
ers" is Mrs. Robert Warwick. "By Right oi
Conquest," the Norma Talmadge picture,
has been changed to "The Isle of Conquest."

L. C, Los Angeles. — Your monthly let-
ter from the City of the Lost Angels comes
like balm to my weary, sooty soul. Living
in L. A., as you do. I suppose, one acquires
a wide distracted stare by reason of peering
into various rainbow-tinted motors. But
again I suppose that the only stars you ever
see are the ones that emerge on your optical
horizon when said motor hits you and. knocks
you for a flock of tube roses. .Alice Brady
i:. married — !o James Crane.

Mildred, St. Loris. — I never hearil of
the picture "Five Xights." Is it terribly
advanced or terribly young or terribly what?
Mostly terrible. I'll be bound. Fudge pat-
ties? Are there nuts in them? Send them
along, though; I have only one digestion to
ruin and it'll be in a good cause. The snap-
shot of you in your bathing suit furnished
me the most beautiful thrill I've had since I
tirst saw Phyllis Haver. I love polka dots.
William Russell was married to Charlotte
Burton. He's with Fox now. Earle Wil-
liams married a non-pro from Brooklyn.

M.\HY E. S., Cleve!..\ni). — I handed your
letter to the Why-Do-They-Do-It Editor.
You people must think I am an Office Boy,
while as a matter of fact I haven't nearly
so much dignity as most office boys. Now
I know why I always liked Chicago; it's
your home town. I wasn't born in Chicago
but I'm not going to tell you where I was
born. You contribs. know too much about
me already. Constance Talmadge hasn't
been married this month — yet. Will let you
know.

Billy BeeD., Chic.\c.o. — Speaking of the
shimmy — which we were not — would you re-
fer to it as one of the chief tropics of con-
versation? I like Charlie Chaplin; he's my
favorite comedian. Dorothy Dalton is to
appear in the stage version of ".\phrodite."

I. O. W., C.\L. — I certainly do mind giving
you my private opinion. It wouldn't be a
private opinion if I published it, you know.

Houdini ill "The Master Mj'stery" ; he played
Qiienlhi Locke, and was supported as fol-
lows: Rva Brent, Margaret Marsh; Zitu
Dime. Ruth Stonehouse; De Luxe Dora,
Edna Britton; Foul balcom, Charles Gra-
ham; Feler Brent, Jack Burnes; The Aii-
loinnton, Floyd Buckley.

LoiisE M., Sherjman, Tex.^s. — If that
actress smokes Milo cigarettes she has kept
the awful knowledge from nie.

M.\k(;,\kj.'r B., Brooklyn. — Mollie King
must have been the blonde actress you saw
taking that scene. She's with .American
Cinema. Her sister Nellie is a brunette and
she isn't in pictures. Mollie's husband is a
>outherner, Kenneth Dade Alexander. Frank-
lyn Farnum was on the stage for a while
but I heard he was coming bac-k to the
screen.

Alice A., Penn Yann. — Oh, anyone can
sin. The difficult part is getting away
with it. May .Allison is with Metro; she
is about twenty-three. Her latest is "Fair
and Warmer," by which title someone once
designated the Binney sisters.

Jennie M. L., W.vL'PUN, Wis. — I should
suggest that you write your comedy with
Ben Turpin in view. Ben has the most
beautiful eyes I ever saw. For the ingenue
lead I should recommend 'Miss Marie Pre-
vost, while Marguerite Joslin would make a
good heavy. The tirst two are with Sen-
net t but I suppo.se if you sent in your script
with the express provision that Miss Joslin
must play in it, Mack would get her, too.
However, the company usually has the last
word in regard to the casting of a picture.

-A. P. K., Toronto. — So you think my
answers sometimes border on the sarcastic.
My iiHird — am I that unconvincing ? Here's
your cast for Vitagraph's "A Stitch in Time" :
Phoebe Ann, Gladys Leslie; Worlhinglon
Brvce, Eugene Strong; Larrv Brock man,
Charles Walton; Gilly Hill, Cecil Chichester;
Dick Moreland. Earle Schenck; Bryce, Sr.,
Charles Stevenson ; Mrs. Trevor, Julia
Swavne Gordon; Lela Trevor. .Agnes .Ayres.

Sec.o Lily, Salt Lake City. — Harrison
Ford's wife was Beatrice Prentice; they are
divorced. Vivian Martin is Mrs. William
Jefferson. I don't know where she is going.
Alice Brady's latest picture is "Sinners."

The Twins, Foxboko, Mass. — Delight
Evans is Jfcr-a girl. She only writes for Pho-
ioPL.\Y./l jm'Tiot she; nor is she I. For
elegant Stinpiiar I take the devil's-food. Eu-
gene O'iinen played with Marguerite Clark
in "'Little Miss Hoover." His latest for
Selznick is "The Broken Melody.'' The glass
— or lack of it — in Harold Lloyd's prop
glasses is explained awa>- in the story in this
month's issue.

L. P. W., Pontiac. — Send your sugges-
tions for a story to Norma Talmadge direct.
I agree with you that she has not had any-
thing better than "Panthea," her first big
picture. She is Mrs. Joseph Schenck. The
start of the Schencks may be seen, at night
in summer time, across the Hudson River,
blazing in incandescents^Palisades Amuse-
ment Park. Joseph and his brother Nicholas
an- well-known amusement men.

The Rotter. Rombauer, Mo. — Well,
you're frank, anyway. 1 suppose I would
get tired of my job if it weren't such a nice
job; but darn it! — I derive more amusement
from reading the letters you folks send in
than I would from a first night at the Fol-
lies. Besides, Kay Laurell's in the movies
now. (iood luck to you in college. But
don't forget me entirely. One is kept so busy
at the institutions of learning, especially in
the football season, now isn't one?

Pe.'Vrl's Pal: Broadway at night is one of
the great things to see in life. I'll not forget
the first lime I saw it. Garish, blaring,
grinning Broadway — the shiniest thorough-
fare in the world — bill the most fascinating.
Have >ou ever strolled up it at noontime?
Ah — it's vastly different then. Sunshine
shows it up. You have the world's record
for sincerity among fans. Don't you ever
get tired of picture shows? No, Richard
Barthelmess isn't a benedict yet.

Mrs. W. B. C, Roquexte Lake, N. Y. —
Haven't any "Miser's Dream" but won't his
"Legacy" do instead? Have no record of
that actress, either. Corliss Giles hasn't
been playing on the screen of late. If I hear
of him, I'll let you know, pronto.

Louise M., Texas.— I am, after that let-
ter, yours until the Sphinx does the shimmy.
Constance Talmadge's latest is "At the
Barn," from an Emerson-Loos story; the
title will probably be changed for release.

Questions and Answers

(Continued)

H. C. S., Akron. — I am always suspicious tortoise-shell-rimmed look. Come up and "A Doll's House," "My Lady's Garter," and

of children of whom relatives and admiring see us anyway. others. Six feet tall, weight 176. Gray eyes.

friends have said, "She's a regular little Oh, my dear! Address, 36 28th Street,

actress!" However, your small cousin does Amyryllis G., M.'^rion, Mass. — I got a Beechhurst, Long Island, N. Y.

look a lot like Virginia Lee Corbin and the raise last Saturday and I am all puffed up •

pictures of her are very nice indeed. I like about it. Now 1 wUl be able to afford a gas W. F. K., Riverbrink, Cooperstown. —
kids, anyway. The picture of the actress heater in my room. However, it was not Tom Moore's age is thirty-five. He is work-
you enclosed is not the likeness of any lady enough to enable me to buy myself any new ing in New York at present, in "Duds";
in the movies — that I know. neckties. I am still wearing my old black supported by Naomi Childers. His brothers
one. I suppose if I'd been in the army some are Owen, Matt, and Joe. Write to him care

Dorothy' A., Pennsylvania. — All the girls kind female friend would have sent me a Goldwyn's home office; address in our stu-

are sending me their pictures. This is a half-dozen scarfs of brilliant hues. Con- dio directory,

large month for me, although it hasn't an stance Talmadge lives and works in Manhat-
'R" in it. Do you think I'll

use my influence — which isn't
as strong as some things I
know, including horse-radish
—to publish your picture
rooting for 'Gene O'Brien?
If it were an Answer Man's
Club — ^ah, that would be an-
other thing again.

Leslie, Susqueh.anna. —
I hope that you have red
hair. Girls named Leslie
should have red hair. It
never bores me to be a con-
fidante. I am always inter-
ested in people. I have never
worked in a dental office but
I have suffered in a dentist's
chair. There is only one thing
to do with a bad tooth as
with a bad disposition : have
it out. The Mack Sennett
girls who traveled with "Yan-
kee Doodle in Berlin" were
not the original beauties.

Jane West, Baltimore. —
[f you write to Miss Daw for
a photograph suell her name
Margery. That is the way
she spells it. And La Nor-
mand is Mabel, not Mable.
You must have been reading
'Letters of a Rookie." Mary
Miles Minter is with Realart,
in California now.

Howard L. Larson, Copen-
hagen.— So you were born in
Chi and raised in Bridge-
port, Conn. — without bene-
fit of yeast, I suppose? And
now you're civil engineering
in Denmark. Write Connie
Talmadge again; then if the
heartless young woman does
not reply, write to me and
I'll see what I can do. Elaine
Hammerstein, Selznick Pic-
tures Corporation, 729 Sev-
enth Avenue, New York City.
Both are about twenty-two —
really.

R. B., Walkerville. —
Where in samhill is Walker-
ville? "The Black Secret" is
Pearl White's latest and said
to be last serial. "The House
of Hate" has never appeared
in book form. "The Tiger's
Cub" is her first Fox produc-
tion. She isn't married; and
she's a reddish blonde.

Movie Pests

Tke people who always enter just at the wrong time.
Dont you hate them?

Eleanor K., Flint. Mich.
— There was a lot of uncon-
scious pathos in your letter.
However, I will not indulge
in any pathos over it. Suffice
it to say that there are a
many bum actors but darn
few good housewives. While
an understanding woman is
the rarest thing on earth. So
few of us realize our ambi-
tions, dear lady; but it seems

B. D., Baton Rouge. — I
hate to tell you he is mar-
ried— meaning Dick Barthelmess — if you're tan. Her domicile is an upper-Fifth Avenue to me that you have a brilliant career with
sure it will break your heart. But you hotel whose name I refuse to divulge. She your support of two lovely children. There's
girls are always having broken hearts and lives with mother Peg and sister Natalie, many a worse lot than that. Now finish up
recovering so quickly, yet don't touch me Ralph Graves with Griffith, New York. those dinner dishes!

at all. Probably because none of you

ever were love-sick over me. So you have Thelma H., Baltimore. — I am right with
an adorable little kitten which you will you in wishing we had more pictures like
name "Answer Man" if it would please me. "The Miracle Man." But we're lucky to
Well, it wouldn't. get one a year of that caliber. Eugene
O'Brien, Selznick Pictures Corporation.

Jill, Pottsville. — Inasmuch as you write Anita Stewart is out west at the present

to me on white paper, do not ask any im- time.

pertinent questions, giving your full name and

address, for the cast of a comparatively re- Mks. H. H. Gray-, New Orleans.— Your ""t related to Henry. I don't think, either,
cent picture, I have no excuse whatever for paean of praise for Crauford Kent entitles that he uses Henry's car. Ruth Fuller Gol-
not giving it to you. "The Secret Code" you to an honorary membership in the den used to be with Universal ; I don't know
(Triangle): Senator John Calhoun Rand, J. Boosters Club. I agree with vou that he's where she is now. Why don't I go in pic-
Barney Sherry; Sally Carter Rand, Gloria a good actor. Undoubtedly he'll perform tures? I never thought of it, but now that
Swanson; Mrs. Lola Warlmg, Rhy Alexan- that act known to good press-agentry as yo" suggest it—
dcr; Baron de Vorjeck, Leslie Stewart; Jef- forging to the front with remarkable rapid-
ierson Harrow. Joe King ; Mrs. Walker, Dor- ity in the very near future. I thank you.
othy Wallace; Towen Rage, Lee Phelps.

Maybelle J., Terre Haute. — So you
think I have as much business as Constance
Talmadge's Nevada Senator in "A Tempera-
mental Wife." I don't know about any
Maurine Powers; will look her up for you.

Dorothy', Louisville. — Harrison Ford is

JorELYN Aubrey. — I'll bet your name

was Mary Ann until they sent you

Helen C, Dedil^m, Mass. — Were you away to boarding school. Accent on the

T. W. B., Monmouth. — Hobart Bosworth among those present at Mary Miles Minter's zim in Nazimova; one has only to look at

has not retired. He will appear in the sec- picnic in your town when she came to make the lady to learn that. "How old are you,"

ond version of Jack London's "The Sea scene for "Anne of Green Gables"? She you observe, "and are you married? I am

Wolf," playing his original role of Wolf likes your townsfolk immensely. I'm awfully sixteen." That's good; some day you'll

Larson. Watch out for it— Famous Players- glad to be able to relieve your anxiety about grow up to be a nice young lady, I've no

Lasky. He is married to Adele Farrington. the young man named Holmes Edward Her- doubt. Jdhn Barrvmore's latest is "Dr.

That was Elmo Lincoln who was Tarzan, bert. Isn't that a full name for you? Since Jekyll and Mr. Hyde." He's in his thirties

while it was E. K. who appeared in our No- you will like all pictures because he is in somewhere and lives in the deepest retire-

vember art section. So you think you saw some of them, I hasten to tell you all I ment down in Greenwich Village, coming

the Answer Man in Chicago's Lincoln Park know about him. He was born in Dublin in forth only to go to the studio or to the the-

one Sunday afternoon, wearing tortoise-shell- 1882 ; educated at Rugby, England. He was ater where he and brother Lionel play in

rimmed glasses. Well, I sometimes walk in on the stage for four vears, playing with "The Jest." I know Lionel but not John.

Lincoln Park, but my professorial air comes Mrs. Pat Campbell, Bil'lie Burke, Blanche Won't Lionel do?
naturally; I do not need to cultivate that Bates, and others. On the screen he was in (Continued on page 132)

Photoplay Magazine — Advertising Section

Get these ne^v^
Feist son^ hits
tor your piano,
phoiio^aph or
player-piano

WINTER Nights! How we love those nights at home! — with
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" On the Trail to Santa Fe "

Thnt dreamy waltz melody, that beautiful homely sentiment of "On the Trail
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'* Golden Gate

''Golden Gate," by the writer of "Bubbles," is a golden song from start to
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"In Siam

Luring — mysterious — truly Oriental is the spirit of this new song hit

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makes a supreme fox-trot for your piano, phonograph or player-piano. Try it. ^

Other Beautiful Feist Songs:

Va^^^ W\icn You Look mj
the Heart of a Rose

"•ail Jo Si

When Yon Look in the Heart nf a Rose "

Ttiank God You're Here, Mother Mine **
** There's a Girl in Chateau Thierry "

Dreaming of a Sweet Tomorrow "

Sweet Love Dreams **
" My Baby Arms " " The Land of Lullahy

**Sand Dunes ** ** Your Heart is Cal!in

J'jst Like the Rose '* '* Persian Moon "

" B[uin' the Blues " " Li:Ilahy Blues *'

'* Star of the East '* ** Love, Here Is My He

** Do'vn Limerick Way " *' Give Me All of You '

(Fiske O'Hara's Hit) ** Sing Me Love's Lull

** The Vamp " *' Erin "

Instrumental Numbers

Aloma *'
' Star of the Sea "
Lazy Daddy *'
Syria "
Merci Beaucoup '

KU'-ndyke Blues

Sensation '*
* Bells of Bagdad
'* Djer-Kiss '*
(Thank You) *'

Church Street Sobbin* Blues *

Laughing B
Fidgety Fee
At the Jazz
Vamp "
Orange Blossom

Heart of a Rose '* —

On sale wherever music is sold, or we will supply

you direct at 40c a copy, postpaid. Band or

Orchestra, 25c each.

Ask your dealer for a copy of

"Feist's Melody Ballads"

A little booklet that will give you the words and music
of the choruses of many of the beautiful song hits listed
above. H not at your dealer's, send us his name
with a two-cent stamp and we will supply you direct.

By the Campfire '*
' The Radiance in Your Eyes

LEO FE 1ST , Inc. Feist Bldrf. New York

CAN-AZ>Ai 133 YOrrGJS ST. TOROr/TO. OJ^Xl

Get a Roll

for yovir

Player Piano

When you write to advertisers please mention PHOTOPLAY MAGAZINB.

100

Photoplay Magazine — Adverti!?ing Section

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That was a good story the press-agent told y^

of June Caprice's camera debut — only [[

It Never
Happened !

EVERYBODY has heard the story of June Caprice's
entry into pictures. It is an interesting and dramatic
story — almost as wonderful as the Cinderella tale. She
was walking home from school in Boston one day, her
yellow curls down her back, her rose-bud mouth parted to
disclose teeth like little pearls, her eyes shining like stars, all
unconscious of her youth and beauty. A motion picture mag-
nate, m Boston on business, was strolling in the same street.
He saw the gospel-eyed June. He gave a start, placed his
dand on his brow and exclaimed, "Shades of Cleopatra and
Helen of Trov!"

,™r— -

SUZANNE
STEVENS

Above - Miss
Caprice in
"Little Moth-
er Hubbard.

He followed her home. He insisted on seeing her mother.

He implored to be allowed to make little June a great moving

picture star — the most famous star in all the screen firmament.

The mother consented with tears, declaring, she would not

stand in the way of her daughter's career.

And June packed up her possessions, went

to New .York with the film magnate and

the following week was making her first

picture, her name in big type in all the

newspapers.

You must admit that it is a good story.
The only flaw in it is that it never
happened.

June told me the true version of her
entry into pictures over the luncheon
table the other day. She had motored to
the Ritz from the Albert Capallaui Stu-
dios at Fort Lee in her smart blue car.
She looked dainty and expensive in a dark
tailored suit and an adorable tricorn hat
of French blue. The curls were tucked
up, of course.

Witt Creighton Hale in a scene from " Tbe Love Cheat."

I introduced some delect-
able /nVo mhto a la Espagnol
to June's unspoiled palate and
she grew what is known as ex-
pansive in a man and confiden-
tial in a woman.

"Not only is that story un-
true but I am glad that things
were not made any too easy
for me," she said.
"I have no patience with
mushroom stars. Girls
who are made stars in
a week do not last
long. The public is not
as gullible as is supposed.
It knows when an actress
has worked long enough
and hard enough to de-
serve stardom.

"This is what happened
lo me. With some girls
at my school in Boston I
sent mj' picture to a con-
test that had for its ob-
ject the discovery of a
girl who looked like ^lary
Pickford. Now almost
any girl who is young and

101

I02

Photoplay Magazine

not ugly can toss long curls over her face, be photographed in a
half light and label the result, 'the latest portrait of Mary Pick-
lord.' Anyway, while we all managed to get such pictures, mine
was the one that seemed to impress the judges as looking the
most like Mary. I won the contest and was sent for to come to
New York. "Ah,' I thought, 'this is the beginning of my
wonderful career.'

"Well, it was nothing of the sort. All I did was to report
at a studio e\ery day and then go home again. They gave
me nothing to do — not even a test to see how I would screen.
My mother was entirely out of patience by then. She said a
girl not seventeen should be at school. For the sake of peace
I consented to go to school — but in New York. I lived with
some friends of mother '.s uptown and each day before going
to my classes I reported at the studio. Finally I grew tired
of being told 'Nothing doing today' and I found another
studio. This one offered me $25 a week and I took it gladly.
It was several months before I was engaged by Fox.

"How I worked that first 3'ear! I was frightened to death
every minute I was in the studio. I knew just how bad I
was and every night I useil to go home and cry for hours. I
hope no one thinks I am satisfied with my work or that I have
any illusions about myself. I am just beginning to learn
things."

"I've played just one role I liked."' she told me sadly. "I
put my hair up and my skirts down. When the picture was
released I began to receive letters from everj'where begging
me to be a kid again. When I had read about 10.000 of these
wails I bade farewell to my aspirations. After all, it is better,
I suppose, to do what people like to see you do than sonie-
ihing you like to do — and perhaps would do badly."

What do you think of that? I gazed into those baby-blue
eyes which regarded me with such a serious air.

"You never thought all that out by yourself," I accused.
'"You learned it, word by word."

June laughed. Then she spoke indulgently.

"Don't you know that I arrange all my own affairs, take
care of my own business and pass on my own scenarios,

directors and leading men?" Her tone was kind and her
manner gentle. She had forgiven my doubts.

"I adore my mother." said June warmly. "But she knows
nothing of business. She is happy at home with a book and
is not to be bothered with my uninteresting affairs. She
often comes shopping with me, however, and we go to lunchecn
and have nice times together. I think girls make a mistake
when they lean on their mothers and drag them with them
constantly everywhere they go. It isn't fair to either mother
or daughter."'

Just then Madame Petrova entered the dining room and
v/as given a table near ours. As we left, I introduced little
June, who admired Petrova without a trace of the envy women
are supposed — by men — to have for each other.

"You are very pretty, my dear," said Petrova, bearing
heavily on the "very."

"Did you ever see such beautiful eyes?"' whispered June.

I felt lonesome and put my mind on my new fur coat,
murmuring "Handsome is as handsome does," the maxim with
which my mother used to comfort me when I wept before
the mirror.

In June's car we raced up Fifth Avenue.

"Do come to four or five hotels with me," she begged. "I'm
moving in from the country tomorrow morning, the trunks
are on their way and I have no home yet. Reservations are
ordered every place but no one will assure me of a roof to-
morrow night."

Having disposed of the Plaza, Savoy, Netherlands and Ma-
jestic, we sped down to the Knickerbocker. No hope any-
where.

"Something will turn up," June said gaily. "I must think
what to do next. I hate being balked. Ah, I have it! I "11
see the manager."

She disappeared and when she returned she wore the smile
of one who has left the battlefield bearing the shield of the
enemy.

"This is my address until I find an apartment," she told me.

''I was betting on the June Caprice smile," I answered as
we parted.

SAVE A LIFE AT CHRISTMAS TIME!

A PRETTY good way to celebrate Christmas, it
seems to us, is to save a life. That's a large order,
isn't it? But when you think that by buying
enough of a certain kind of Christmas seal you'll be
lowering the death rate from tuberculosis in the United
States — well, isn't it worth while?

The National Tuberculosis Association is doing its
best to fight the plague. Statistics are unpleasant things,
but like most unpleasant things, they have to be faced
sooner or later. Consider, then, that last year there
were 150,000 deaths from tuberculosis in the United
States. There are at least one million active cases
to-day. And there is something you can do about it.
There are more than 650,000,000 Christmas seals now on
sale in all parts of the country. They are only one
cent apiece. They are decorated with the quaint figure
of- Santa Claus, immortal symbol of good cheer and
good will that means Christmas; and they are just the
thing to stick on holiday packages and greetings. All
of these stamps must be sold if the National Tubercu-
losis Association and its 1,000 affiliated organizations
are to have the sum necessary for carrying out its plan
for 1920. Let's clean "em out. Do your share!

BUY RED CROSS SEALS!

The emblem of
ttie N. T. A.
Aren't these
kiddies worth
saving?

Photoplay Magazine — Advehtising Section

103

SEND NO MONEY

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^ 2-4 Maiden Lane NEAV YORK

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When you write to advertisers please mention PH0T0PL.4Y MAG.4Z1XE.

[04

The Mother of the Sub-Deb

(Concluded from page j^)

Hugh Walpole from England, and caught cold, and that's how I
got these red eyes. But the game was great."

"What story are you doing?"'

"My, latest novel, 'Dangerous Days,' will be my first picture.
I say my first picture. It isn't my first story to be filmed.
My 'K' was put into pictures with Mildred Harris and labeled
'The Doctor and the Woman.' And the Bab Sub-Deb stories
were done by Marguerite Clark. But now I am having a hand
in the filming of my stories; I was in Culver City a month
selecting the cast. It's a wonderful co-operative system we
have out there. Before, it always seemed to me that a producer
said: 'Here's some money. Hand over your story.' Now they
say to me: 'You have a story which should lend itself to pic-
lures. Come on and help us work it out; if it can be worked
out we'll do it together.'

"You see," she went on,
■'I haven't yet found out
whether or not I can write
filmable material. My pre-
vious picture experience has
been that my tales do not
take well to the screen; the
high lights have all been lost.
That may or may not haxe
been the fault of the stories.

"I shall, in the future,
pick the players who are to
people my filmed pages. I
had to leave California be-
fore I had found a girl for
the character of Audrey in
'Dangerous Days.' It is hard
to find a woman to play her;
and she must be played
right.

"That's why I have ne\er
consented to the filming of
'The Amazing Interlude.'
That story is rather dear to
me. You know I had been
over in France reporting the
war. That sounds egotisti-
cal, doesn't it? All I did —
all anyone could do — was to
see a small slice of it and tell
the folks back home what a
woman thought. I put my
soup-kitchen and my stow-
away experiences — I stowed
away going over, you know
— and all the rest of it into
my book. I made Saralee

go through all I did. And I wrote under heart-tending personal
circumstances. My husband was doing war work; my two eld-
est sons were fighting over there: and my youngest son, Allan,
was lying very ill in bed with a trained nurse in the next room.
It was in this very hotel" — a small and exclusive one on upper
Fifth Avenue — "that I wrote that book.

"And I always said I could never do any Vv'riting in New
York!"

She lives in Sewickley, Pennsylvania. I said she lives there.
5he is a wise woman who does not confuse her work with her
play. She has an oftice in town and every morning she and her
secretary go in and work. But the next day — she golfs, or
rides or plays tennis. She is the most popular member of the
younger set in Sewickley 'Valley. She even belongs to clubs
out there.

"I average several thousand words a day. Once I wrote
12,000. That was a rush war order from the Sat. Eve. Post.
I always thought I had to be at my desk with the familiar
ink-well and other appurtenances before I could write a line.
Then a magazine sent me on my first reporting job; reporting
a political convention, and I used to send out my stuff from
the convention hall. I found then that I could write any
place, providing I had to I"

Her family is her severest critic. Her husband is a writer,
too, chiefly on medical topics. They collaborated on a play,
"Double Life," which was given a Manhattan production in

The Villain Gets His

1907. Her sons appreciate her work but, she says, it has got
to be pretty good.

She has written more than fifteen novels. They have been
best-sellers. She has written several successful plays: "Seven
Days" was one of them. And she has several more plays in
production; "Bab" is soon to be put on the stage.

" 'Bab' — I think I enjoy writing her more than anything
else I do. She is every girl I have ever known. Men do not
understand her. She is the girl at the awkward age— between
12 and 18. She has outgrown her dolls and she doesn't know
what to do. The boys she used to play with have a 'gang' and
their idea of fun is to drop ice down a girl's neck, or torture
her with impending caterpillars. She is absolutely lost — she
has no 'gang' — and so she resorts to imagination. She peoples

her poor starved httle world
with wonderful heroes. She
is always having imaginary
love affairs. She is funny,
but she is pathetic, too.

"I have laughed at her,"
said Mrs. Rinehart quite
frankly — "until I cried. I
have mapped out my story,
gone over it and read the
final draft, and — howled. My
husband has caught me sev-
eral times."

Mary Roberts Rinehart is
one woman who has followed
world events with personal
fidelity. Whenever there's a
war, or a convention; when-
ever a great English author
comes to America; whenever
a new writer blossoms forth
with a first book; whenever
one of her sons has a new
crush — Mrs. Rinehart is
there, both in the Webster
definition of the word and
the slang application. She
can write of real people be-
cause she knows real people;
she is one, herself. She has
never stayed on the sidelines,
in life or in the studio. She
has been a part of it. Mrs.
Rinehart has explored the
Rockies, American and Cana-
dian, and left her impres-
sions between magazine
covers. She is a good pal
and a good sportswoman. Her sons say she's game.

She never wrote before she had lived, and lived fully. She
went to the Pittsburgh Training School for Nurses — she was
born in the smoky city. She was a good nurse; but the work
was hard, and for a while she was ill. She was married to
Mr. Rinehart in i8g6. Her three babies came and grew to be
boys before she ever found out that she could translate life
to fill printed pages. But when she finally started, she wrote —
and wrote, and wrote.

You have probably read "The Circular Staircase," "The Man
in Lower Ten," "The Window at the White Cat" — all crackmg
good mystery stories. "Tish." which May Robson is now play-
mg in the legitimate; "The Street of Seven Stars," which Doris
Kenyon has done for the screen: "When a Man Marries,"
"Where There's a W'ill"- — this is just mentioning a few. "Twen-
ty-three and a Half Hours' Leave" has been enacted by Douglas
MacLean and Doris May as their first stellar picture for Ince.
"The Altar of Freedom" was her contribution to the literature
of the War.

Mary Roberts Rinehart loves clothes, as I have hinted;
and thinks when a woman has ceased to be attractive — to care
to be attractive — there's not much of a place for her in ^he
world. She is feminist and suffragette; and she likes tall
deep-red American Beauty roses in her room.

"I do not like," she said as I was leaving. "I do not like
that picture of me that they are using in the moving picture
advertisements — do vou?"

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TiUi; Kej!. U. S. P,it Off

'I 'HIS is YOUR Department. Jump right in with your contribution.
■*■ What have you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of absurdities in pictures you have seen.
Your observation will he listed among the indictments of carelessness en
the part of the actor, author or director.

Did It Have on Skid Chains?

I JUST saw "The Virtuous Model," the scenes of which
are supposed to be taken in Paris; yet when the Leading
Man hails a taxi it bears a New York City hack license.

M. G. H., N. Y. C.

Remember, She Was Temperamental

CONSTANCE TALMADGE, as Billie Billings in "A Tem-
peramental Wife" after having been married to Senator
Newton for some weeks, had neither wedding nor engagement
ring on. in fact no ring at all.

Henry Abbott, Jr., Concord, Mass.

Mebbe He Inherited It

IN the office scene of the picture, "The Uplifters," the head
of the firm is seen taking his watch out of his pocket, and
as he glances at the time, the words "Ingersoll Eclipse" are
seen on the dial. Nothing snobbish about that plutocrat.

Edward B. Howe, Cambridge, Mass.

Premiums with Each Purchase

IN "The Egg-Crate Wallop" Charles Ray goes out and buys
a new suit of clothes. He comes home and puts it on. He
then discovers that he has been suspected of theft, so he writes
a farewell message on the wall, taking a piece of chalk from
the pocket of his perfectly new suit!

H. R., New York.

What Is So Raw as a
Day in June?
IN the "Days of Real
* Sport" series, the
one entitled "School
Days and Scandal," we
see "Skinnay's" parents
getting him up in the
morning. He jumps
out of bed and grabs
his clothes on a run
for the living-room
stove, shivering as if
he was doing the shim-
my, nevertheless when
the children are shown
going to school they
are wearing summer
apparel and seem to be
very comfortable.
W. B. W.,
Denver, Colo.

A Reader of The
Ladies' Home Com-
paniofi

IN "Mints o' Hell"
■^ with William Des-
mond, the action is sup-
posed to take place in
the northern part of
Canada. It is said that
Vivian Rich, the shero,
knows nothing of the
outside world except
what she read in books.

Rushing the Season

IN "The Career of Katherine Bush ' the cast goes to the country
estate for Christmas. During the holidays they go for a walk.
Catherine Calvert picks up a stra-w hat -with flowers and her lead-
ing man wears a stiff-brim stra^v hat. Isn't Christmas a little too
early for Spring stuff? Edith Gorman. New Orleans, La.

But she had her hair in puffs over her ears and a beautiful
marcel.

D. J. S., Detroit.

We'd Like to Know Too

OTUART HOLMES in "The Way of a Woman," as Mr.
»J Trevor, enters his wife's room with a long cigarette holder
between his fingers and about half an inch of cigarette burn-
ing in it. In a close-up of the same scene the cigarette has
grown in proportion until it is fully two inches in length. I
would be much obliged to Mr. Holmes if he would inform me
where he gets cigarettes that the more you smoke the bigger
they get.

R. M. Gorc.H. Philadelphia.

And Then War W^as Declared!

IN Douglas Fairbanks' picture. "His Majesty the American."
Sarzeau, the Minister of War for Alaine. asks his fellow
conspirators to sign a paper guaranteeing their support to the
father of the Prince of Brizac, who is trying to marry the
Countess. This takes place in a room where there is a table
around which are seated the parties to the conspiracy. The
men file around the table to sign, Duray being the third one in
order to affix his signature. But later on in the picture when
the document is shown Duray's name was last on the list of five
names.

G. P. Johnson, Roxbury. Mass.

A Relapse

IN Bessie Barriscale's
"Kitty Kelly, M.
D." the villain is seen
washing his face where
he was cut by Jack
Holt. hero. In a cut-
back the bleeding cut
disappeared only to
appear again later.
George McC, N. Y.

Up-To-Date Norma

AS "Toy" in "The
Forbidden City"
Norma Talmadge —
brought up in the
Chinese Palace — wears
high-heeled American
shoes! And when she
goes to the Philippines
she evidently converses
in English.
JuNiTA D., Fargo.

He Wanted to Be Sure
IN Charles Ray's
* "Greased Lightning"
the bank robber, Mc-
Kim. travels past the
same scene twice in
the get-away. Didn't
he like the way he did
it the first time?

J. M.,
Huntington. W. Va.

107

A Real Indian Princess

IN "Hitchy Koo 191Q," the third edition of the annual Raymond Hitch-
cock revue now playing in Manhattan, there is a new terpsichorean
sensation. In the costume of an Indian girl— head-dress, moccasins,
beads and blanket, she leaps on the stage and convinces the audience-
even the most skeptical— that she is, indeed, a member of the copper-colored
race. And the audience is right. She is Princess White Deer, a real Indian
girl, from the Iroquois Reservation near Malone, N. Y. - Her grandfather is
Running Deer, who keeps a hotel in the Adirondacks ; and her father was a
truck farmer. She rebelled at wedding an Indian buck, fled to New York
and began dancing. She danced in Germany and in Russia. Then she came
back to America, dancing in cabarets when "Hitchy" found her.
10s

Photoplay Magazine — Advertising Section

109

Florence Martin

In "The

Undercurrent"

We don't know who the little boy
is but (in the vernacular of the
doughboy) we'll tell the world the
luck is all his. Florence is about
as captivating as anything we've
seen lately and she's doing some
very artistic work.

Select Pictures

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PnoioPL.^Y Magazine — Adnertisixg Section

The

Story

Major

Robert

Warwick

Be Comfortable

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vou, send his name nnd the price to

The Thos. P- Taylor Co.

Dept. PM Bridgeport, Conn

in France

Thrilling and inspir-
ational experiences in
the war which the sol-
dier-a,ctor heretofore
refused to disclose.

THIS story is the product of strategy — of persuasion and of brow-beating. To
the narrator, Major Robert Warwick, who was not going to tell it, come what
might, was applied every known instrument by which the recalcitrant are made
to come across. The situation was both unique and embarrassing. The major had
returned from the war with extraordinary experiences, but without even bringing
back a picture of himself; and he had nothing to say for publication. Not a word.
Everyone aggrievedly asked — "What kind of a star is this who has big things to tell
but is silent?" They gave up. Then a Photoplay interviewer labored with the modest
man and at length convinced him that he could do a real service by yielding. — Editor.

WHEN Major Warwick went to
war, good fortune had given him
the power of seeing much and
thereafter provided so much to
see that he is an illuminated text of the
Greatest Story. It is doubtful if any Ameri-
can officer had a wider range of experiences
or came within close-up of more heroic
figures. As a spectator of the supreme
drama the major had a front row seat, and

it is recorded of him that he went farther
in the attainment of military honors than
any other man of the screen.

The major's reminiscences make clear that
his perceptive faculties operated along cine-
ma lines. But not merely in a camera sense.
He had had the training of the studio to
teach him values and intensive instruction
as an intelligence ofiicer in the War College
at Washington to further equip him as an

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — ADVEivrisiNG Section

III

Major Warwick in France

{Continued)

observer. There is only one respecl in
which his Seeing the War has the objective
"consciousness"' of the lens and this is in the
elimination of self. Major Warwick will
give you many a reel of verbal pictures, but
when you try to lake a hand in the pro-
duct, n and introduce him among the actors
— nothing doing. You get a blank screen
until you agree to let the major tell his
story with himself left out. And then you
have in review Marshall Foch, General
Pershing, Lord Reading, General Mangin,
Paris during the Good Friday bombardment,
American ciivisions, French divisions, the
historic review of poilus at Strassburg, the
armistice and —

A special word about the armistice. What
is it that was most hilariously hailed when
it befell and has since been most anathema-
tized? Easily, the armistice. At one and
the same time it ended the war, which was
welcome, and many line military careers,
which was distressing. If the armistice had
not intervened precisely when it did the then
Captain Warwick, fresh from the Great
Staff College at Langres, would have be-
come, de bonne heure, a lieutenant colonel,
with an assignment as assistant chief of staff
to the general commanding the Twenty-
Eighth Division. You have heard men speak
harshly about the armistice in such words
as — "If it hadn't been for that blank armis-
tice I'd have gone to France," or, "The
Armistice cheated me out of a commission;
yessir, I was just on the point of— etc."
Major Warwick has forgiven the .armistice
and even mentions it kindly. He would
have worn a silver leaf on either shoulder,
but when he puts these into the scales
against the peace of the world he is gener-
ous enough to admit that he is on the losing
side of the lever.

\^ou have seen Robert Warwick in pic-
tures; guess his age. Wrong. The draft
missed him by a safe margin, which, how-
ever, made no difference; he went in early
in the game, enrolled in the Roosevelt con-
tingent long before some of the young bucks
were ready for the Big Adventure; and
when it was decided there would be no
Roosevelt division he rushed around to the
application office and put in his name for
Platttsburg. Warwick was in New York
then with the Athletic Club training bat-
talion, but the officer at the Plattsburg re-
cruiting place, who knew "material" when
he saw it — and in this case he saw about
six feet of it — touched him on the shoulder
with, "I want you," and three months later,
down at the camp, there were two bars of a
captain on that shoulder and two on the
other — a commander of infant v he was.
He was assignijd to Camp Dix, but a change
in orders sent him to the War College at
Washington where a month's intensive train-
ing in military intelligence brought him
flush up with destiny — the going across.
This course at the War College was reserved
for men with special equipment; Captain
Warwick had spent five years of his youth
in Paris universities and knew France and
the French and their language like a boule-
vardier. Voila.

From the step-off he was among Big
Things. On the way over he saw, close at
hand, the Tuscania torpedoed. This, you
will remember, was the only American
transport sunk. Warwick was on the Baltic
and missed no detail. But he was able, not
long afterwards, to witness a compensatory
happening; off the coast of France, as he
was returning to .America on a special mis-
sion aboard the Leviathan, the ship's gunners
sent a German sub to Davy Jones locker.

"The greatest sight I ever saw?" As he
repeated my question I could sense the stir-
ring of splendid memories in my victim of
this interview. Ill say he was my victim;

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112

Photoplay Magazine — Advertising Section

^Bettertfian a
mustard pltister

Once when grandma's
joints commenced to
ache and twinge, she used
to go to the mustard pot
and make a mustard plaster.
Now she goes to Musterole
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My, how good that

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Major Warwick in France

( Continued)

I had him cornered and his six feet high
by two feet wide availed him not. Being
helpless he spoke, and it was of Foch at
Strassburg; and because the story has not
been told before here it is:

"Immediately after the armistice I was
ordered to Strassburg, and was on duty for
the general staff with General Gouraud's
Fourth French Army of Occupation. Strass-
burg as a city is wonderfully picturesque,
moldy, ancient and eternal. It was Thanks-
giving morning and it was raining; a fine
drizzle filled the air. The division, the
Twentieth, Vv'as drawn up waiting for Foch
— in the citadel of Strassburg — fifteen thou-
sand veterans who had gone through the
entire war, but not under this command.
The Twentieth was one of the immor-
tals; it had been cut to pieces many
times and as many times the gaps had been
filled up. Most of these men had been
wounded, some more than once. Despite
the rain, which enclosed the army and the
city in its amphitheater of silver gray, the
poilus bore themselves with a certain jaunti-
ness. Their uniforms were faded, tattered,
muddy, their feet out at shoes and their
faces bearded, but there was something
dauntless and heroic about them. This
was their day— -Le jour de gloire. I was a
very fortunate spectator; a French officer
had taken me to a position high up in the
citadel and from that point, alone, I saw
what so impressively unfolded.

"Presently through one of the wide gates
of the citadel, which is a large, walled-in
enclosure of vast parade ground and bar-
racks, came dashing many troops of the bril-
liant cavalry of the Spahis. The entry
was dramatic, but the supreme moment ar-
rived which Marshall Foch himself, with
General Weygand on one side and General
Castelnau on the other, appeared at a can-
ter under the massive arch. The massed
bands playing the Marseillaise; the battle
flags; the division, rigid and at attention,
and the figure of the commander in chief
of the allied armies as he rode before the
lines with keen gray eyes flashing their pride
all made a glorified picture. His pride, it
could be seen, was in his men, in these sons
of France, all brothers of his. This day
and its events revealed to me the real Foch.
Here was one of the greatest commanders
of history who bore his honors almost with
humility. While there was no let down
from military exactitude in his bearing it
was easy to see that here was a man to
whom the opportunity to serve his country
was the one big thing and the -personal glory
he got out of it negligible.

"A ceremony followed the review.^ The
marshal was presented with the scimitar of
Kleber, one of the marshals under Napo-
leon. With the bands again striking up the
national hymn and the battle flags in a
vivid cluster, the division led by Marshall
Foch, passed through one of the gates of
the citadel and marched to the great
Place Kleber and formed a hollow square
from which the Marshal alone rode
forward with drawn scimitar, saluted the
heroic statue of Napoleon's famous gen-
eral. There was a dash, something in-
trepid about the Marshal's action which
proved that his spirit was young although
age and concentrated thought had so lined
his face that it looked like a map. Fol-
lowing this Foch pinned the decoration of
Grand Officer of the Legion of Honor upon
the breast of General Vandenburg, the only
soldier present wearing the ceremonial black
uniform of peace times. From here there
was a procession to the Cathedral of Strass-
burg where the marshal, with the devotion
for which he is noted, knelt before the altar
while the Te Deum was chanted. To have

been in Strassburg on that day and to have
seen the invincible Twentieth Division re-
viewed by one of the greatest military
geniuses of all time — well, you can imagine
how I feel about it."

Major Warwick tells things far more
feelingly than they look in print; he gives
his pictures a vitality and color that can't
be put down. Being in the pictures he
knows no one and, with instinct and trained
technic, he seizes the values. But it was
not only the visual that interested him or
that he brought back. The major associated
with some of the biggest figures in the war
game, diplomats as well as soldiers, and be-
tween the business of dodging some tons of
German metal in a varied assortment of
sizes and shapes and in divers places, he was
compiling a small but very absorbing Who's
Who in the universe.

Major Warwick became exceptionally
well acquainted with Lord Reading, who
headed a special mission from England to
the United States. Warwick, then a cap-
lain, was assigned to the Lord Chief Justice
as aide and one day asked him— "Who is the
greatest speaker in the United States?"

"President Wilson'" said Lord Reading,
"but he is not so effective when heard as
when read. But Lloyd George," he said,
"was supreme in creating emotional effects."

"One day," continued Major Warwick, "I
accompanied Lord Reading to General
Mangin's headquarters. The general and
his staff were at luncheon and there was an
animated discussion over the progress of
the war and the question whether any of
the allied nations would sue for peace.

"What are the American people saying
about peace?" General Mangin asked of
Lord Reading. The Englishman, speaking
as though America was his country,
answered with a confidence in which there
was something thrilling. "We do not speak
of peace in America and will not until the
job is complete."

"C'est bien, c'est bien 1" cried the general.

The major had many contacts with
Pershing, came on a special mission to the
United States for the American commander
in chief, but really discovered him, he said,
not in the man but in his works.

"I had exceptional opportunity to learn
what the American army under General
Pershing accomplished in France," he re-
lated, "as my duties took me to every point
in the great zones of activity behind the lines
and in the sectors of the front. The organi-
zation of the American Army was beyond
praise or description. It was in his tremend-
ous grasp of a problem which had never
been approached in vastness or complexity
that General Pershing establis'iied himself as
one of the very great soldiers of the war."

Warwick was aide to Thomas Nelson
Page when the Ambassador to Italy visited
General Pershing in the St. Mihiel sector,
but do not think that the major was always
escorting great people around or having an
easy time. There was danger and a lot of
it in this sort of employment, but all other
situations were enviable, he says, as com-
pared with that night he was carrying dis-
patches into Paris. It was 1 130 a. m. when
the German bombardment from the sky be-
gan to drop. "I thought the top of the
world had caved in," said Warwick. "But
that was the last time they tried an air
raid."

As a captain Warwick entered the Great
Staff college at Langres, , a walled citadel
built in Caesar's time, where 30,000 soldiers
from privates to colonels, were attending
thirty schools and getting additional hints
on how to lick the Germans. On the day
of the armistice Warwick came from the
college with his G2 which, speaking by the

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Photoplay Magazine — Advertising Section

113

Major Warwick in France

(Concluded)

book, means that he would have been as-
signed as assistant chief of staff to the gen-
eral of a division. This was count No. 1
against the armistice, which he does not
regret, but the second suggests a public loss.
This allusion is to the proposal of Andre
Tardieu that a great propaganda picture
be taken with the theme the plight of Alsace-
Lorraine, Sarah Bernhardt to play the lead-
ing role with Warwick the principal mascu-
line character. This would have been a
great drama, but November nth, it may be
conceded, was a greater one.

Let's linish with the beginning, that is,
how Warwick worried along during those
years before Mars summoned him. While
we claim editorial privilege of saying he
doesn't look it, Warwick tells candidly that
he made his debut on the stage seventeen
years ago. The play was "Gfcid of It," the
theater, the Savoy in New York, and his
dress room companions in that youthful
effort were Jack Barrymore and Thomas
Meighan, also youngsters on the stage.
Farther back than that, as you may guess,
he was born in Sacramento, California, and
lived in San Francisco. One of his most
noteworthy appearances on the speaking
stage, and this was not long before he went
into pictures — was with Nat Goodwin, Otis
Skinner and Eugene O'Brien, as all-star cast
in "The Celebrated Case." His last speak-
ing role was in "Captain Brassbound" by
Shaw. It will be remembered that he sup-
ported Grace George. He is now under a
three-year contract, as a star, with the
Famous Players-Lasky Corporation. Here,
in brief, is his philosophy of the vertical
stage :

"Contrary to the general opinion held by
actors, pictures bring one into greater inti-
macy with the audience and the field, of
course, is infinitely wider."

Master of the Show

(Concluded from page 82.)

Mr. Tucker was brought up in the
cramped quarters of a theatre trunk, as his
boyhood was spent with his mother, Ethel
Tucker, a v;ell-known actress of other days.

Although he attended the University of Chi-
cago, he declares that his real education was
accumulated in the Chicago public library.
"I used to spend most of my time there,"
!:e says. In fact so appreciative was he of
this unfailing source of wisdom that he was
reluctant even to spend time away for food,
and would carry such portable rations as
could be munched behind the learned bar-
rier of some volume or other.

For a brief period he worked m the trif-
fic department of a railroad but the familv
tradition soon drew him away and he went
on the stage. Aside from being a stock
actor, he did quite a great deal of directing.
In fact, he is rated as being among the very
first stage directors who took the screen
seriously. After he left the stage he di-
rected "Traffic in Souls."

In 1913 he went to England with the idea
of being the first to produce famous books.
He filmed "The Chrisiian" and "The Manx-
man," by Hall Caine; "The Middleman"
and "The Hypocrite," by Henry Arthur
Jones; "Prisoner of Zenda" and "Rupert of
Hentzau," by Anthony Hope, after which
he returned to .\merica — this was in 191 7 —
and made "The Cinderella Man,"' one of
Goldwyn's most successful photoplays. Now
he is to make seven more pictures for \.v\_-
craft, unlimited as to time and cost, from
stories of his own selection.

"Mother," featuring his wife, Elizabeth
Risdon, was his last picture produced on the
other side.

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1 1 4 Photoplay Magazine — Advertising Section

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Studio
Directory

For the convenience of our
readers who may desire the
addresses of film companies we
give the principal active ones
below. The first is the business
office; (s) indicates a studio;
in some cases both are at one
address.

AMEBK'AN FILM MFC. CO., 6227 Broadway.
Chicago; Santa Barbara, Cal. (s) .

AltTCItAFT PICTXTnES COUP,, 485 Fifth Avenue.
.New York f'ity; 516 W. 54th St.. New Yor';
City (8); Fort Lee, N. J. (s) ; Hollywooil.
Cal. (s).

nLACICTON PRODUCTIONS, INC., 25 W. 45lli
St.. New York City (s) ; 423 Classen Ave..
Brooklyn, N. Y.

ROBERT BRUNTON STUDIOS, 5300 Metros^
Ave., Los Angeles, Cal,

CHARLES CHAPI^IN STITDIOS. La Brea and H.'
Ijongiire Avcs., Hollyivood, Calif,

( IIIilSTIE FILM CORP., Sunset Blvd. and Gowp'
St., Los Angeles, Cal.

FAMOUS PLAYERS FILM CO., 485 Fifth Ave.
New Y'ork City; 128 W. 56th St., New Yoil
City. (s).

rOK FILM CORP., 130 W. 46th St.. New TorU
City: 1401 Western Ave., I.os .^ngele3 (si:
Fort Lee, N. J. (s).

IIIE FROIBIAN AMUSEMENT CORP.. .Tcsse J.
Goldburs. ueneral manauer. 310 Tinns liuiUi-
intf. Nc\v Y'ork City.

COLDWY.N FILM CORP,. 4G0 Fifth Avenue, New
York City: Culver City. Cal.

THOMAS INCB STUDIO, Culver City. Cal.

LASKY' FEATURE PLAY CO.. 485 Fifth Ave..
New York City; 6284 Selma Ave., Iloll.\wood.
C.1I. (s).

METRO PICTURES CORP.. 1476 Broadway. New
Y'ork Cily; 3 W, Blst St., New York City (s) ;
10 25 Lillian Way, Los Angeles. Cal.

EXHIBITORS-MUTUAL DISTRIBUTING CORP.

1000 Broadway. New York City.

PATHE EXCHANGE, IND.. 25 \V. 45tli St.. New
York City; A.STUA FIL.M CORP., Glendale, Cal.
(s); ROLl.N FILM CO.. 605 Califoriiia Bldg..
Ix)S Angeles, Cal. (s) ; PARALTA STUDIO,
5300 Melrose Ave.. Los Angeles, Cal. (s).

hOTTIACKllil FIL.M MFG. CO., 1339 Diversey
Parkway. Chlr'ago, 111. (s).

SELIO POLYSCOPE CO.. Western and Irving Park
Blvd., Chicago (s) : Edendale, Cal.

SELZNICK PICTURES CORPORATION, West Ft,
l.ee, N. J.

UNn'ERS.'Oi FILM MFG. CO., 1600 Broadway
New York City; Universal City. Cal.: CoytesviUe.
N. J. (3).

VITAGRAPH COMPANY OF AJIERICA, E. 15th
St. and Locust Ave., Brooklyn, N, Y. ; Holly-
wood. Cal. (3).

WHARTON, INC., Ithaca, N. Y. (s).

WORLD FILM CORP., 130 W. 46th St„ New
York City; Fort Lee, N. J. (s).

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Photoplay Magazine — Advertising Section

The Shadow Stage

(Continued from page yj)

performance than the careful and sometimes
ultra-puritanic Miss Kennedy. One of the
chief lights of the play is Herbert Stand-
ing, as the patriarchal master of the bclow-
stairs crowd. Hugo Ballin, I suspect, was
the artistic party responsible for the genu-
inely atmospheric settings and properties.

ALMOST A HUSBAND— Gold wyn

Opie Read's "Old Ebcnezer" is the basis
of this tale of the hard educational life in a
Mississippi river town, while Will Rogers,
the champion of the lariat and the political
small talk, is the bashful and gawky hero.
Rogers plays Sam Lyman, the hick teacher
of a hick school. The beautiful Peggy Wood,
one of the most charming of the younger
actresses of the stage, is the belle of the
place, and, at a party, they endure a mo:k
marriage which they afterward found was
the real thing. .Complications ensue for the
heroine, and % tequest Sam does not en-
deavor to set hw'unintended bride free. Va-
rious sorts of melodrama are deployed, in-
cluding a visitation of night riders and a bit
of amateur bank wrecking, but in the end
the small-time pedagogue rights a lot of
wrongs by the money he has made from
a novel, and at once sets things right and
claims his bride. Rogers is so characteris-
tically himself that one wishes the story
might have been taken at a more leisurely
pace, so that his slow, sure-fire personal
humor could have more croppings-out. Still,
the affair is well set and well made, the sub-
titles are good, and all in all, it is a fair
entertainment even though it is by no means
an unusual one.

THE LOTTERY MAN— Paramount

Here is an example of an old stage story,
burnished up and thoroughly revivified by a
fine scenario and a thoroughly competent
cast and director. You all know the ad-
venture of Jack Wright, who, anxious to get
a large sum of money immediately to make
his mother comfortable, put himself up in a
marriage lottery, positively agreeing to mar-
ry the holder of the winning ticket. And
what complications ensue, when black janes,
old maidsjtomboy widows and frowsy fe-
males of ^^ sorts threaten to capture Jack
Wallace Reid for life ! As I said at the
start, the whole success of this piece — and
it is a rapid-fire, diverse, bafflingly-written
success — is the result of great skill in the
laying-out of the scenario, more skill and
care in casting, and final skill and in-
vention on the part of the director. That
individual was James Cruze, and this is just
another item on his loio credits. Wallace
Reid plays with the boyish abandon and
simple reality which has characterized him,
more and more, of late, and the long sup-
porting contingent includes Harrison Ford,
Wanda Hawley, Marcia Manon, Fannie
Midgeley, Sylvia Ashton, Winifred Green-
wood and Fred Huntley. I never cared
much for the original play. I did like the
photoplay. Lapse of yenrs, change of tastes
and all, it was a real improvement.

STEPPING OUT — Ince-Paramount

Wallace Reid has not been the only steady
iilT nil 1 1 in lliiw^i I year. Enid Bennett,
who used to sfcipg/ and try for a plaintive-
ness which was beyond endurance, has
steadied herself, acquired a simplicity and a
reality which are convincing, and has made
herself a genuine screen asset by playing real
women — not creatures at whom one longed
to hurl a tomato or a Sennett pie. Here,
she has a role in an oft-told story which,
with skilful varhtions, is enduringly good:

the role of the wife who determines to play
a fifty-fifty game with her husband, and
counter his whilom amours with apparent
flirtations which, notwithstanding their pre-
meditation and real harmlessness, have all
the appearance of the wicked real thing.
She plays June Hillary, the gracious little
wife of Bob Hillary, a not-bad young per-
son who enters the marital relation with the
mistaken idea that not only is there a double
standard o'f morals, but that the wife, as
well, is a sort of meek domestic who should
take her food and housing and endure, with
more or less gladness, all the rest. Miss
Bennett's performance, throughout, is a dis-
creet, realistic, self-reliant and ever-womanly
delineation. Niles Welch is equally good in
the ungrateful role of the husband. Fred
Niblo's direction is lifelike at all times, and
there are many excellent comedy touches.
Miss Bennett, as we opined in a previous
line, is finding herself as a portrayer oi
genuine young women.

BACK TO GOD'S COUNTRY—

First National

One of the axioms of picture producers i^
"animal stuff always goes big." "Back to
God's Country" has several hundred feet oi
the most remarkable "animal stuff ever
photographed. It is a James Oliver Cur-
wood story of the now well known unknown
wilds of Northwestern Canada, with a dog
as the most active of the heroes and Nell
Shipman as the decorative feature. The
story is about the same as all Mr. Curwood's
other "red blood" yarns, but the antics of
a colony of bears, cubs, bobcats, geese and
other fauna, give it an atmosphere all its
own, and compensate for much superficial
melodrama. David Hartford directed.

THE COUNTRY COUSIN— Sehnick

Elaine Hammerstein has suffered long
from not enjoying those advantages which
are offered by a well-equipped distributing
organization. Without a regular succession
of productions through a single channel, it
is hard for any start to "arrive." This is
now assured to Miss Hammerstein, and the
first of her Selznick pictures, "The Country
Cousin," forecasts a brilliant future for this
young daughter of a distiniruished house.
The story is by Booth Tarkington and
Julian Street, and tells how a strong-minded
but none the less lovely young woman from
the west invaded a dissipated circle in New
York, rescued her cousin from fortune hunt-
ers, and made a man out of a snob. Phys-
ically the picture is beautiful, dramatically
it is strong. As for Miss Hammerstein her-
self, there is a chaste voluptuousness about
her that imparts power to her more import
ant scenes, and keen interest to the inter
ludes. Walter McGrail offers an interesting
study of the society man who is shamed
into making something of himself by the girl
from the country. Alan Crosland directed
and created a production which shows every
sign of having been made with care and
intelligence.

THE GLORIOUS LADY— Selznick

Olive Thomas makes pathetically heroic
efforta«4fl impart life and reality to "The
Glori<Mii)Lady," her third Selznick picture,
but the story provided by Edmund Gould-
ing is so absurd that neither star nor director

, should be blamed for the result. The fable
is the ancient one so popular among the
mushy minor novelists of fifty years ago,
of the Duke who marries the peasant girl,

\ whereupon his family makes things so un-
pleasant for the Duchess that she runs away.

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The Shadow Stage

(Continued)

only to be rehabilitated later and make a
corking iine Duchess. Miss Thomas is so
lovely that no picture in which she appears
can be utterly bad, and Matt Moore is her
leading man in this archaic hodge-podge, so
after all you get your money's worth. Be-
sides there is a good deal of visual beauty
in the scenic background, which happily
causes the weakness of the tale to be for-
gotten from time to time.

A REGULAR GIRL— Seknick

Elsie Janis, idol of the A. E. F. and of
Broadway, makes her second film venture
via the Selznick route, in "A Regular Girl,"
in which something of her own experiences
as an entertainer extraordinary of the
American armies is recalled. In fact the
picture relies solely upon Miss Janis for its
appeal. It has its vaudeville moments, and
in these the star is perfectly at home. She
is able to project comedy ideas without des-
cending to burlesque, and also is able to
descend ti*^ burlesque without vulgarizing
her conieol^jdea. In short, this picture is a
series of entertaining episodes in which Miss
Janis humorously scrubs floors, sings to and
with soldiers, cooks, waits on the table, goes
to Coney Island, gives a circus, and cheers
everyone with the exception of her father,
who being wealthy, objects to his daughter's
unconventional escapades. Miss Janis has
excellent support, provided by a company of
soldiers who look like real soldiers, and
probably were, and by E. Rogers Lytton
as the father, and Matt Moore as a suitor
who finds it a little hard to keep step. James
Young directed.

CASSIDY OF THE AIR LANES—

Universal

No matter how many pictures of the
upper roadways may be taken in the future
— and they will be many, it is safe to as-
sume— '"Cassidy of the Air Lanes" is num-
ber one, and will remain number one. It is
not much of a story, but it contains the
most amazing aerial photography yet made,
and the feats of Lieut. Locklear are chron-
icled in photography which is not only
thrilling in its revelations, but astonishing
for its steadiness and clarity. What plot
there is concerns a set of sky -highwaymen
who plan to rob the transcontinental aerial
mail. A tremendous number of planes are
used, and a great flying-field is shown in all
the details of its operations. LocKlear's
plane-crawling stunts are photographed from
a third machine, as there are usually two
planes in the camera's finder at once. This
photoplay introduces a genuine new sensa-
tion in drama, for it suspends actors, and
auditors, too, in an invisible and intangible
element thousands of feet above the earth.
The world itself is merely a vast picture
below, and the unique vision of a line of
mountain-tops resembling nothing but a
foot-path, far, far below, while players and
beholders swing contentedly back and forth
in the heavens, is something worth going a
long way to see. Next to aviating your-
self, this is it.

FLAME OF THE DESERT— Gold wyn

Mme. Farrar's second cinemic opera pur-
ports to be a story of the Egyptian desert,
most of which is laid after the war. It has
to do with the revolt of a band of tribes-
men against their British rulers, led by a
fanatic Moslem whose fanaticism is made
dangerous by the fact that over it is super-
imposed a very extensive strata of European
culture. The mystic figure is an Arabian
.Sheik who afterward turns out — well, that's

tipping the plot, and the mystery is really a
pretty good one. Farrar is her characteris-
tic blazing self; this time a restless English-
woman in search of adventure. The rest of
the acting honors, it seems to me, go to
Macy Harlan, in his striking depiction of
the fanatic Sheik who conceals a scimitar,
figuratively speaking, under his dress suit.

Lou-Tellegen plays the mysterious man
of the desert in a forceful and picturesque
way; such parts are by far his best medium.
Alec B. Francis is also seen to advantage.
The production, a very fine one, was made
under the direction of Reginald Barker.

IN BRIEF—

"The Vengeance of Durand" (Vitagraph).
.An old-fashioned melodramatic narrative of
an inherited vengeance and a hate carried
through the years. The story is Rex Beach,
but not Rex Beach in his best elements of
clean, red-blood outdoor love and conflict.
Anything, however, may be pardoned for
the exquisite beauty of Alice Joyce, which,
perhaps, has never been so radiant as in this
enterprise. Besides Alice Joyce, Gustav von
Seyfertitz is very extensively concerned,
Percy Marmont is the leading man, and the
cast also includes that picture veteran,
William Bechtel. Vitagraph has spared no
expense in making this an opulent, even im-
posing production, and the exterior shots
are most of them remarkable for their love-
liness and clarity. Tom Terris directed.

''The Trembling Hour" (Universal)
Kenneth Harlan, in a star part for the first
time. Harlan, who has really just returned
from soldiering — or not so long ago, at any
rate — here plays a returned officer, suffering
from shell-shock. Past criminality, a sus-
picion of murder and several other elements
make a pretty good mystery yarn. The
suspense is quite genuine. Helen Jerome
Eddy is a wonderfully sympathetic support
to young Mr. Harlan.

"A Scream in the Night" (Select) It cer-
tainly is — any night. In fact, it is a scream
at a matinee, or at a special showing at
Q o'clock in the morning, though we don't
feel much like laughing at g a. m. An awk-
ward feminization of "Tarzan of the Apes,"
which tries to be philosophically profound,
and winds up by being merely ponderously
and absurdly melodramatic in the worst
Fense of old-fashioned picture melodrama.
Detailed criticism doesn't seem worth
while.

"The Wolf" (Vitagraph) An ordinary
photoplay adventure, made under the direc-
tion of James Young from Eugene Walter's
old play. Earle Williams, Jane Novak, Bob
McKim and George Nicho's have the princi-
pal parts — a good cast. The thing seems to
run awfully slow, but otherwise is logical
..nd straightaway.

"Sacred Silence" (Fox) William Russell's
first offering in his new pasture. Russell
George McQuarrie and Agnes Ayres better
a very tame narrative.

Mutt and Jeff (Fox) While I am writing
these sad or glad little rsminiscences of
things I have seen in the past month I can't
help recalling how this pair of pen-and-ink
Corsican Brothers has livened up, even actu-
ally saved, many and many a punk enter-
tainment. Go to it, Mutt, and you too, vou
side-whiskered little rascal!

"Should a Husband Forgive" (Fox) I ob-
ject to the title, on principle. It is a maud-
lin, cheap, insincere, and by indirect impli-
cation an absolutely vicious sentiment, for
if any of us are so all-fired pure that we are
above forgiving, we are also above things
mundane. We belong in St. Petersville,
plucking an arpeggio from the ghost of a
Lyon & Healy harp. R, A. Walsh wrote

KTCI7 advertisement in PHOTOPLAY Jf-^GAZINB Is guaranteea.

Photoplay Magazine — Advertising Section

The Shadow Stage

(Continued)

the story and led the exercises, and he had
a striking cast, headed by his own talented
wife, Miriam Cooper. The photoplay it-
self is rather heavy and extremely compli-
cated, but if it were boiled into a siniple
story it would not be a bad sort of thing.

"Impossible Catherine" (Pearson Photo-
plays) I wish Virginia Pearson would light
on some definite programme or definite plan
for the employment of her talents. She is
one of the very finest and sincerest of our
screen actresses — simply going to waste be-
cause she cannot seem to get definitely
placed and remain continuously, progressive-
ly at work. Perhaps the fault is that of
many unobservant managers; perhaps she
herself is a little bit to blame. Here is one
of her sporadic offerings; not bad, indeed,
but too much of a "star" picture, too much
of a feature effort to show this genuine act-
ing woman at her talented best. The story,
by Frank S. Beresford, is simply a modern-
ization of "The Taming of the Shrew." It
is an ordinary, programme piece of work,
very tamely captioned, employing a number
of good players, among them— strangely !—
the powerful and gifted Sheldon Lewis, in a
role which is so small that it is almost a
"bit."

"Why Smith Left Home" (Paramount)
George Broadhurst's lively, ancient farce,
vitalized by Bryant Washburn and a cork-
ing Lasky cast. A number of things possible
to the broader scope of pictures, as com-
pared to the facilities of the stage, have
been added to increase the contemporary in-
terest in this somewhat familiar story.

"In Mizzoura" (Paramount) I am still
wondering why the Lasky studio, with the
gifts of director Hugh Ford, author Au-
gustus Thomas, scenarioist Beulah Marie
Dix and star Robert Warwick, did not get
more out of a time-honored piece of melo-
dramatic material. Possibly, because the
story itself was never one of Thomas' best;
in fact, one of his poorest and most per-
functory, and saved only by the broad
humanities of his dialogue. Robert Cain, to
my way of thinking, stole the show with a
performance of a contemptible villain who,
after all, worked a surreptitious way into
your sympathies.

"Fair and Warmer" (Metro) Should be
put in a museum as a relic of the prehistoric
days when beverages were not judged by
their percentages. A pretty correct screen
transcript of Avery Hopwood's roaring farce
in which Madge Kennedy and John Cum-
berland figured, with May Allison and
Eugene Pallette at present in their roles.

"Sadie Love" (Paramount) Marjorie
Rambeau's red-hot old Morosco play, with
its wild lines tamed down for photoplay
purposes, and with Billie Burke quite aptly
cast in the Rambeau role. It will set no
arroyos in flames, but is a fair programme
offering.

"His Official Fiancee" (Paramount) The
rather tame story of a pleasant little fake
in a business office, whereby, for reasons of
convenience, a stenographer of looks and
cleverness agrees to act, on occasion, as the
fiancee of her manly and agreeable em-
ployer. The usual result. Forrest Stanley
and Vivian Martin have the chief roles, and
Mr. Stanley takes the honors, such as they
are.

"L'Apache" (Ince-Param«unt) A pretty
good story, which does not seem to be more
than that, on the screen, of two Franco-
American girls in Paris, the one mistress of
a dissolute rich man ; the other, the wife of
an Apache who married him to shut his
lips against telling what he knows of a
crime her brother committed. Dorothy
Dalton plays both parts, in her usual strik-

''He Deposits $500 a Month !"

"See that man at the Receiving Teller's window ? That's Billy
King, Manager for Browning Company. Every month he comes
in and deposits $500. I've been watching Billy for a long time —
take almost as much interest in him as I do in my own boy.

"Three years ago he started at Browning's at $15 a week.
Married, had one child, couldn't save a cent. One day he came
in here desperate — wanted to borrow a hundred dollars — wife
was sick.

"I said, 'Billy, I'm going to give you something worth more than
a loan — some good advice — and if you'll follow it I'll let you have
the hundred, too. You don't want to work for $15 a week all your
life, do you ?' Of course he didn't. 'Well,' I said, 'there's a way to
climb out of your job to something better. Take up a course with
the International Correspondence Schools in the work you want to
advance in, and put in some of your evenings getting special train-
ing. The Schools will do wonders for you — I know, we've got
several I. C. S. boys here in the bank.'

"That very night Billy wrote to Scranton and a few days later he
had started s*:udying at home. Why, in a few months he had
doubled his salary ! Next thing I knew he was put in charge of his
department, and two months ago they made him Manager. And
he's making real money. Owns his own home, has quite a little
property beside, and he's a regular at that window every month.
It just shows what a man can do in a little spare time."

Employers are begging for men
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The Shadow Stage

( Concluded)

ing way, and such other honors as remain
in the piece are gobbled up by Macy Har-
1am, as the Apache. Robert Elliott does a
straightforward and pleasing piece of work
as Otis Mayne, the eventual saviour and
'.over of one of the girls.

''Back Stage" (Paramount) A new Roscoe
Arbuckle comedy, with the usual Arbuckle
rapidity and unlimited, uproarous "hokum."
However, I did not like this as well as either
of Mr. Arbuckle's last two releases.

"Turning the Tables" (Paramount) A
characteristic Dorothy Gish comedy, with
the quaint little humoresque of the Gish
family strongly supported by people like
George Fawcelt and Eugenie Besserer.

"It Pays to Advertise" (Paramount)
Bryant Washburn, in the chief role of the
renowned stage comedy, supported by Lois
Wilson, Frank Currier, Walter Hiers, Julie
Fa>e and Guy Oliver.

"The Trembling Hour" (Universal) -^This
is a murder mystery play with a hero suffer-
ing from shellshock and in danger of a death
sentence. Suspense is its principal appeal.
Kenneth Harlan has the central role.

"Dangerous Waters" (Robertson-Cole) —
William Desmond displays an aptitude for
comedy of which he has not always been sus-
pected, in "Dangerous Waters." This melo-
drama is relieved frequently by the humor
provided by Desmond and Walter Sperry.

Conserye^ food perfectly

Plays and Players

(Continued jrom page 94)

VIOLET HEMIXG niu.t have made
"Everywoman" a pretty real figure on
the screen. At any rate Famous Players has
signed her under a long-term contract.

HOW would you like to hire out your
husband? Enid Bennett-Niblo loaned
her director, Fred Niblo, to Louise Giaum —
but onlj' for one picture.

MRS. REX BE.ACH has chosen two more
girls to play in her husband's produc-J
lions. You remember she introduced Kay,
Laurell to the screen in "The Brand." Now'
she has engaged little blonde Lillian Hall,'
who was Beth in Brady's "Little Women, "I
and Helen Fergu'^on from Blackton's to play
in "Going Some," now under way at Culver!
City.

TEDDY SAMPSON, the petite brunette
better-half of comedian Ford Sterling,
will again have a part in film affairs. She
has been engaged by Christie to star in
Strand comedies.

THE first film star to volunteer her serv-
ices as a troop leader for the Girl
Scouts organization is Marguerite Clark.
Whether she did it because she is about the
size of most girl scouts or because she fills
all the requirements demanded of a leader,
i.e., such accomplishments as baking pies,
tending babies, sewing, nursing, and bed-
making — she has gone into it for all she's
worth — which is, since Marguerite is one
of the thriftiest film ladies, quite a tidy little
sum.

NIGEL BARRIE is enjoying the open
season for ducks. Fancy a leading man
who goes out for ducks before day-break —
and breakfast? No — neither can we. Any-
way, Nigel is in Del Monte, California, on
location with the Katherine McDonald com-
pany, and he finds time between shots to
take several at the ducks.

TO speak in the patois, Bill Hart has
nothing on Will Rogers. Will says "he,
too, wrote a book once, and that if he'd had
another match he would have written an-
other book.

BEN WILSON is to have an opportunity
to stretch his versatile imagination over
fifteen more episodes of thrills. He will be
assisted in this second serial, as in "The Trail
of the Octopus," by Neva Gerber.

CARROLL McCOMAS, one of the more
distinguished young ladies of the the-
atre, will make her first film appearance
with Bob Warwick in "Jackstraws." Her
contract provides, however, that she will be

Erery advertisement in PHOTOPI-AT JI.\OAZINE Is guaranteed.

given more important parts to play as she
becomes camera-wise. She is noted, chiefly,
for having contributed many splendid per-
formances to the war entertainments for our
boys.

DORIS KENYON made her return to the
stage during the month of O. ober, in
Manhattan, in a frisque farce called "The
Girl in the Limousine," by Avery Hopwood.
The part she plays doesn't call for much in
a dramatic line; in fact, Doris, encased in
shimmering robe-de-nuit, displays more tal-
mts in lines silent liian spoken. She isn't
going to give up her film woik.

WILLIAM HUMPHREY, who used to
call forth shudders of silence when he
was the villain in the old-time Vitagrapli
plays, has come back to that company in
a directorial capacity. His first production
is one in which Gladys Leslie appears.

THE stage has put one over on the
movies. In Manhattan there is a play
called "A Voice in the Dark" which is dis-
tinctly a novelty — it is a novelty and little
else. It has the advantage over the pictures
because while some of the play you can only
see, as it is enacted in pantomime, there is
another part that you can only hear — the
action takes place in the dark. It concerns
two versions of the same murder: as a deaf
woman saw it, and as a blind man heard
it. The caption is worthy of the catch-lines
of some of our exhibitors: "See How the
L'ght Conceals — See How the Dark Re-
veals I"

NORMA TALMADGE had a party in the
month of October. It was in celebra-
tion of the third anniversary of her mar-
riage to Joseph Schenck, her manager.
Irving Berlin staged the affair and chose as
decorations posters of the various Talmadge
film successes. He also had the orchestra
play "The New Moon," a song dedicated to
Norma in her picture of that name. Mr.
Schenck presented his beautiful brunette
wife with an ermine cape and a gold jewel
case. The whole thing calls to mind Nor-
ma's career: her beginnings at Vitagraph,
where she played everything from babies to
old ladies; her achievement of feature-dom
in Blackton's "The Battle-Cry of Peace."
She left for the West to star for a new com-
pany; but nothing much ever came of that
venture. Triangle-Fine Arts got her out
there, however, and with that engagement
came real recognition. Then she married
Joseph Schenck, and her long line of suc-
cesses followed— beginning with "Panthea,"
the initial Talmadge passion-drama.

Photoplay Magazine— Aumjmisinc; SiccrnoN

119

Plays arxd Players

(Continued)

THE Singer Midgets— thirty-five of the
little fellows — have been signed to ap-
pear in Sunshine comedies. Hitherto they
have confined their various activities to the
circus or the vaudeville entertainment. They
will bring with them to the screen the ani-
mals they used on their recent tour of the
world.

WITH the announcement of John Bar-
rymore's appearance in "Dr. Jekyll and
Mr. Hyde" comes the report, which seems
well-founded, that Ethel is to return to the
screen, via the Goldwyn route. She hasn't
done anything in a film way since her Metro
pictures.

A CERTAIN director leased a house in
Hollywood. While he was going
through it he noticed in the bathroom a
huge tub, three feet longer than the ordinary
tub, and twice as wide. He remarked to the
agent that a giant must have lived in the
house before. "Oh, no," said the real-estate
man, "only DeWolf Hopper."

SHE was one of the sleekest and the suav-
est of all the female villains on the
silversheet, was Julia Swayne Gordon. No
home was too peaceful for her to wreck ; no
heart was too adamant for her to smash.
She isn't with Vitagraph any more ; she went
to Selznick to make trouble for Elaine Ham-
merstein, in "Love." No — Elaine isn't.

BESSIE LOVE is on a vacation now — her
first in several years. The little pensive
blonde who won her first success as the
Swedish slavey in "The Flying Torpedo,"
one of the first Fine Arts, and who later be-
came leading woman for Bill Hart and
Douglas Fatfla^nks, has had varied film e.x-
periences si%^she determined to proceed on
her own: she' has made pictures for Pathe
and for Vitagraph. Chicago capitalists are
said to be backing the Love concern. Papa
Love and Mama Love — real name Horton —
are handling their daughter's business af-
fairs.

IN a theatre in Baltimore three feet of film
in "A Temperamental Wife" caught fire
and a panic was averted by a brave organist
who kept right on playing. It was a good
thing the organist didn't follow the suit of
the temperamental better-half and the tem-
peramental film and lo=e his temper.

MAE MARSH is coming back to the
screen. Just as soon as Mary Marsh
Arms is old enourfi to permit her mother to
turn some of £^ attention to work, the
former Griffith and Goldwyn star will go
to California. She will make eight pictures
a year, for Louis Gasnier, Lew Cody's pic-
ture padrone, releasing through Robertson-
Cole. The Marsh pictures will all be adapted
from books and plays. Little Mary Arms
will go along with mother Mae and grand-
mother Arms, about the first of February.
You remember Mae Marsh left the screen
shortly after her marriage to Louis Lee
Arms, a New York newspaper man.

THE World Film company is history.
The Fort Lee film factory which har-
bored many celluloid celebrities in its time,
has gone the way of Biograph, Lubin, jnd
Kalem. A company with June Elvidge a;
the star and Oscar Apfel directing provides
the only signs of manufacture aroimd the
place; while Evelyn Greeley, Carlyle Black-
well and Montague Love have departed long
since. William A. Brady, guiding hand of
World in its palmy days, has decided to go
into picture producing on his own ; Clara
K-'mball Young, who made "TrUby" within

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One pupil has received over $5,000 for stories and
articles written mostly in spare time — "play work," he
calls it. Another pupil received over $1,000 before
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There is no other institution or agency doing so much
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Plays and Players

( Continued)

the World walls, works for her own corpora-
lion in California. Many of the leading
luminaries in tiie acting and directing lines
have "World Film" on their list of past
engagements.

CREIGHTON HALE is a Griffith player
now. He is working under David Wark's
direction in the enclosed" set in the New
Rochelle studio which is the temporary
home of the sunshine master. Clarine Sey-
moure, very Hawaiian in a grass skirt, hula-
hulas in and out of scenes in the new DWG

THE only man who ever gave Premier
Clemenceau of France a real thrill by a
feat of daring. Buck Jones, has gone into
pictures. Fox has signed the wild-west rider
for a series of films. Buck was attached to
the staff of a French general during the war.
His rough-riding attracted considerable at-
tention and he was asked to ride for Cle-
menceau. The veteran statesman was so
enthusiastic that he had Jones repeat his
performance for the King and Queen of Bel-
gium, and their Majesties of Britain and
Italy.

1 he luck of the Irish! If PHOTOPLAY S Answer Man, for instance, were ever per-
mitted to visit tlie Lasky plant, lie would count himself fortunate if he only caught a
glimpse of Wanda Hawley. But when John McCormack came — well, Wanda, as Peg
O' My Heart gave him a real top-o'-the morning.

production. Anders Randolf, former Vita-
graph' character man, is a member of the
cast.

GEORGE F./VWCETT, one of the great
actors in pictures, long a feature of
Mr. Griffith's dramatic entertainments, has
left to become a director. He is in New-
York, resting a while before taking up his
new work.

EARLY Shame Note: Eddie Dillon, who
directs for Famous Players now, rode
the winning horse in the original produc-
tion of the old melodrama, "Sporting Life."

HOUDINI will make" two pictures abroad.
He had to make the trip to fill several
postponed variety engagements; but he won't
lose any time on his picture work in the
rix months he spends in England. In 1022,
the handcuff king will start on a tour of
the world, to make a photoplay of adven-
ture in every country he visits. Lila Lee,
by the way, is his leading woman in his
latest California-made production — little
Lila who became a star in fact when she
only played a supporting role — in DeMille's
"Male and Female."

THE Gish family is now complete. Doro-
thy has arrived in New York from the
coast, bringing with her the family parrot,
John Gish. Lillian and Mother Mae pre-
ceded the youngest member of the family
by a month. Dorothy brought the impor-
tant members of her company and her en-
tire technical staff across the continent with
her.

NOW it's the Big Six ! A few weeks ago
some of the best known producer di-
rectors got together and determined to join
forces as soon as their existing contracts
will have expired. Those involved are Mar-
shall Neilan, Tom Ince, Maurice Tourneur,
George Loane Tucker, Mack Sennett and
Allan Dwan. They plan to produce pic-
tures separately but will combine forces in
the distribution of their wares. The avowed
reason for the new combine was the monopo-
listic tendencies of the Zukor interests.
'Wiseacres profess to believe that in the near
future, unless something intervenes, Famous
Players-Lasky will have a stranglehold on
the entire production and exhibition end of
the film industry. Five of the Big Six — all
but Marshall Neilan — have contracts with
that firm at present. Neilan is with First
Na'tional but his contract expires about Sep-
tember I next, when the contracts of the
five others will terminate. It is expected
that there will be some big financing and
that the Big Six will go into the theater
end of the game just as have the Zukor in-
terests. First the theater men combined to
fight an alleged monopoly; then the stars
got together for the same ostensible reason,
and now it is the director-producer. What
next?

GEORGE BEBAN has begun a new pro-
duction, the first since "Hearts of Men,"
his initial independent release. It has to do
with a dog pound and a lot of homeless
dogs, and little George Beban, Jr., has an
important part in it. Beban is his own au-
thor, director and general utility man. The
production is to be distributed by a new

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wood's newest novel is to be the first

production of Marshall Neilan for First
National, instead of "Bob Hampton of
Placer" as orisinally intended. The cast in-
cludes such celebrities as Margery Daw, Lew
Stone, Jane Novak and young Wesley Barry
Marion Fairfax, wife of Tully Marshall,
long a writer at the Lasky studio, did the
adaptation of the Curwood story which re-
cently appeared in Good Housekeeping.

THEODORE KOSLOFF, the Russian
dancer is going to be "Adam" in what
is said to be a very wonderful prologue that
is to precede William C. deMille's "Tree of
Knowledge." Major Robert Warwick has
the star part and Wanda Hawley will be
seen opposite him.

MAJOR ROBERT WARWICK was
signally honored during the recent
visit of the King and Queen of Belgium to
California, having been placed on the guard
of honor to the popular monarch. There
were four officers selected, the other three
having been officers of the Ninety-First
Division which fought under the King in
Belgium. Major Warwick served on the
General Staff under Pershing and on several
occasions was brought into contact with
Belgium's king.

PRECEDENTS are being shattered rapid-
ly by that noted delineator of he-vamp
roles, Lewis J. Cody. The latest was an-
nounced in the engagement of Ida May
Park, a woman director, to wield the mega-
phone over "The Butterfly Man" Cody's
second independent venture. It was also
announced that a half dozen or so leading
ladies are required to keep the star vamp-
ing.

HENRY WALTHALL is to do another
picture under the supervision of Allan
Dwan and the direction of Arthur Rosson.

PllOTOl'LAY M.VOAZINE — ADVlilVnSING SECTION

Plays and Players

(Continued)

distributing concern headed by Sol Lesser
and Harry Caulfield. These two film experts
have begun production operations also, and
on an entirely new plan, the chief feature of
which is the financing of worthy production
propositions, either the filming of a good
story or the promotion of a worthy star.

TWO well known directors figured in the
divorce courts recently. Allan Dwan
was on the defending end of a suit brought
at Reno, Nev. by Mrs. Dwan, better known
to filmdom as Pauline Bush; and Donald
Crisp played a similar role in a suit brought
at Los Angeles by his wife, formerly Miss
Marie Starke. Mrs. Dawn was granted ."Rsoo
a week alimony; Mrs. Crisp asked for half
that amount. The latter alleged cruelty as
grounds. Of course the papers in com-
menting on the case referred to the role of
"Battling Burrows" which Crisp played in
Griffith's "Broken Blossoms."

THE matrimonial balance of the month
was adequately maintained however.
Josie Sedgwick, formerly leading woman for
Fred Stone and Will Rogers became the
wife of William Gettinger, a well known
western actor. Gettinger went to war and
came back with honors and all shot up.
The other marriage was that of Marie Wal-
camp and Harland Tucker. This couple got
married at Tokio the day they landed as a
part of an all-around-the-world Univer-al
serial company. Miss Walcanip is better
known to pictures than Tucker who, for
several years, was leading man at the
Morosco theater in Los Angeles.

IVER'S END" James Oliver Cur-

121

Learn to Fill

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When you write to advertisers please mention PHOTOPLAY iIAGAZIN"E.

122

Photoplay Magazine — Advertising Sec i ion

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Plays and Players

(Continued)

It comes from the pen of Julian Hawthorne
and is said to be a variation of that
author's famous father "The Scarlet Letter."
Meantime Mr. Dwan is giving his personal
attention to the filming of "The Heart of a
Fool," the latest novel by William Allen
White. In this James Kirkwood plays the
leading role with Ward Crane and Philo Mc-
CuIIough handling the other principal male
roles. Mary Thurman has the leading
feminine part and others in the cast are
Anna Q. Nilsson and Marylinn Morne, the
latter a recent Dwan find in the ranks of
the extra players.

HAL COOLEY who has been playing
leading roles in Mabel Normand pic-
tures of late is a proud papa. Being the
firstborn the event caused great excitement.
In fact the father was compelled to cease
work for several days because of the ad-
vent. It also brought out the interesting
fact that Hal's legal name is Hallam Cooley
Burr.

PEGGY HYLAND, the little English star
who came to this country several years
ago to play for Vitagraph and then went to
Fox is no longer with the latter company.
Her contract expired about a month ago.

DW. GRIFFITH, before leaving Cali-
. fornia for New York, broke a long
established rule by giving a player in his
company a letter of recommendation. The
recipient was little Frances Parks who has
been playing bits around the Griffith studio
ever since she was fifteen years old — two
years ago. Frances sallied forth in search
of employment when the Griffith forces
went Eastward and was immediately en-
gaged by Lasky's to play the ingenue role
with Robert Warwick in "Jack Straws."

SHIRLEY MASON, little sister of Viola
Dana, and a star in her own right for
some few years, has been enrolled as a new
luminary in the Fox fold. She is now at
work on her first photoplay for that com-
pany in the Hollywood studio. It is a
comedy drama and Scott Dunlap is the
director. Shirley's last picture was "Trea-
sure Island" under Maurice Tourneur's
direction.

AT the close of the baseball season it
developed that Roscoe Arbuckle had
not purchased the Vernon Coast League ball
learn, but had merely taken an option on it
with a purchase of $5 ,000 worth of stock.
When time came to exercise the option
"Fatty" objected to some of the terms and
the proposed sale fell through. During the
season he was the reputed owner of the
team and had been elected president of the
club. The Coast sporting writers designated
the deal as a fiasco intended to extract
much publicity at a minimum expense. And
just as a matter of accuracy, the ball team
won the Coast League pennant, not "nearly
won" it as reported in the last issue of
Photoplay.

AVERY unusual single reel photoplay
was made last month at Doug Fair-
hanks' studio. It would have been suf-
ficiently unusual if only for the fact that
Doug played the villain and Mary Pickford
the maid who foils the willun, but the cast
also contained the Duke and Duchess of
Sutherland, leading and well known citizens
of our erswhile ally nation, England. The
Duke, by the way, is the richest landholder
in the world, or is so reputed to be and
his wife is one of the famous beauties of
Albion. The Duke played a crook in the
picture, his wife was the heroine and a few

Every advertisement in PHOTOPI-AY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Plays and Players

( Coiuiiided)

admirals of the "king's navee" performed in
tlie role of cops. A print of the picture was
presented to the ducal party to be shown
privately upon their return across the
waters.

BETTY BLYTHE, who went West to do
a picture for Goldwyn, is the heroine
of the newest Brentwood picture which was
made under the direction of Henry Kolker.
Mahlon Hamilton played the other side.
Following this Miss Blythe joined the James
Oliver Curwood company for the lilming of
a north woods photodrama.

VIOLA DANA won a decided advantage
over her sister-ingenues last month by
having a mild attack of measles. Just to
carry out the idea properly her friends sent
her a few truck loads of rattles and toys of
various sorts. So that their efforts would
not remain unappreciated Miss Dana had
the toys sent to the children's ward of one
of the big Los .Angeles hospitals.

UNIVERSAL has a new comedian whose
name is Chris Rub who insists that his
surname is not a contraction of Rubadub-
dub.

When the Duke ot Sutherland - and the Duchess, too — came to »,jahtornia they paid a visit
to the Fairbanks studio. Here we see an impromptu hold-up, ■svith the Duke officiating and
the others reading from left to right: General J. B. Steisvart, W. Dudley ^Vard. M. P.,
Doug., Admiral R. J. N. Watson, R. N., the Duke. The fainting lady is the Duchess.

MARY MILES MINTER is back in
California — back home, as she calls it,
showing what three years of sunshine and
flowers can do to one's viewpoint. Her
first "homemade" picture is "Judy of
Rogue's Harbor" being made at the Morosco
studio which she shares with Ethel Clayton.
William D. Taylor is the director.

HOLLYWOOD gossip had it that the
deMille trip was also to be a honey-
moon tour for that producer's favorite lead-
ing lady, Miss Swanson, but shortly before
going to press, Gloria denied the rumor,
although she intimated that she "might
get married" before Christmas. Her new
"leading man" is said to be a young man
well known in the distribution end of the
picture industry.

OUT in Cahfornia they'll reproduce near-
ly anything for the pictures but Cecil
deMille decided that it was cheaper to give
Tom Meighan, Gloria Swanson and other
members of his company a trip to New York
rather than build a replica of the Grand
Central station. Anyhow Tom had an en-
gagement in New York with his wife,
Frances Ring.

FERDINAND PINNEY EARLE, the
noted artist, whose subtitles and back-
grounds for motion picture plays have
proved a veritable sensation during the last
year is going into production on his own.
His plan is a very unusual one as but few
sets will be utilized. His method will be to
paint the backgrounds with the action
superimposed or double exposed into them.

Peering Behind the Screen

WHAT goes on behind the motion picture screen? Just because the enter-
tainment takes place on a flat white surface, don't imagine the "back-
stage" of a movie theatre is void of interest. For, right behind the Screen
is Studioland, where the films are prepared. Realizing the great interest in Studio-
land, Photoplay Magazine has happily conceived the Photoplay Magazine
Screen Supplement. Supplement cameramen are permitted to grind their cameras
where they will, behind the screen and from month to month the Supplement
shows the greatest personalities of Picturedrm, at work in the studio. The Supple-
ment also takes you into their homes anri ,-'eals the personal sides of the stars —
features you could never see in any other way. The Supplement is released by
the Educational Films Corporation of America. Ask the manager of your favorite
theatre when he will show the Supplement.

BILL HART tlie actor; but do you
! know William S. Hart — the author?

His PINTO BEN and other stories
is a natural born gift book celebrating
in poetry and prose, the horse — the
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and a story of his own life by BILL
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Get Hart's "Golden West Series"
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When you write to advertisers jlease mention PHOTOPLAY MAGAZINE.

124

Photoplay Magazine — Advertising Seciion

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(Concluded jront page 6j)

of a story when he knows "nothing of the
laws that necessarily govern cinematic
adaptation? How can he tell his readers
why a play fails to hold the attention of
the aitdience if he knows nothing of cause
and effect and th > arousing and sustaining
of suspense? How can he criticise the
rhythm or movement of a play if he has
not studied the poetry of motion, the ancient
art of dancing which is closely allied to
the photoplay in that it expresses thought
through action? The obvious answer is of
course that without training along these
lines the cinema critic, if he offers us any-
thing at all, is forced to give us destructive
rather than constructive criticism of a play,
or such glittering generalities as "the cast
was excellently chosen." "credit should be
given to the art director for the sumptuous
settings used throughout," or ''the acting of
Miss Bella Starr surpa.ssed even her former
brilliant performances."' Literary criticism
and laterly dramatic criticism were of slow
and gradual growth and cinematic criticism
is too new to have much expected of it.
Yet if it is to grow from the squibs of the
publicity man or the more ambitious para-
graphs of the staff writer, who knows little
Libout his subject and cares less, into a thing
of force and power which will direct and
guide the public in their choice and ap-
preciation of photoplays, we must begin to
train writers immediately.

But whatever the aim of the individual
in taking the course, the aim of the photo-
playmaking course itself is unvaryingly this:
to make artistic creatior compatible as far
as possible with commercial needs. Writing
without the market in tnind, as one able
scenario editor once expressed it to me, is
sackcloth and ashes. Therefore while the
course is cultural for th )se who so desire
it, it is also ■ utilitarian lor the prospective
professional.

After all Art is long and time is fleeting,
and the path of the Cinema Composer is a
far and thorny one. Perfection is a hard
taskmaster. Even the experienced man of
letters must cast overboard the equipment
of his trade that he has been years, perhaps,
in accumulating anrl learn the new art of
pictures which is as different from fiction-
writing as painting is different from music.
Photoplays cannot be built in a day, or
photoplay writers in a week or a month.
Practical experience is necessary to supple-
ment theoretical knowledge.

Columbia merely offers a short cut upon
the long road of ultimate success.

Specs Without Glass

(Concluded frotn page 6g)

When quite young Hal joined a legitimate
road company. After a while in stock. Fin-
ally someone suggested the movies, and
Lloyd succeeded in getting a berth with a
company of Edison players who were work-
ing in San Diego.

Finally the fdmsters moved to Long Beach,
California, and took him with them, where
he pla>ed a series of parts. At TTniversal
they wanted a young fellow to pia> jUvenile
in a series of Jack Kerrigan's pictures. Lloyd
p'a\ed the series, and at length went to the
Oz company, where he dressed himself up
in straw and played scarecrows and wizards
for a season. When Rolin was organized he
became that organization's leading man. In
other words. Lonesome Luke, and finally,
after a series of tighttrousered episodes, he
joined the Keystone forces. Then Rolin
came back — and Lloyd accepted their offer.

Every advertisement In PHOTOrLAT lI.XCAZINTi: is guaranteed.

Photoplay Magazine — Advrhtising Section

Nearly a Bean Magnate

(Concluded from page ji)

one day he saw a picture company at work
in a Los Angeles street and the bean indus-
try reverted back to the Navy Department.
A new ambition was born. This new com-
pany was the old Selig Company.

There was no set rule for becoming an
actor so Sid decided to hang around the
entrance to the studio and get in some way
or other. Skipping a few pages of his his-
tory, it may be recorded that Sid became
the first assistant cameraman that Selig
hired.

About this time Hobart Bosworth who
was producing his own Alms listened to
young Franklin's recital of his accomplish-
ments and was impelled to hire him as an
assistant director. He worked in this capac-
ity for a year and a half.

The time came when Bosworth gave up
producing for himself and Sid was out of a
job. Chet quit his about the same time.
They held a fraternal pow-pow, counted
their combined funds and decided to make
a picture with only kid actors, a brand new
departure. No studio was required as all
the scenes were made on location and the
only grown up part in it was played by Sid.
It ran looo feet and cost about .$400, which
was mostly the cameraman's salary and film
stock.

Then came the problem of disposing of it.
After canvassing the situation it was decided
to take the reel to the Griffith ?£'jdio, ther
known as the Reliance-lVrajestic. Frank E
Woods, D. W. G.'s r:~ht hand, consentea
to look at it and in a few days he sent for
the brothers. Let Sid tell about the meet-
ing:

"The first thing from Mr. Woods was
whether we would like to come on the lot
and make pictures under the Griffith super-
vision. I nearly collapsed. He seemed to
construe my embarrassment as acquiescence
and asked what salary we considered ade-
quate. There was no opportunity to con-
sult with my brother and I wanted to im-
press Mr. Woods with my business-like man-
ner so I shot out that we would consider
starting at ?ioo a week joint salary. He
gave me another shock when he said that
was 'fair enough'."

Thus began the Franklin "kid" pictures
and for nine months the brothers made sin-
gle reelers. Bobbie Harron, the Gish sisters
and Mae Marsh played in many of them.
Then came the five reel features and they
were assigned their first big production. It
had as its star Jane Grey, who came from
the legitimate stage, and it was called "Let
•Katy Do It."

Norma Talmadge appeared on the Grif-
fith lot about that time and the Franklins
were assigned to direct her and Seena Owen
in "Martha's Vindication." Miss Talmadge's
"Going Straight" followed. They also di-
rected all of the old Griffith stars at some
time or other.

Just before Fine Arts passed into history
the Franklins went to Fox at a greatly in-
creased salary, where they made several
spectacular "kid" productions jointly, includ-
ing "Jack and the Beanstalk" and "Mika-
do."

Then Norma Talmadge, who was rapidly
coming to the front, sent from New York
for Sid and he remained with her for five
productions, "The Safety Curtain," "Her
Only Way," "The Forbidden City," "The
Heart of Wetona" and "The Probation
Wife."

Franklin's success with Miss Talmadge at-
tracted the attention of the entire picture
industry and when Mary Pickford asked for
the "loan" of her director, Norma consented
reluctantly for "one picture." So Sid went
home to Los Angeles and made "The Hood-
lum" with Mary Pickford.

125

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Photoplay Magazine — Advertising Section

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Anne of Green Gables

(Concluded from page 55J

this, the Pie's opposition had been voted
down and Anne became the village school-
marm.

If Josie's father had failed her in her
attempt to injure Anne's prospects, she
found another and stronger ally in her small
brother, Anthony. He was an unpleasant,
pasty-faced child whose fits of ill-temper
had been encouraged by an adoring family
on the grounds that he was "delicate."

"I hate teachers and I won't mind that
Anne Shirley," he confided to his sister.

"Vou don't have to mind her," Josie as-
sured him. "She can't boss a brother of
mine. Go ahead, Tony, and be just as
mean as you can."

Now Anthony's genius for meanness was
unlimited. Anne's patience was tried to the
breaking point day after day by his mali-
cious attempts to break up the order of her
little class-room. The limit was reached one
day when she found him twisting the head
of her own white kitte.; which he had
caught under his desk and held for torture.

In the presence of- all her pupils who
were amazed at such spirit on the part of
their gentle teacher, she seized a birch
switch and whipped the urchin until he
threw himself on the ground howling and
kicking. Then, utterly unnerved bv the
scene, she dismissed the class and went home
to Marille, who was confined to her bed
after an operation on her eyes. The opera-
lion had been successful but the doctor had
warned Anne that the slightest excitement
might react fatally on the spent nerves.

That evening, Anthony limped down the
main street of the village with his arm
hanging from his sleeve. His face was
bruised, his coat was torn and he had every
evidence of being brutally handled.

"The teacher did it,'' he was screaming
at the top of his lungs. "She knocked me
down and beat me and broke my arm.''

One of those sudden village mobs headed
by Abednego Pic, gathered in an indigna-
tion meeting. "If she'd do that to little
Anthony she might kill our own children,"
one mother screamed and was answered by
an excited shout from the mob.

"Shoot her — Tar and feather her — Run
her out of town" rose in a frenzied chorus
fron': the mob as the infuriated vil'agers
turned as one man and started in a half
run to the house with the green gables.

.^nne, who had been bending over MarUla,
making sure that all was well for the night,
was startled by a crash from a handful of
pebbles thrown against the pane. It was
her first hint that the mob was gathering
out side the window but as she rushed

forward and looked out, she saw a sea of
angry faces. Her one thought was to pro-
tect the sleeping woman to whom a shock
might mean blindness. So, choking down
her natural teror, she grasped the shot-gun
that always Lung in the hall and faced the
crowd — ordering them back into the road in
no uncertain terms.

Dazed by this unexpected move, the mob
obeyed, although the muttering grew louder
How long she could have held them alone
and single-handed is a question which was
never decided for suddenly down the road
appeared the long, spare figure of the Rev
Figtree.

He mounted the stump of a fallen tree
by the roadside and motioned to the crowd
which gathered around him.

"My friends." he began, "I know all
about your indignation and what inspired
it. But you must take the word of your
pastor that it is utterly unfounded.

"This unfortunate child," he went on,
waving a long hand at the cringing .Anthony,
"has been guilty of a base falsehood. His
injuries were not caused by the school-
teacher but by a fall from a moving hay-
wagon. I myself saw the fall and knew
that he would use it to gratify his childish
revenge. I beg you now to go back to
j'our homes and leave the Pie family to
administer reproof where it is really de-
served."

Shamefaced and in silence, the villagers
drifted away leaving Anne, pale and shak-
ing, to be guided up the road by the old
pastor whose tone of righteous indignation
had changed to solicitious tenderness.

So Marilla's eyes were saved and a new
life of friendly neighborliness was opened
up to Anne in the village. But better than
all this, Oilbert returned to the village from
a tri|) to a neighboring town with an ex-
cited talc of a new job whi(h would support
two, even three with its munificient salary.

So late one night, in a dark cornci of
Ihe porch shaded by honeysuckles, Gilbert
told Anne of another house down tl:e road,
a smaller hou.«e with no green gables but
with room for both of them ar.d a com-
fortable coiner for Marila. "We might as
well move in it right away," he said plead-
ingly. "I can tell the Rev. Figtree tomor-
row. There needn't be anybody there but
us and the folks and your white kitten. Will
you Anne, beloved? What do you say?"

But what Anne said was lost in the honey-
suckle vines of the house with the green
gab'es. And the wise old house kept their
secret as it had kept many other secretss
before them.

Cheating Death

Every advertisement lii PHOTOPLAY MAGAZINE is guaranteed.

Victuals and Voice

(Continued from page 43)

Phutoi'lav Maoazixe — Advkhtisino Sf.c'ifox 127

I Science Has Discovered

After her term with tlie Fox company
Miss Havvicy was selected to play opposite
Dougias Fairbanks in "Mr. Fixit," in which
she was viewed by C. B. deMiile and cast
for a principal part in "Old Wives for New,"'
followed by another in "Vou CaiiL Have
Everything."

Bill Hart's "Border Wireless" was in the
course of scenario constructiow, and on fin-
ishing at Lasky's, she signed to play the
lead. Fillums have a way, however, of
making people repeat, and later she re-
turned to Lasky's to be made love to by
Bryant Washburn in "The Gypsy Trail "
and "The Way of a Man with a Maid,"
but later, at Ince's film factory in Culver
City, she appeared with Charles Ray in
"Greased Lightning," only to go back to
Lasky's on a three-year contract. Since
signing which she has been with Maj. Robert
Warwick in "Secret Service," with Walh
Reid in "You're Fired " and "The Lotierj
Man," in C. B. deMille's special "For
Better, For Worse," — in which she and Tom
Forman completely "stole the picture,'' —
and lastly as the immortal little "Mick"
Peg. in Laurette Taylor's great stage success

"Some day," she said, "I shall retire. 1
shall have a fine home, a happy hubby, and
a little family. But, oh, dear, I do so hope
that I won't have to get off the screen be-
cause I become fat or so ugly that even
my adoring granny won't want to see me.

"And, oh, yes. Burton, what did thai
woman say this afternoon about putting a
raisin in a bottle of bevo and making
what?''

■^c^ . Mcv.c.v'Weiv do -we ecvt^

Not on the Reel

J. LiLLIAM V.ANDEVERE

nnHE ugly viHiiin, safely dead at last,
-'- Lay huddled helpless at the hero's feet
J lie hero dropped hh gun, and turning cried
In p'teous tonei — ''Sav. Afar, when do we
eat?"

He knelt upon ike grass before his love,

One little sign of tenderness to beg.
Then smote his knee, and spoke in anguished
haste —
"Great Scott! There goes a spider uh niv
leg!"

He had her in his arms—her lips upturned
He tasted with an eager joy. and then

He tore himself a'way, and sadly sighed —
"An onion sandwich in your lunch azainl"

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tmuf

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1525 Goldman Bldg., St. Paul, Minn.

Accept No Imitations
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128

Photoplay Magazine — Advertising Section

Quality;
First

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Biiiw

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CONTAINS MANY SPECIAL
FEATURE PAGES

Calendars, Plioto Space. Iiicntitication. Cash and Expeni^p,
Gift Pairi'. Personal BelonsrinKs. Money Valaes, Measures,
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Rely On Cudcura

For Skin Troubles

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Sample each free of ''Cuticura, Dept. B, Boston."

The Stars
as They Are

Although you may not be fortunate enough to
"sneak" in through the studio doors and see
your favorite picture-players in person, you can
attend a showing of the

Photoplay Magcizine
Screen Supplement

in your neighborhood theatre. The Supple-
ment shows different players each month —
intimate, off-stage glimpses of such celebrities
as Mary Pickford, Fred Stone, Douglas Fair-
banks, Priscilla Dean and others.

Ask your theatre manager
when he will show it

>iiiMmiiioiiiiiiiiiii[]iiiiiiiiiiii[]iiiiniiiiiiiiiiiniiiiiiiiiiii[:iiiiiiitiiii»

lAMerryXmasSJ'^l

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Lombardi, Ltd.

(Coiuiiidcd jrom page 41)

; mazement, "what on cartli are you
talking about, Tito?" she said. "Hodgkins
never even asked me to marry him."

"But now tfiat I think of it," she went on
tcasingly, "it wouldn't be a bad idea. He
has quite a little nest egg in the bank and
he never drinks or smokes. And of course
I must marry someone."

"But not this old suits of armor," Tito
pleaded. "He so rusty he clank when he
walk. Just to prove what kind of lover
lie make, he ask me I should make the pro-
posal of marriage for him to you."

"I've never heard you make love, Tito,"
said the girl demurelj'.

"You not know what tliis love is, Norah,"
Tito replied passionately. "It break the heart
one minute and the next it burst with joy.
And when that time is come, what all these
talks about money and banks? Ah, bam-
bino, not all the banks are worth one first
kiss."

His hand reached out and caught Norah's
little fingers in a grasp that seemed deter-
mined never to let her go. She did not

withdraw its hold but asked softly, "^re
you making love to me for Hodgkins, Tito?"

"That bag of bones! I kill him for one
look at you," said Tito fiercely. "Ah,
Norah, I am so blind. I never know until
row it is you, Norah. That big moment —
I wait so long for him and now before I
know he is here."

"But Phyllis," insisted Norah quietly.

"That was not the love hurt," he ex-
plained. "I never give to Phyllis the kisses,
for why I not know. This kiss of love, he
wait for you."

He gathered her into his arms and their
lips met.

For »hours they sat there on the chaise-
longue together while the rose and mauve
and gray of the atelier grew dimmer and
then quite dark with the lengthening shad-
ows. It would be unfair to reveal what
they talked of or how they crowded into
that perfect hour the wasted days of their
life together. .\nd, anyway, no one heard
them except a smiling wax model in a Lom-
bardi opera gown.

Drawing by courtesy
Popular Mechanics Magazine

Diagram showing how the theater
manager can watch his motion pic-
ture screen by periscopic apparatus
even though he be situated far
from the stage.

Using the Periscope in the
Modern Theater

THE periscope is being adapted
to peace time and business
needs. A progressive motion
picture exhibitor has conceived the
idea of using the combination of
mirrors to view his theatre screen
without stirring from his office.

He has installed this elongated
periscope, which consists of a set of
mirrors in a large tube, the one near-
est the screen being set on a side

wall at the front of the balcony.
The reflected images from the the-
ater screen pass from the initial
mirror up through the tube to the
ceiling of the house and thence
through the wall and back down
into the manager's office. The tube
terminates in the viewing mirror
that stands over the manager's desk.
The reflection is thrown on plate
glass i5<3 feet square.

Every adveitiscmcnt in PHOTOPI-AY M.iGAZINE is guaranteed.

Photoplay Magazine — ADVEinisixG SicciioN

129

And a Couple
of Lions

(Concluded from page ji)

no dog ever saw the day he could sail with
that lion. For miles, all you could see was
the friend of the lion on his motorcycle,
going hell bent for election, with that sinnle
minded old lion right at his mud guard.
Never heard whether it curdled any of the
milk of friendship in his bosom or not.

"The elephant is extremely intelligent,
though not as human nor as courageous
as the lion. He slops and uses his head
more than any other animal. In an ex-
tremely thick jungle we stumbled on a herd
of them asleep. \Ve"d have been all right
but for one old lady who was restless. She
sniffed us and went back to wake the other:;.
It was amusing to watch her whack them
with her foot and her trunk to wake them.
They simply wouldn't budge. At last she
got them up and they appointed an investi-
gating committee of ,s. ^^'e had a hot time
getting out, after that.

"Being charged by a rhino is most thrill-
ing but not very dangerous. He looks like
an animated grand piano bearing down on
you, but he is ciuite easily handled. If you
wait until he is quite close he will put down
his head to horn you. Then shoot owr
his head and get him in the middle of the
back where he is quite vulnerable."

This seemed bad enough, but when he
told me that he was a iirm believer in ilii)lo-
macy rather than force, and that hLs nio-t
formidable weapon was an old opera I at
of the crush vintage, I felt the thing had
gone far enough. He wore this when re-
ceiving native potentates and their envoys.
Later he would inadvertently sit upon it,
whereupon expressions of dismay and dis-
appointment would arise. With a gesture of
careless grandeur he would then restore
to its former magnificence, thereby establish-
ing himself as a magician and king of great
power.

In fact one old chief thus impressed be-
came almost too generous in his immediate
desire to supply the white man"s needs. He
sent him two very black, supposedly beauti-
ful and startling unclad ladies with the fol-
lowing message, "I see you are traveling
without your women. Do me the honor to
accept the loan of these two while }ou arc
here."

After all, it has been done in more civil-
ized lands.

The Tie That Binds

FRANK TINNEY and Pearl White put
on a duologue at the big actors benefit
show given in New York during the actors
strike. The part that made a hit with mo\ -
ing picture fans ran as follows:

Frank — How much do j-ou get a week in
the movies. Pearl?

Miss White — S5,ooo per.

Frank — That's a lot of money, Pearl. Do
you ride a horse?

Miss White — No, why should I ride a
horse ?

Frank — Well, Je'^se Tames always rode a
horse.

Wui^LlTZEJ^

SOS years of innrument makmj

Play ITa Week

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Convenient Monthly Payments

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of a few cents a d..y. The name Wurlilzer" has stood for the highest quality for
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now. Please state what instrument you are intertsced X 1^ .\ m 1 ,cn

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Dept. 16.31

^ Aumc.
y Addresr,...

East Fourth Street, Cincinnati, Ohio.
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Making Trials of True Tone by Tune-a- Phone

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Why Have Gray or Faded

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UTien you writs t3 aavertisers please mention PHOTOPLAY JIAGAZINB.

PiiOiOPLAY Magazine — Advertising Section

A Flyer In Pasts

(Continued from page j8)

and the flowering summerhouses of the Gish though she is graclousness itself. Yet shes

Los Angeles home, "And Lottie liked to the sort of person one cannot imagine taking

sew for them. Lillian never played with liberties with. I could find no trace of physi-

anything except dolls. Besides, Mary's cal resemblance between mother and daugh-

mother once said that Lillian was too good ter, but the resemblance of character is

to live, and Mary was always afraid she'd obvious, and Mrs. Frederick's taste in clothes,

drop off at play some time." as manifested by a blue silk sweater, satin

Then she delivered to me one of the sport skirt and white shoes and stockings,

shocking facts I promised you. Can you bore silent witness as to one trait handed

/~)7j that delightful, smooth, sweet, clean feeling
> that comes from using Boncilla Beautifier ! No
woman desirous of a beautiful skin should ever be with-
out this perfect toUet requisite. — ETHEL CLAYTON-

Boncilla Beautifier

Prepared from Mme. Boncilla's famous formula

CLEARS THE COMPLEXION

REMOVES BLACKHEADS

UFTS OUT THE LINES

CLOSES ENLARGED PORES

Gives the skin a velvety softness and youthful
texture.

You can now take these treatments yourself by
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In a few minutes after applied you feel the sooth-
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youthful restoration. It lifts out the lines.

Boncilla Beautifier is more than a skin treatment.
It acts on the muscles and tissues of the face, giving
a firmness and youthfulness in place of any sagginess
of the skin or tissues of the face. It also renews
the circulation of the blood in the face, giving it a
renewed fresli, clear, radiant glow of health.

You will note the improvement from the first
treatment. Use twice a week until you get the face
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You shall not be disappointed, for if it does not
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paid, as per our guarantee with each jar.

If your dealer will not supply you promptly,
se^id $1 .56 covering price and Revenue Stamps.

The Crown Chemical Company

Dept. 123 INDIANAPOUS. IND.

Makes
stubborn
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Featured In Jack Nor worth' i

Jjy Dillon
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Adopted by-Screen-Stage-Society

Because H.iir-Dress will niakelhe most stubborn hairst,-iy the
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Send for Trial Jar f^tf '|L""us';1?''five

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Yom EVES

often. Soothes*

imagine that the fair, ethereal Lillian, as deh-
cate as a lily bending on its stalk in a sum-
mer breeze, Lillian who looks as though
she fed on nectar and ambrosia and whom
it seems sacrilege to think of in the same

down.

"People speak now of Pauline's great per-
sonal beauty. Of course, she was always
lovely, but there never was a child wno
had more care. I cared for her hair, her

breath with beefsteak and onions or corn skin, her teeth, her feet and hands, her eyes,

beef and cabbage, was the fattest baby in wilh every attention in the world. I wasn't

captivity, had eight chins and almost died a mother who acted just for that day. I

of overeating the first year of her life? An- saw the whole future. I wanted Pauline to

other illusion all shot to pieces. be grounded with the right physical founda-

"Oh my, Lilian was such a fat baby!" tion and she was. If all mothers would take

said Mrs. Gish, whose delicacy of feature the time for that, there Vv'ouldn't be so many

and build have descended to her daughters, homely girls in the v^orld.

"You could hardly tell where her arms and
legs joined on. I'd never even held a little
baby before, and I was so afraid that she
wouldn't get enough to eat that I used to

•'She was never a student, but always a
leader in school. She was very young when
her teachers began to speak to me about
her voice. They predicted marvellous things

feed her every half hour or so. Naturally, of it and I did everything to give her the

I nearly killed the poor little thing. very best musical education. It is still, in

"I never wanted them to go on the stage, spite of her success in her chosen work, a

.\s children, it was my only salvation. I little regret in my life that she didn't go on

was left a widow when they were just babies with her voice instead." (Myself, I say,

and the only thing to which I could turn when you can look like that why bother to

lor a living was the stage. I had played make a noise?)

small parts in a stock company and when I
was offered a position in a company which
could include both children in the cast, I was
overjoyed, for of course I had dreaded any
thought of separation from my babies.

"But I took them off the stage as much
as I could and left them with my sister
so that they might go to school. I violently
opposed their returning in the pictures, for
the simple reason that I did not believe it
was their vocation. They didn't seem to me
to have any exceptional talent along those
lines and I dreaded the disappointment of
failure. I rather dreamed of a literary
career for Lillian.

"As a matter of fact, Dorothy showed
some dramatic talent as a. child and Lillian
was particularly good at reciting. She was
always chosen to do that sort of thing in
school.

"They were adorable kiddies, — fat and yel-
low haired, with such round faces and such
big, round blue eyes."

And Mrs. Gish heaved a little sigh as

0-0-Oh, girls, prepare yourselves for an
awful shock.

Charlie Ray's folks wanted him to be a
druggist !

Not but what he would have been a suc-
cess as a druggist. Probably he would have
had the most popular drugstore in the state.
The bitterest dose would have tasted sweet
from that hand and of course behind a soda
counter he would have been nothing less than
irresistible. But think of the waste — like
using a Ming vase for an ash tray.

And when he just wouldn't be a druggist
• — when, as it were, he cast pills and pellets
from him forever, they sent him to business
college. There weren't any actors in the
Ray family, and there weren't going to be
any, if Father Ray could help it.

"But I guess it was just born in him,"'
remarked Mrs. Ray, fondly. "Why, he
wasn't but twelve years old when he built
a real opera house in our back yard in
Peoria, with a curtain that went up and
down, and he wrote the plays and played

though the two famous screen stars of today all the parts and fixed the settings and every

couldn't quite make up for the loss of the
Lillian and Dorothy of yesterday.

Now here's the fatal one on Pauline
Frederick.

She was not only born and brought up

thing. (.\t that, I daresay Peoria has seen
worse.) Everybody in town came to see that
opera house."

Charlie Ray's mother is exactly my delini-
tion of a nice woman. She is the same.

in Boston, but the process was superintended normal, conservative type, clean minded and

by a Family Council of aunts, cousins, big hearted — the kind of woman that has

grandmammas, etc., who were so proper, and made the American home what it should be.

prim, and correct that they put pantalettes "Charlie was a regular boy," she went on,

on the angels in her illustrated copy of the "I don't say I didn't have my troubles with

Bible and dressed Eve up in such glory that him. Sometimes it scjmd to me he was just

the signiiicance of the fig!eaf was lost upon
her for years.

But there were certainly no pantalettes
on Pauline when she delighted and fascinated
New York as Pothiphar's careless wife in
"Joseph and His Brethren," a number of
years later. In fact, I have never seen art
and nature more closely allied. Of course she
had Scriptural authority for her version, but
Boston doesn't always hold with a literal
translation.

It seems impossible that there were ever
only four pounds of so vital a person as Miss
Frederick. But her own mother assures me
that on her birthday morning Pauline tipped
the scales at exactly that amount.

"She was a pretty baby right from the
start," said stately Mrs. Frederick. It is
easy to connect Boston with Mrs. Frederick,

possessed of mischief, but he was never
mean, nor sneaking, nor real right down bad
in his life. He thought the stage was the
greatest thing in the world. Don't know
where he got the blood, but he had it. He
used to cry for me to sit up half the night,
reading Shakespeare to him.

"As a matter of fact, he made his actual
stage debut at the age of eight in a circus.
We'd been watching for the circus and I had
promised to take Charles of course. When
we got inside the smaller tent where the
animals were, he asked me if he couldn't
walk over to see the ponies, and I let him.
Then, when I looked for him, he'd disap-
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Charlie. It was a troop of trained ponies,
and there, leading the very first one, all

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T KEN S ATI N ski li^l»ilWOi tRV?i;

A Flyer In Pasts

(Continued)

dressed up in blue velvet pants and a red
cap, was Charlie Ray. He knew I never
would have let him, but I couldn't make a
.scene right there so he went throuRh with
it and was the happiest boy in town. He
was so tickled I don't see how he ever
stayed inside those pants.

''He was always of a philosophical turn
of mind and a great judge of human nature.
He watched things and people then just as
he does now to put them into his pictures.

"He started running away to go on the
stage pretty early. Then his father told him
if he really had his heart so set on it, we
would allow him to give it a fair trial.
His father would give him money and he'd
start out, to return in a few months, broke
and worn out, but happy and undismayed.
He took up business for a while to please
us, but his heart was always with the stage
and at last we saw it would ruin his life to
interfere any more."

She is a regular "Lavender and Old Lace"
mother, is Mrs. Kerrigan, mother of the
screen's first great matinee idol. Behind the
daintiest of tea tables, in a graceful, trailing
creation of pearl gray satin and real lace,
she presented a picture out of a story book,
an idealized motherhood. And her gentle,
aristocratic voice, her adoration of her son!
fit well with her appearance.

"Warren was the ugliest baby I ever had,'"
she began, glancing at a fine oil painting
of the grown up version of her statement thai
hung above her head in the place of honor.
"In fact, he was about the ugliest baby I ever
saw. He was a twin you know, and when
I looked at him lying there on the pillow
(I promised you wc might have to see our
most cherished hero stripped of all camou-
flage) I wondered what could have happened
to him. He was all bone and black hair
and about the color of a bougainvillia vine.
He was so boney the nurse had to carry him
around on a pillow for days.

"And to think that his first fight was be-
cause someone told him he was too pretty
for a boy!" She shook her gray curls.

"Oh, what agony that first fight caused me.
All my boys were fighters. The Kerrigans
always have been. And I was so tired of it.
I tried to bring Warren up not to fight.
to see that it was wrong but one day when
he was about six, he came home from school
— oh, such a sight. His stockings were down,
his face was covered with blood and lear-
and sweat and dirt. Finally, between sobs,
he confided to me that one of the bigger
boys had told him he was too pretty for a
boy and he had tried to lick him.

"Warren was the youngest of the family,
yet from the time Mr. Kerrigan died, he was
the 'father.' He was devoted to his family —
he had a great sense of love and loyalty to
all those of his own blood. The outside
world, outside friends meant nothing to him
— nothing compared with us. He didn't care
much for sports as a child, nor for games,
btjt he always had his nose in a book.

"I wanted him to be a painter. He began
to do some remarkable drawing when he was
very young. I have always believed hi.
vocation lay there, that he would have done
his best work in that line. It would have
suited his taste and character in every way
better than acting. But his sister Kathleen
was on the stage and he drifted there
through her influence and his affection for
her."

You can always count on Priscilla Dean to
run true to form. If I were going to make
a book on any movie, I think I'd choose
Prisci'la. Somehow, I was quite sure when
I cornered Mrs. Mary Dean, busy with new
contracts, entertaining the Fleet and minor
details of that kind, that I should find pretty
Priscilla was a perfect little devil as a child.
She was.

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A Flyer In Pasts

( Co)tcluded)

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Mrs. Dean, herself a well known actress
of the past generation, threw up her hands
when I merely mentioned Priscilla's child-
hood.

"Good heavens, don't remind me of it,"
she cried, bursting into a hearty laugh, "How
I ever survived it will always remain a
mystery. She could think of more trouble
to start than Villa. She used to spend all
her spare time sliding down Grants Tomb in
New York and sheVi come trailing home at
night, caked with mud, and the scat of her
little panties missing absolutely.

"Of course she was on the stage from the
lime she was born. They had to carry her
on the first time but after that she learned
(o get on someway herself. I wanted her to
be an actress if she had any talent. Thank
goodness she had, because nothing could have
kept her off. She was a splendid child ac-
tress. Everybody who saw her agreed with
that.

"She had one funny little trick, that I
never did understand. Of course she's my
own child and the best daughter a mother
ever had, but I do say as a child she was
only kept out of jail by a kind Providence.
She was a popular little thing with the com-
panies, and Joseph Jefferson and others used
to give her presents., rings, and lockets and
little bracelets. She wouldn't have them
more than a day or two until they'd utterly
disappear. I'd look, and look, and beg her

to tell me what had happened to them.
But she would only grin and say 'Mary (she
always called me Mary) bebe doesn't know
where it is.'

"One day I sent a big leather davenport
to the store to be re-upholstered. When the
furniture man brought it back he had a
whole pocket full of jewelry — rings, lockets,
everything, that Priscilla had stuffed down
through the leather at the back of that
couch. Sort of a forerunner of some of the
crook plays she's done lately, I guess."

I've already broken it to you as gently
as I know how that Mrs. Sennett destined
her son for the ministry. Well, who knows.
They siy the church needs rejuvenating and
we believe he could have done it. But think
what the world would have missed without
the Sennett bathing girls.

The resemblance between this mother and
son is more distinct and noticeable than
any other than I found. For the white
haired old lady has the same squareness of
build, the same quick, telling smile, the same
forceful shape of head and forehead.

"Mack was such a funny boy," she said
reminescently. "How he did hate girls.
Never would even sneak to them. Always
getting sent home from school for deviling
them. Once he tied his little cousin to an
oak tree and left her all day because she-
wanted to follow him around while he wa<
playini; Tie coiilfln't '^ee any use in girls."

Questions and Answers

(^Continued from page yS)

LvK.\L B., Lines\t:lle — I like your flescrip-
tion of your "healthy little Pennsylvania
town.'' You have a good philosophy of life
if it tells you that you can be just as happy
in a one-horse town as you can in a six-
cylinder city. It's all a state of mind, isn't
it? Barthelniess will write to you if you
tell him what you told me. The Griffith
company will work in an eastern studio, at
this writing in process of erection near New
Rochelle. Meanwhile Barthelniess is at the
Hotel Algonquin, New York City.

danced in "Oh Lady Lady" and acted in "39
East.'' Gaston Glass and Faire Binney in
"Open Your Eyes."' You're right — "The
Jest'' is no joke.

Makie C, Janesville — It is very wrong
to cherish resentment; not only wrong, but
silly. You might be doing so many more
worth-while things. Bobby Harron is with
Griffith, still, or yet. Bryant Washburn will
send you his picture; write him care Lasky
studios. Viola Dana, Metro. •

Enz.ABETH, O.^KL.-iND — I supposc there
could be an Answer Lady. But I refuse
to be involved in matrimonial discussions.
My stenographer — still the same blue-eyed
girl, except that her hair is now brown — is
the First Lady of the Answer Department ;
and I'd like to see anybody try to tell her
she isn't. I do all the work, however. Kath-
erine MacDonald has her own company,
working in California. Clarine Seymour is
the only name that I know that Cutie Beau-
tiful answers to.

Ch.\rles Jennings, Fort Worth, Tex.\s —
I am very glad to be able to oblige you, and
I hope the young lady may be identified.
If she is with Vitagraph, write to her care
that company's studios, in Brooklyn. Here
is the cast of "Silent Strength," a Harry T.
Morey picture: Dan La Roche and Henry
Crozier, Harry Morey ; Ruth Madison, Betty
BIythe; Corporal Neville, Robert Gaillard;
Tom Tripp. Bernard Siegel; Inspector Btirke,
Herbert Pattee; Jenkins, James Costello.

Lydu McMtRR.w — You assure me, in lan-
guage more abusive than elegant that my
head is filled with over-heated ozone. You
flatter me. And all because I wouldn't an-
swer all your questions. Which broke the
rules, and were impertinent, besides. I should
hate to have hard feelings between us. Pat
O'Malley, former Edison leading man, played
with Priscilla Dean in "She Hired a Hus-
band."

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H.^TTiE D., LoDi, C.^L.^-You have a friend
who thinks I am a woman, but you think
he is wrong. I know he is. But I don't like
your reason. You sav you know my sex is
the so-called more virile, because my answers
sometimes tend to be slightly sarcastic, and
men always are. I'll let you fight that out
with your fiance. John Barrymore and Con-
stance Binney in "The Test of Honor."
The same John who did "Justice," "Re-
demption," "Peter Ibbetson" and "The Jest"
on the stage; and the same Constance who

Cl.\rice C. T.— "Mr. Man," you call me.
Are you singing Blues, or something? If
you are, it's the Doggone Dangerous Blues.
i much prefer my original title, and I feel
very temperamental today. Bert Lytell isn't
engaged to Anna Q. Nilsson, as he is already
married. Miss Nilsson has been married.
She has lately appeared in Allan Dwan's
picturization of Richard Harding Davis'
"Soldiers of Fortune." Yes, Bessie McCoy
Davis, now dancing in "Greenwich Village
Follies" in Manhattan, is the widow of the
writer.

Dixie, Alabam.\ — I like Southern girls
very much. They have such a way of ut-
tering commonplaces so as to make you
think they are making epigrams. And they're
pretty, too. Mary Miles Minter isn't mar-
ried and she isn't thinking of it. She's got'
too much else on and in her mind at pres-
ent. Twenty good pictures for Realart is
her assignment and she's going to fill that
before she does anything else.

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Photoplay Magazine — Advertising Section

Questions and Answers

(Continuedj

Pat, Louisville. — You adore Wally Reid
and Gene O'Brien and also niu, although
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junction "although'" I say, should be
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Jake, Moline. — You say you're the only
kid of your acquaintance who doesn't want
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could do would be to make an iron cross
for you. To make an iron cross you put it
in the fire. Now that's settled. Arlinc
Prettj' is engaged — but only in a business
way.

Helex M., Goshen, N. Y.— Doris May
is the young lady who played opposite
Charlie Ray. She is now starring in her
own account for Tom Incc. I cannot tell
you how many summers she has passed be-
cause you see it's nearly always summer in
California. I think that's why so many
stars settle out there; it's so easy to forget
the change of seasons.

XYZ, Newcastle. — So with my sense of
humor I'd make a good ticket-agent for the
Pan Handle. My dear sir, with my sense
of humor I couldn't hold that job long
enough to sell two tickets. Mary Miles
Minter, according to that little girl herself,
her mother, and a former mayor of
Shreveport, La., is seventeen years old.
Blanche Sweet is in her twenties somewhere.

George F. Y., Tacom.a. — No, I do not play
golf. I am not old enough. First National
Exhibitors' Circuit is at 72Q Seventh Ave-
nue, N. Y. C. Jack Pickford isn't with
them now; address him Goldwyn, Culver
City.

Private First Class, France. — I'll testify
on any witness stand that you're a first-
class letter writer, too. Don't you worry:
the doughboxs got a lot of credit. And as
long as you know you did more than your
bit, what do you care what anybody thinks?
You're all wrong; write again, however,
and tell me your troubles.

C. W. S., St. Paul. — There are no studios
which lake on novices to teach them the
rudiments of motion picture acting. And
you can't learn it out of a book, either. I
tan only tell you what I have told many
others: if there are no studios in your town
you'll have to go to New York or Los An-
geles, and whether or not that is advisable is
up to you. Write to me whenever you
want to.

Serie. Westfield. — I wish you would
write again and let me know what that
non de plume means. I should like to know ;
I won't rest easily until I do. It sounds
very edgarallan, anyway. Barlhelmess —
Barthelmess ! I had hoped to keep him
one of my favored few leading men, who
I liked to see and who didn't bother me.
Now he is become that awful thing, a Popu-
larity; and you can't let him alone. I
think he will answer you. He's a nice
fellow and is trying to save some money
so I'd enclose postage if I were you. Dick
is with Griffith now ; beginning with
"Broken Blossoms"' in which he does the
chink he will have good parts in DW's new
pictures. The Griffith organization is build-
ing a new studio in New Rochelle, N. Y.

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Questions and Answers

(Cont

Rene S., Dcluth.— It is very flatterintr
to an old man like me to know that a yovmg
lady like you takes enough interest in me to
consider my preference in paper. Women are
not all thoughtless, after all. Wallace Mpc-
Donald, Brunton studios, L. A.; Dougias
McLean, Ince, Culver City; Robert Ellis,
Selznick (he's directing now); Dick Barthel-
mess, Griffith, New York City.

iniied)

Susan, Hastings. — Constance Tylmadge
i- not dead. I should say not. Richard
Barthlemess isn't married, or engaged.
There will be a story about him very soon.
Muriel Ostriche is somewhere in the twen-
ties. I don't think she is married. And she
if, I believe, a sort of free-lancette, appiar-
ing for various companies.

M. A. D., Chattanooga.— So I was a full
month answering your letter by mail? Well,
that's nothing to be mad about; but I sup-
pose you can't help it. Here's the cast of
'The Man Beneath": Dr. Chindi Ashutor,
Sessue Hayakawa; Kate Er.skine, Helen
Eddy; Mary Erskiiie, Pauline Curlev ; y<j;);('v
Bassetf. Jack Gilbert; Cointtes.<< Pe'tile Flor-
ence, Florence LaRue; Flanco'is, Wedgevvood
Xowell. You're welcome to anv cast 1 have.

A Typical Tropical Tkamp, — 1 don't
know what that is, but I should like to be it.
Bill Hart has never been in the Te.\as
Rangers that I know of. Glad you won
your bet and the other fellow's pay — with
no hard feelinits, I wish you'd write to me
again soon.

Mrs. Carl B., Indiana. — That was a very
silly report indeed; and it seems to me a
good practical jokesmith could concoct a
better one. You say men don't marry the
girls they flirt with. Well, it's not the girls'
fault. Jane Novak was Sybil Andres in
■'Eyes of the World." by the literary gen-
tleman whom Emerson-Loos kiddingly
called, in one of their pictures, ''Harold Bell
Wrong.''

Sallv Jack, Al.\ba.\xa. — I like you .Ala-
bama bantams. You seem to drawl your
worrls even on paper. I am sure Tony Mo-
reno would send you a Spanish picture of
' himself if you write to him care western
I Vitagraph. Tony's a very good scout; I am
j glad they are going to put dim in features
soon.

I Eleanor, K C. — t had rather, nuuii

\ rather, be "real jolly" than frightfully clever.
I don't boss the oftico-boy around so that I

i can g:'. off and play golf in the afternoon.

j For one thing I haven't a personal office
boy and for another thing I don't play golf.
I am very nice when you know me. Jack
Pickford s with Goldwyn now, working on
his iivst 1 r them unde,; Harry Beaumont's
direction, Charles Ray's latest for Ince is
''Paris (Treen." His contract with Thomas

' H. will soon be up; then Charles will go
with First National. Charles Chaplin's
latest to be released at this writing is
"Sunnyside." A new one will be prcstnted
soon, called "Paradise Alley.''

RuTHiE, Tacoma. — Now that's an original
idea. Selling my autographs for pinmoney.
The editor might not approve of such cheap
methods but I do need a new hat.
I'll think it over. Constance Binney was a
dancer in "Oh, Lady, Lady," and for Zicg-
feld before she went into drama, spoken
and silent. She is making Realart Pictures
now — the first, "Erstwhile Susan." Her
latest legit, appearance is in ",?o East," with
Henry Hull. Gish and Talmadge families
discussed elsewhere in this issue.

Miss Billie, Springfield — Florence Reed
and Wallace Reid are not related. If you 11
notice, there's a slight difference in spelling.
Miss Reed is the wife of Malcolm Williams,
an actor. Mr. Reid, or Wally, is married to
Dorothy Davenport, who was w-ell-known
in the films before she married and retired
to private life. The Reids have one son,
BilL

Cand.ace, St. Paul. — I like your name.
Also your stationery. But you're wrong
about .Alma Rubens; she was born in Frisco,
not St. Paul. She has been married. She
has her own company now, working in
New York under the supervision of Dr.
Daniel Carson Goodman. She was Fair-
banks' leading woman for Fine Arts, a star
in her own right for Triangle, and she made
"Diane of the Green Van" for Pa the. Now
she is a leading luminary for Cosmopolitan
Productions. Fl<)rence Vidor won recogni-
tion when she rode in the death-cart with
Sydney Carton (William Farnum) in the
Fox edition of ".\ Tale of Two Cities."
Then she went with Lasky, where she was a
DeMille heroine in "Till I Come Back to
You'' and "Old Wives for New.'' She is the
wife of King Vidor, anrl will play in his
pictures henceforth. There is a little Su-
zanne X'idor, who is almost a year old now.

J. W. Troy, New York. — Louise Huff,
not Shirley Mason, provided the excuse for
the exclamation point in "Oh, You Women!"
Don't see how you could confuse identi-
ties; Louise is very, very blonde and Shirley
is as dusky as her sister, Viola Dana. Miss
Huff isn't with Famous Players-Lasky now;
she is a star for American Cinema, a com-
parati\ely new company which is also ex-
ploiting Mollie King-Alexander. John Bow-
ers is with Goldwyn, on the west coast.
Your request for a story about him was
granted in the .August issue. What did
vou think of it?

Eva, Jersey Shore, Pa. — So you are one
of those ladies who plays "Hearts and
Flowers'' when the old grandfather passes
this vale of tears while the camera-man
turns the crank, or Mendelssohn's Wedding
March when the happy film couple passes
down the aisle to the final fadeout. I have
a lot of things to talk over with you. O'.g-i
I'etrov;" isn't jilaying in pictures now.

Edith R., Knoxvillf.. — I'm mighty glad
you thought you would like to. write to me.
I don't mind telling you that my favorite
correspondents ate little girls — and boys — of
;ibout twelve, wath twin sisters of seven-
teen, two Pekingese dogs, two white rabbits,
a canary, and goldfish. The Dolly Sisters
are are not in pictures at present; they are
going on tour again next season in their
musical comedy success, "Oh, Look!" in
which the popularization of an air by Chopin
is accomplished in "I'm Always Chasing
Rainbows." Katherinc MacDonald's first
picture for her new company is "The
Thunderbolt."

Evelyn, Worcester, M.ass. — You say you
must needs be saucy. That's a hot one.
But I do nob shoot my cuff. I am a he-man.
A perfect third-party, I grant you; the
right angle on the eternal triangle — but
I am sternly, severely masculine ; when you
ask me the time I pull out the old silver
family heirloom and then glance at the office
clock before replying. Have you noticed,
it isn't the cost — it's the upkeep of family
heirlooms. Also — I keep my handkerchief in
my pocket, not on my wrist. I know that;
it is from — let me see — Milton's '"L'Al-
legro?" Am I right? What? Pardon; and
write again, soon.-

PTqoTOPT.AY IvrACAZTXIi; i.'? eii.iranteed.

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Questions and Answers

(Continued)

iMiss Cissy Lim, Orchard Road, Singa-
pore— I think I have heard from you be
fore. I have never traveled much, e.\cepl
in my library. I should Hke very much in-
deed to see that Chinese Temple on the Bal
lestier Road. I am sorry that we cannol
oblige you in that matter, but write to me
often and I'll always answer vou.

Clipford Fox, Des Moines — The letter
must have been lost, or it would have been
answered, especially if you enclosed stamps
for a personal reply. Will you write again,
and I shall be very glad to answer youi
questions. And just think how you will
appreciate it when you do get it! And de-
partment rules, you know, are not made to
be broken.

Oliv.v, Cluar F.<\lls — Why should jou
want to know about me? As it is, 1 extract
a reasonable degree of interest; I am a mys-
icry — a rather decrepit mystery, but still ;i
mystery. Now if I told you all about my
self, I'd lose all my correspondents. Win
I even use cream in my tea. Mrs. Charfe-
Chaplin was Mildred Harris.

Another Ofeice Dog, Minne.apox.is — At
that, I'll bet you get more bones a week
than I do. Your drawing was funny, except
that the pun "Owen" and "owin" " has been
used several hundred times before. Never
mind — there was a story about Mr. Moore
in last issue.

Marg.\ret M., Johnstone — I do not play
the sa.xophone. In '"Clarence," a new stage
comedy, there's a boy who thinks he can.
"Are beetles deaf?" he asks, and to test them
he recommends placing them in a dish of
their favorite food, play to them, and if
they leave the food — • Oh, Mr. Tarkington I
Blanche Sweet is a Jesse Hampton star, re-
leasing through Pathe. Anita Stewart is
Mrs. Rudie Cameron. Elsie F.'rguson, IMis
Thomas B. Clark.

Molly Pitcher, TrL.\RE--Thc girl behind
the gun ! Dick Bartiielmess is not, officially
speaking, a star; but he has risen to stellar
popularity through his work as a featured
player. As I've said, Griffith's people are
never "stars'' in the bill-poster sense of the
word.

EowiN S., San Francisco — Yes, many of
the fiim producers have mottoes. Most of
them have, hanging above their figurative
desks, "Cherchez le coin !" Which is all quite
right anfl proper. I wish I were a film pro-
ducer. Maybe if I had a picture which w:i-
a success, I could afford a new pair of shoe-
[f Edwin Booth is your real name, I don'l
^ee whv vou slKJuldn't use it.

Jtmmy' J., AsTiEORD, Nebrask-V — Why
should you oe afraid of me? I may have
a ferocious exterior, but I am good at heart
— really, (venneth Harlan is not yet thirty,
he is not married, and he is acting in a Uni-
versal serial at the present time, so write
to him at U City, California. He'll send
you a picture.

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N.\MK

Mrs. J. p. R., South Paris— I agree with
\ou that it is inconsiderate of a player to
keep your twenty-five cents and neglect to
•;end vou a photograph. But always re-
member, thev are busy, the mails are bad.
I and vou must run the risk of losing your
i stamps-or-coin. Tom Meighan is in the
west now; at the Lasky Hollywood studios.
Billie Burke, Famous Players studio, 130
I West 56th street, New York.

jon write to advert sprs pleas? mpiiticii PHOTOPI^Y JIAG \7.INT).

What Could Be Nicer?

than a collection of your favorite and most
beloved Movie Stars? These are not cheap imita-
tions but grenuine honest to
goodness photographs, size
8x 10. Make your selection
from the following :

TIiedaRTia Blanche Sweet

Cai h if Klackwoll Margruerite Snow
Bt'verly Baynt- Anita Stewart

FranfisX.Iiushnian Norrnii Talmadu-
AUre Joyce Peail White

.fafl< Kerrifjan Ren F. Wilson

Mary Miles Mintei' Earle Williams
Mabel Nuimand Crane Wilbur
OlKa I'etrova Lillian Walker

Mary Pickford Clara K. Young-

or any of the other popular st;ivs

35c Each or 7 for $2.00

Money rheerfuUy refunded if notsatisfiictory. Mail
at onc-e with name and address plainly written to

S. BRAM* Dept. 66, 209 W. 48th St.» New York

136

Grace Ellen Cox, Carlisle — You wrote
to the Educational Department for advice as
to becoming a movie actor! But they only
turned it over to me, so you won't get any
more advice than I gave you last time.
You're a freshman in high school who wants
to be a star and what should you do? Be
a sophomore, a junior, and a senior in rapid
succession, then think it over and write to
me again.

Charles Antoine H., Paterson — Let us
not speak of what has passed. Your letter
never came to my desk. Only Mr. Burleson
knows why. I must brush up in my French ;
I had to consult my little dictionary to trans-
late parts of your letter. If I were you I
would not pay while learning motion pic-
ture acting. I do not know, right now, of
any French casting director; but be assured
that any of the better companies will take
care of you if they can use you.

Seth a. C, Peru — Corinne Griffith would
rather her friends addressed her care the
■Vitagraph studios in Brooklyn. Don't send
your letters to 40 Clinton street; she says
she hasn't lived there for some years. Irene
Castle is married again; she is Mrs. Robert
Treman now. Charles Maigne directs some
of her pictures. Mary Pickford's real name
is Gladys Smith.

Frisco Fan — You think I must have
stepped right in to my job as Answer Man.
I don't know just what you mean stepped
right in but I know that I have been nine
years — nine long, shapely years — rising to my
present position. What it is I don't know.
Alice Brady, Realart. She's Mrs. Jimmie
Crane. "Sinners" is her new one. Alice
Lake with Metro ; Dorothy Dalton with
eastern Paramount. Right now she is work-
ing at the i2Sth street studios of that or-
ganization in "Black is White," but address
her care Famous-Lasky, 485 Fifth Avenue.
Wanda Hawley, western Lasky.

Toot, Portsmouth, 'V'a. — Your name re-
minds me of the golden days B. P. That
means Before Prohibition, of course — and it
is really quite unworthy of me, I have never
shed any tears over the recent amendment —
why should I, I am prepared. Well, any-
way: you are entirely wrong about Miss
Talmadge. She is not ill, but playing right
along, in Manhattan, in her studio.

E. E. J., Philadelphia — Thank you for
sending me your poetic birthday remem-
brance to Theda Bara. She must surely have
appreciated it. I like the line, "I'd die for
you." Wonder if anyone will ever write
anything like that about me? Miss Bara's
last for Fox were "La Belle Russe" and
"Kathleen Mavourneen."

K. Moore, 'Vineland, New Jersey — The
greatest thing in the world ? Courage. The
worst thing in the world is to conceive a
bad deed and lack the courage to perform it.
There is no keener torture. No, Mabel Nor-
mand works in Culver City. "Jinx" is one
of her latest. Constance Binney, Realart,
New York.

Fifteen, Ontario — You begin, "You will
probably think I'm crazy." Oh, well, never
mind. I have thought I was a Napoleon
among Answer Men many, many times. I
never get mad, my dear. Life was cruel
to me before I ever began to answer ques-
tions— in those days I used to ask them.
Norma Talmadge is married, to Joseph
Schenck. Eugene O'Brien isn't married. His
new Selznicks are "Sealed Hearts" and "The
Broken Melody."

Questions and Answers

( Concluded)

S. F. H., Tacoma. — George Fawcett was
one of the three musketeers from the little
village in "Hearts of the World." Fawcett
frequently appears in Dorothy Gish produc-
tions. He is married to Beulah Poynter.
George Siegman was the hun in "Hearts.''
Rosemary Theby was the vamp in "The
Great Love." Your town, Tacoma, fairly
teems with movie fans. Call again; always
delighted to hear from you.

The Lightning Raider. — What, again?
Bertram Milhauser is Pathe's scenario ex-
pert. I agree with you, in a way, that melo-
drama now and then is relished by all of us.
For myself, I sometimes get tired of too
much reality. I love to enter, once a week
or so, the realms of enchanted heroines and
samsonesque heroes and villains who are
so bad they blot the picture.

■Veta, Clearwater. — If I lived in your
town I should keep a clear complexion and a
clear conscience ! I like the open places ;
windy-city life baiters down my self-control
once in a while. But I never never take it
out on my stenographer. May Allison is in
her early twenties; she is not married and
never has been and that's her real name.
Her new Metro is "Fair and Warmer," in
which May drinks the cocktail that Madge
Kennedy made famous on the stage.

Master C. Aldridge. — Kitty Gordon isn't
in pictures just at present. Her latest was
"Playthings of Passion'' for LTnited Theatres.
She has a young daughter Vera Beresford.
Louise Huff has a little girl Mary Louise;
Miss Huff is with American Cinema.
Dorothy Bernard is Mrs. A. H. 'Van Buren.

Claude, Philadelphia. — Houdini, the
magician was in "The Master Mystery." Mar-
guerite Marsh played with him. He has
signed with Lasky to do more pictures for
them to follow "The Grim Game." Hou-
dini was celebrated as an escape-artist on
the stage ; but he has found the movies too
much for him. Fancy him trying to wriggle
out of any film once he's in it !

Dorothy L., Harvey, North Dakota.- —
An old joke, like an old friend, is the best.
Of course we dress them up and trot them
out so that they look like new — but really,
isn't it a comfort not 'o have to think
about it at all, just laugh and say, "Yes,
that's good" or "I always did like that one."
John Barrymore's wife was Katherine Har-
ris; they are now divorced. It's Robert
Harron's real name.

B. J. D., L. A.— You write like Bebe Dan-
iel looks. Bebe, by the way, your pastelled
namesame, has forsaken comedy to go with
DeMille. Her first, "The Admirable Crich-
ton." There was a story about Tom Meig-
han in the October issue. I hope it pleased
vou.

Peggy, Hamilton, Ohio. — Most of your
questions have been answered before, but
your little corsage touched my heart. John
Bowers is married to Rita Heller. Goldwyn,
Culver City, wOl reach him.

W. Elizabeth C, Philadelphia. — A
healthy percentage of my mail comes from
the Quaker City. No, I don't play in pic-
tures; I much prefer ring-around-the-rosie
and other simple games like that. Hate to
disappoint you, but Vivian Martin was not
born in your City of Fraternal Affection —
but in, or near, Grand Rapids, where all
the furniture comes from.

Kathryn Connor, Fairbury — No. Elsie '
Ferguson hasn't a double. She played both
roles, herself, in "The Avalanche." Pretty
tribute you pay Elsie's versatility. E. K.
and Elmo Lincoln are not even remotely re-
lated. Elmo is the man who wiggles such
a wicked muscle in the "Tarzan" pictures and
in the serials, while E. K. is the Lincoln who
began with Vitagraph and was lately in Zane
Grey's "Desert Gold."

Pete, New York — I am not alarmed at
your offer to send me fudge. I am well-
insured, against love, death, and ptomaine.
I never would say anything in a disparaging
way about your sweet efforts, but since you
started it — Just because I wear a striped-
shirt once in a while — on holidays and birth-
days— doesn't signify that I'm a fat man. '
Believe me, I'm not fat. Conway Tearleli
with Norma Talmadge in "Nancy Lee," re-
named "The Way of a Woman."

Jinny, Missouri — I don't think you're a '•
"hick" because you don't come from New
York. There are as many hicks in Man-
hattan as there are in the back-woods, ac-
cording to the gospel as picturized by James
Montgomery Flagg. Eugene O'Brien still
lives at the Royalton, but I'd address him
care Selznick at 729 Seventh Avenue, New
York.

Edith— Are you blonde? All the Ediths,
personal, I know, are blondes. So you re-
ceived autographed pictures of Mary Pick-
ford and Wallace Reid by perusing my de-
partment. If I never had done or will do
another thing I am a success. Douglas Fair-
banks is a United Artist. His first, "His
Majesty the American." Margery Daw is
his leading woman in that — her last with
Fairbanks before joining the Neilan organi-
zation.

The Lightning Raider — I can't help- an-
swering you every month. There's some-
thing about the way you shape your let-
ters "A" that I can't resist. I haven't seen
Pearl White's first Fox, as it hasn't been
completed as I write this. But by the time
you read this it will probably be finished
and you'll have seen it. Thanks for what
you say about our covers. Watch out for
innovations all the time.

Grace, Lansing — The luscious young lady
of the Cecil DeMille optic operas — "For Bet-
ter for Worse," "Don't Change Your Hus-
band" and "Male and Female," was, and
still is, Gloria Swanson, although rumor had
it sometime ago that she was about to be-
come engaged in a matrimonial way to a
young Los Angeles millionaire, which rumor,
if true, would have resulted in her becoming
Gloria-somebody-else. She is of Swedish de-
scent.

Vivian, Dallas — Why, I suppose you
might write Miss Martin and tell her that
you like her because her first name is the
same as yours, but I like Vivian and our
first names are not the same, so I daresay
there is some other reason for your admira-
tion of her, also. Ralph Graves, the good-
looking young blonde chap, now with Grif-
fith, played the soda-fountain clerk in "The
Home-Town Girl," with Vivian, who by any
other name would play as sweet.

Hazel K., Detroit — Marguerite Mar.sh is
Mae's sister. Marguerite has been playing
right along but Mae is still in private life as
Mrs. Louis Lee Arms; she will probably re-
turn to picture activity the last of this year
or the first of next. Mae's baby is a little
girl.

Pnoropi.AY I\[a(;\zi\e — AnvEnTisixo Sr-ciiox

XI — OrS perfer:tly "cut.
hlue-wliite diamoiul set in
"Merry Widow" mounting
of white ?fi\6. $6.1.

engraved mounting of

platinum. 2 blue-whitp ^

diamonds in hexagon X S — ;

.lettiDKS. $175. ^eari pinl

with one
e xcep-l
tionallyl
fine.hlje-
white di-
amond,
set Tif-
. T Q- . , f a n y

set liflany style. atyle.JSO..

X.') — One .bluc.-wKitedia-
mnnd
$2.5.

X6— Kxcrasive sfarf
pin; white gold hand-
engraved mounting, 1
pij-feetly cut. bhie-white
diamond. $40.

X7— Super lo r
diamond, set Tiffanj
style, solid gold
mounting. $126.

_ -set
diamond, in hand-car-
ved platintim mount-
ing. «200.

iful

X20— iaWfe' Bel-
cher ring, one fine
diamond. $,15.

X37 — Seven fine perfect-cut, blue-
whit* diamonds, uniform in size, color
and brilliancy, crown set, resembling a
$350 solitaire. ' Hand-engraved, white
gold mounting (looks like platinum.),
$77.50.

Beautif'.u mount
iiig of white g<ild, com-
bined with green gold
one superior diamond
«.50.

live dnzzhrig

set 7-
$65,

X2i—Tiffal^ style
ring; one perfectly cut
diamond, $65.

X22— Pla! ,.
diamond dlu«tSi^~

with
dia-

mond.

Xmas Selections

On Credit at Cash Prices

Any of these Siileiidid SWEET S]>e<ials sent
ON APPROVAL at our expense. If entirely sat-
isfied after examitiation, pay only oiie-fi/'th
of price; balance in ten monlhly payments.
S WEKTS Policy: You must be satisfied or no sad-.

Every Diamond ot Superior quality, bluc-
wbitc, perf.Mt-cut. PROFIT-.SJT ARINO PLAN :
We accept SWEET Diainon<ls in cxchauge at
full price, plus T'j 'r yearly increase in \aluc.
Liberty Bonds accepted at face value.

X24— OnSPlllP^ior dia-
mond in tooth mting. $50.

X23— Gfenuine coral
rameo set with two fine
diamonds. $2S.oO.

X2t) — Seven blue-
white diamonds,
hexagon set in white
gold mounting. $85.

XU) - Genuine, hand-
carved cameo in hand-'
engraved, solid g<'ld
"^- bezel. $7..W.
Xil— The "Merry Wid-
ow." always popular, i.-et
with 5 perfectly cul, blue-
white diamonds, in plat-
inum. $100.

X28 - CiStle-
men's tooth i<tog,
one fine diamond.
$45

X13-
mond;
Butting

wswiiiiift

When you write to advertisers please mention PHOTOPIAY MAGAZINB.

138

Photoplay Magazine — Advertising Section

The Breakfast"
by Haskell Coffin

Baby's
Busy Day

Four charming studies of child
life by

Jessie Willcox Smith
Haskell Coffin
Neysa McMein
Harold Brett

Send for the lovely 1920
Swift's Premium Calendar

You will want to own every-
one of these appealing baby
pictures. They form one
of the loveliest groups we
have ever offered, among
calendars which have been
famous for the work of
great artists.

The cunning baby in the bathtub
is Jessie Willcox Smith's charm-
ing conception and you won't be
able to decide whether you like
it, or Haskell Cofon's little hi[;'a
chair monarch, the best. Neysa
McMein's sweet girl-mother wins
your admiration as thoroughly as
does the absorbed youngnatural-
ist in the sandbox. And perhaps
many will find Harold Brett'c
end of the day loveliest of all.

The best of advice about
caring for baby, too

This calendar, besides being so beauti-
ful that you feel you must have it for
your own, is practical as well. On the
back of each leaf will be found dozens
of hints by a famous medical authority
on the care of the baby, the very latest
information on feeding and play, train-
ing and sleep— everything you want
to knov/ if there is a baby in the house.
And whether there's a real one or not,
you'll want the adorable ones in these
pictures.

How to get this calendar

This beautiful calendar for 1920 will

be sent to any address in the United

States for 10c, in coin or stamps;

or — Trade-mark end of five Swift's

Premium Oleomargarine cartons

or — 4 labels from Swift's Premium

Sliced Bacon cartons.
cr — 4 covers from Brookfield Sau-
sage cartons,
or — 6 Maxine Elliott Soap wrappers,
or — 10 Wool Soap wrappers.

(//■you live in Canada send ten cents exin. to pay duty.)
Address Swift & Company 1247 Packers Ave., Chicago

Swift's Premium Hams and Bacon are noted for finer flavor
Swift & Company, U. S. A.

fj Prayers
by Harold
Brett

a--

A Mellin's Food Girl

«^-

cMo-bftl cM. ©civls ,
J&jbertyy crbill^cJesc.

or y OUT Jo a by, 1X8 G tae

llin's Food Method
Milk Modification

W. f. MALL PRINTING COMPANY, CHICAGO

Kodak

of the Christmas merriment.

— the gift that helps to make her Christ-
mas merry — then keeps a picture story

EASTMAN KODAK COMPANY

Rochester, N. Y., The Kodak City

'Uhe World's Leadin^<zMovin^ ^ic^ureCy^a^azine

a^azine

February

20 Cents

^
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UniA/ TrWAilKi C^DCBKI Ciir'/^CCC.nV IgQfei: i ■ ACIfV

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(g) 1919, A. H. S. Co.

GestBienfuin en Jevrier

i^lM

With the pure fragrance of June flowers —
with the pure softness of June breezes. What!
Has Juin been mysteriously wafted into
February ?

Whether it be my parfum Djer-Kiss itself,
with its "odeur stolen from June flowers" —
or the June softness of my poudre de riz Djer-
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EXTRACT

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Be it February or June, you will be charmed
when you buy them, you will be charmed
when you use them. „^/r

PARIS, 1919-

VEGETALE

jVa<?c in Trance only

*ROUGE
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* Thete 2 Sp'ecialitei blended
in America with pure Djer-
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Photoplay Magazine— Advehtising Section

jfi-^

•Vv*i,

HIS MASTER'S VOICE

REG. U.S. PAT. OFF.

The trademark of supreme musical quality

It means the world's largest
and greatest musical industry

Twenty years ago the talking -machine was a
triviality. Today the Victrola is an instrument of
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this "plaything" into an exquisite and eloquent
instrument of the musical arts originated with the
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The pioneer in its field, the Victor Talking Machine
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The famous trademark "His Master's Voice," with
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Victor Talking Machine Co., Camden, N. J.

New Victor Records on sale at all dealers on the 1st of each month

When ycm writo to advertisers riease mentinn rnOTOPT.AY MAGAZINE.

Photoplay Magazine — Advertising Section

MotiSn _ 'gllH !

In line lor
somefning^ gooa

^HE big thing that Paramount Artcraft has done
for you is to take the gamble out of seeing motion
pictures.

Time was when you took a chance every time you
paid your money — every fan remembers it.

And even now it isnt everybody who knows how
to avoid taking chances.

Pleasurc'time is not so plentiful that it can be
wasted anyhow.

But note this: Wherever you see the name Para'
mount Artcraft you can bank on rich returns. I

It is not a question of taking anybody's word, it's
simply a question of reading the announcements of the
better theatres everywhere, checking up the brand
names of the pictures, and choosing Paramount Artcraft.

Go by the name and you re in' line for something
good.

Cparamouni'^Cu'icra^t

jHoiion Cpiciures "

c-.«iti."

afFAMOUS PLAYERS -LASRY CORPORATION (

^; ADOLPH ZUKORTr^i JESSE LLASKY EW P-ri CECIL B DE MILLE D'lrcWf^.?''.'™/

Latest Paramount
Artcraft Pictures

Released to February 1st

Billie Burke in "Wanted— A HrSBANR"

Irene Castle /;/ "THE INVISIBLE BOND"

Marguerite Clark /;/

"A Girl named Mary"
Ethel Clayton ifi

"The Thirteenth Commandment"
Cecil B. DeMille's Production

"Male and Female"
*'Everywoman" With All Star Cast

Elsie Ferguson i^t "Counterfeit"

A George Fitzmaurice Production

"On With the Dance"
Dorothy Gish itt

"Mary Ellen Comes to Town"
D. W. Griffith Production

: "Scarlet days"
Wm. S. Hart in "Sand"

Houdini itt "The Grim Game"

"Huckleberry Finn" A Special Production

Vivian Martin in "HIS OFFICIAL FIANCEE"
Wallace Reid iji

"Hawthorne OF THE U. S. A."
Maurice Tourneur's Production

"Victory"
George Loane Tucker's Production

"The Miracle Man"
Robert Warwick in

"The Tree of Knowledge"
Bryant Washburn i}i

"Too Much Johnson"
"The Teeth of the Tiger" With David Powell
**Tbe Miracle of Love"^

A Cosmopolitan Production
"The Cinema Murder'*^

A Cosmopolitan Production

Thomas H. Ince Productions

Enid Bennett in

"The Woman in the Suit Case"
Dorothy Dalton in "His Wife's Friend"
Ince Special "Behind the Dook"

Ince Super-Special "Dangerous Hours"
Douglas MacLean & Doris May in

"What's Your Husband Doing?"
Charles Ray in "Red Hot Dollars"

Paramount Comedies

Paramount-Arbuckle Comedies

o}ie eiery other inonth
Paramount-Mack Sennett Comedies

("WO each month
Paramount-Al St. John Comedies

0}ie each vionth
Paramount-Carter De Haven Comedies

one each month

Paramount Short Subjects

Paramount Magazine ^ issued iveekiy

Paramount-Burton Holmes Travel Pictures

one each -week

Every advertisement In PHIOTOPLAT MAGAZINE Is guaranteed.

'THE NATIONAL MOVIE PUBLICATION

PHOTOPLAY MAGAZINE

JAMES R. QUIRK, Editoi

Vol. XVII

Contents

February, 1920

No. 3

Cover Design

From the Pastel Portrait by Rolf Armstrong.

Olive Thomas

Rotogravure :

Vivian Martin Alice Lake, Nazimova, Lucille Lee Stewart
Pearl White, Zasu Pitts, Tom Meighan and Eugene O'Brien!

Give Labor the Star Dressing-Room
A Snow Storm in Sunny California

Looks Like Snow, But It Tastes Like Mackeral.

Editorial
(Photographs)

27
28

29
32

W-O-R-K— That's All !

Beauty is as Beauty Does -in the Follies.

How To Win Screen Success

Advice From The Man Highest Up.

Their Little 01' Pay Check Now!

Oh, What a Difference Four Years Make!

Slant Eyes and Bumps

How Viola Dana Makes Up as a Jap.

Blind Husbands (Fiction)

The Story of Stroheim's Great Domestic Drama

Pearl White's Party

Little Orphant Russell Began It.

Cutting Back

Robbing Filmland's Cradle of Its Memories.

"Call For Miss Joyce!"

"Hotel Joyce" Belongs to Alice

^^F^ Tt'^'^J^^^^^i^ J° ^e Ada Patterson 48

Early Ambitions and Present Hobbies of the Stars.

How to Write Movies John Emerson and Anita Loos 50

A f amous 1 earn Demonstrates.

(Contents continued on next page)

Olive Thomas

Jesse L. Lasky

Andrew Day 34

Alison Smith 38

(Photographs) 42

William N. Selig 43

Pictures Reviewed

in the Shadow Stage

This Issue

Published monthly by the Photoplay Publishing Co., 350 N. Clark St Chicago 111
w^M. HART, Adv. Mgr. Randolph Bartlett, Associate Editor, Los Angeles

$2 MCanL^a"T3''m"^'?^r;f^-*"' *" '.*'" ""'^""^ ^'"'^^- ''^ dependencies, Mexico and Cuba:'
»^.su Canada, $3.00 to foreign countries. Remittances should be made by check or oosta
or express money order. C.ution-Do not subscribe through persons unknown to you

Entered as second-class matter Apr. 24. 1912, at the Postoffice at Chicajo. III., under the Act of March 3, 1879.

Save this magazine— refer to the criticisms be-
fore you pick out your evening's entertainment.

Make this your reference list.
Page 71

Eyes of Youth Equity

Scarlet Days Griffith-Artcraft

Page 72

Anne of Green Gables Realart

Page 73

A Virtuous Vamp First National

The Girl From Outside Goldwyn

Crooked Straight

Paramount-Artcraf t

Paid in Advance Universal

Page 74

John Petticoats Ince-Artcraft

Soldiers of Fortune Realart

Hawthorne, U. S. A Paramount

Page 113

Heart of the Hills First Nat'l.

Counterfeit Artcraft

Page 114

Eastward, Ho I Fox

The Broken Butterfly.. Rolsertson-Cole

Dawn Blackton-Pathe

A Day's Pleasure First National

Page 115

The Beachcombers Universal

The Isle of Conquest Select

Sealed Hearts Selznick

The Undercurrent Select

The "Mind-the-Paint" Girl..!!!.

,,,, ■ First National

Whats Your Husband Doing?..

„,. Ince-Paramount

Wings of the Morning Fox

His Divorced Wife Universal

L^^c^ Universal

Gun-Fighting Gentleman Universal

Poor Relations Robertson-Cole

A Fugitive From Matrimony

Robertson-Cole

The Illustrious Prince.. Robertson-Cole
The Tower of Jewels ..Vitagraph

Contents — Continued

Up in Jimmie's Room (Photograph)

Owen Moore does a Little Sociah'Climbing.

Close-Ups Editorial Comment

7s[e%t
Month

The Real Nazimova Edwin Fredericks

Which is She?

A Genial Crab Gene Copeland

House Peters Returns to the Screen.

55
57

"My Pinto an' Me!" Bill Hart

A Great Film Team Re-unites.

Rotogravure

Bill Hart and his Pinto — William Farnum —
Afternoon Tea with the Gishes— Pauline
Frederick and Will Rogers — Miscellaneous.

58
59

The most remarkable
article on motion
pictures ever published -

Far East? Yep!

Now, It's Farthest From Henry Mortimer's Mind.

You're the Judge (Photographs)

Sunshine Versus Sennett.

"jr

A Model Young Man

Jack Mulhall Would Probably Resent It.

The Copperhead (Fiction) Jerome Shorey

Fictionized From the Screen Adaptation.

Christ

The Shadow Stage Julian Johnson

Reviews of the New Pictures.

West is East Delight Evans

Grand Crossings Impressions at a New Address.

Doug's Flood (Photographs)

Emulating Noah.

Went

Appearing in Person (Photograph)

Dorothy Dalton in Her Stage Play

The First Camera Maid

Louise Lowell— Taking Movies in the Air.

Chasing the Kaiser Julian Johnson

With the Fearsome Camera.

T*!

Questions and Answers The Answer Man

The

Why Do They Do It?

Mistakes in the Movies.

.JL. .A. JL^H*'

A Man Who Looks Like Lincoln

The Emancipator, Enacted by a Waiter.

The Ill-Fated African Expedition

Explaining the Death of William Stowell

90
92

Movies"

The Squirrel Cage A. Gnutt

New Nuts and Old.

"Mother" Marjorie 97

Stiffly referred to as Miss Daw

Plays and Players Carl York 101

News From the Studios

By the Rev. Dr. Percy
Stickney Grant, Rector
Church of the Ascension,

Peanut McShane Joins the Gang

Him an' Blink — an' George Walsh Get Together.

110

Fifth Avenue, New York

The Gentle Grafters

116

Salamanders of the Movies

She Hates Broadway Agnes Smith 118

Marguerite Courtot is Partial to Weehawken.

Our Readers Say: (A Department) 121

Jump Right In With Your Letters.

Order the March Issue
from your news-dealer

"Santa? You Bet!"

Now We Know His Real Name — Bill Hart

122

in advance.

(Addresses of the Leadinq Picture Producers can be found on page i

rd)

Photoplay Magazine— Advertising Section

<^ fiw simpk ruies that bring /pvdcness

Occasionally you meet girls who are beautiful without
etlort; but most lovely people are lovely because thfy knoiu
the rules. Here are a few simple rules approved by skin
specialists, which every woman should follow— rules to make
the powder stay on, to prevent roughness, dullness, lines.

pOWDER ? Yes just enough
1 powder to give that soft
}iatural look. And when you
powder, do it to lajt. Powdering
in public is an admission that you
are uneasy aboutyour appearance.

The only way to make powder
stay on is — not to put on an exces-
sive amount — but to begin with
the right powder base.

Never use a cold cream for a
powder base. It is too oily. The
right powder base is a greaseless,
disappearing cream. Take just a
little Pond's Vanishing Cream on
your finger tips. Rub it lightly
into your face. Instantly it dis-
appears, leaving your skin
smoother. Now powder as usual.
Notice how smoothly the powder
goes on — how natural it looks.
You will find that it will stay on
two or three times as long as ever
before. You need never again
fear a shinv face.

Why your skin

needs two creams

ONE ivit/iout any oil, for daytime
and evening needs — Pond's Van-
ishing Cream. It will not reappear in
a shine.

One ivith an oil base, for cleansing
and massage — Pond's OW Cream. It
has just the amount of oil that the
skin needs.

Neither of these creams will encour"
age the growth of hair on the face.

Get a jar or tube of each cream to-
day at any drug or department store.
You will realize for the first time how
lovely your skin can be.

Free sample tubes— mail this coupon

Pond's Extract Co., 138-S Hudson
St., N. Y.

free, the items

me.

Pond's Vanishing

Please send
checked:

Sample of
Cream.

Sample of Pond's Cold Cream.

Instead of the free samples, I desire
the larger samples checked below, for
which I enclose the required amount:

A 5c sample of Pond's Vanishing
Cream.

A 5c sample of Pond's Cold
Cream.

Name

Street

City js. State.

YOU can keep your face free
of the wretched little lines
that It/// keep starting. Once a
week iron out these lines. Massage
from the center of the face out-
wards and upwards with Pond's
Cold Cream. If your skin has a
tendency to be rough and dry,
leave a little of the cream on your
face over night. Pond s Cold
Cream has just the smoothness
and body required for a perfect
massage cream.

PON D S

K^old Crccun ^
^anbklno Cream

CHAPPING is a sign of carelessness
So is roughness. You can keep
your skin as smooth as rose leaves all
winter long.

Always, before going out, smooth
a little Pond's Vanishing Cream into
your face and hands. It softens the
skin instantly, so that the cold cannot
do it the least harm. It is a good idea
to carry a tube of it right in your hand
bag so that immediately before and
after skatingor motoring you can soften
your hands and face with it. In this
way the delicate texture of the finest
skin will never suffer from exposure.

DO you want to know why your skin
is not always clear ? Look at the
cloth after cleansing your face with a
cream prepared especially for cleansing.
The dust will make you realize that a
dull looking skin is often nothingmore or
less than a skin not thoroughly cleansed.
The only means of keeping the skin
clear of the dust that gets lodged deep
within its pores is the cold cream bath.
For this, Vanishing Cream will not
do, for Vanishing Cream has no oil.
At night cleanse the skin with Pond's
Cold Cream. The formula for this
cream was especially worked out to
supply just the amount of oil to give
it the highest cleansing power.

i One ivith an oil base and one ixjithout any oil
When you write to adTertisers please mention PHOTOPLAY MAGAZINE

Photoplay Magazine — Advertising Section

■**

ly-.

'\V:m^

%4S

"^-f^^

Ywll

Nevei»Ew^ei

THIS IS the third monthly
advertisement of "BLIND
HUSBANDS" in this magazine-
published for the reason that we
do not Want any picture -goer to
miss seeing this utterly absorbing
photodrama. One of the great
Trade-papers, whose chief business
it is to value plays for the Theatre-
owner, says that Von Stroheim's
Wonder - play, "BLIND HUS-
BANDS" reaches the highwater
mark of entertainment. "It throbs
with vitality— and soars with tre-
mendous sweep straight to its cli-
max. Nothing is missing to make
this picture a great achievement.^*

Truly, it is the picture
you'll never forget.

Wondcr-pla/
Production dc Cuxe

AsUyaur Tlie^if re

isuorv pflcivrfispmprit in PTHOTO'PI.AT MAOAZTKB is euaranteed.

Photoplay Magazine — Advertising Section

V<'

N all the countries of the -u^orld there is
none so kno\\^n and so beloved as

tT^W presented in a screen play worthy of
her g"reat talents

QTxe WHITE MOLL

hyTrankl:Tcickard, author of ^heT^Liracle JJlan, and other successes-

zLo h^jolloived hy ivonder stones as

_ ENTERTAINMENTS-

rOX riLM CORPOHATION

WILLIAM POX, Tresidcnt

When you write to ' adTertisers pVeaae mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

.? J'^ in, ' llif^^ f Vr-~!,T, ..

ipi

'■ Hit' ■':

K^PICTURES ^V

IN a certain sense motion pic-
tures are just like folks — they
are all the same, yet all
different. Pictures, like folks,
differ widely in personality.

— And it is because SELZNICK
PICTURES have such a distinct
personality that they are so
popular.

Not only is the powerful per-
sonality of SELZNICK PIC-
TURES evidenced in the family
of stars, but also is it felt through
a subtle something — difficult to
define exactly, but best described
by one word — "quality."

Personality is only one of the reasons why

SELZNICK PICTURES
CREATE
HAPPY
HOURS

Photoplay Magazine— Advertising Section

The
GOLDWYN Combination

TAKE America's greatest authors who
write exclusively for Goldwyn.

REINFORCE their stories with great stars.

SUPPLEMENT them with consummate
direction.

SURROUND them with imaginative set-
tings.

VISUALIZE them with crystalline pho-
tography.

And you have a Goldwyn Motion Picture
— the envy of the motion picture world
and the everlasting delight ot the motion
picture public.

[Jl

i /

'WYN PICT

CORPORATION

SAMVEL GOLDWYN President

When you writs to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine— Advertising Section

This Coupon Is Not an Aladdin's Lamp

Palmer Photoplay Corp.

712 I. VV. Hellman Bldg., Los Angeles, California
Please send me, without obligation, your new booklet,
"The Secret of Successful Photoplay Writing." Also
Special Supplement containing autographed letters from
the leading producers, stars, editors, etc.

^ lime

St' and No. . . .

City and State

But It Is the Doorway to
Success in Photoplay Writing

If You Have Normal Intelligence,
and the Energy to Open the Door

If you have story ideas and want money, the richest market
in the world today is the photoplay market.

You could sell a thousand good photoplays this minute at
from $200 to $2000— z> you could get them read.

There is a special language in which photoplays are written.
It is called a" technique." Manuscripts which do not follow the
rules of this technique might just as well be written m Chmese.

The men and women who are making money by photo-
play writing today are not geniuses. They have learned the
language of the studios — some of them through the Palmer
Plan, some of them in the much tougher school of experience.

The Palmer Plan teaches the technique of photoplay writ-
ing. You can study the Palmer Plan in your spare time at home.

If you want endorsements of the Palmer Plan, we can
show you enough letters from successful Palmer students to
amaze you.

But that is not the point. The
point is that when you have finished
with the Palmer Plan, you will be
equipped to sell photoplays. You
will have learned to talk the lan-
guage of the screen as well as any
living person.

The coupon at the top of this
page is not an Aladdin's lamp. It
will not accomplish miracles. It will
not hand you thousand-dollar checks
on a platter. But it will reveal to you
the simple formula which has en-
abled others to make their energies
worth much more than theydreamed
of. This isn't reckless advertising
talk; it is a considered statement.

Send the coupon to us. It will
bringyou abook,"TheSecret of Suc-
cessful Photoplay Writing" — which
will tell you much more than we have
room for here. The book is free.

In brief, the Palmer Plan does
three things. It gives you a com-
plete, workmanlike picture and ex-
planation of studio methods. It gives
you professional criticism — painstak-
ing, honest, accurate. And if your
photoplay is good, it will sell it
for you.

Advisory iCouncil

Directing the educational policy of the institution is an Advisory Council, compris-
iniT Cecil B DeMille, Director-General of the Famous Players-Lasicy Corporation;
Thomas H'ince, head of the famous Ince Studios; Lois Weber, America s greatest
woman director and producer; Rob Wagner, noted screen authority and special
Saturday Evening Post writer.

Contributors

Frank Lloyd, Jeanie MacPherson, Clarence Badger, Al E. Christie, George Bebati,
Hugh McClung, Jasper Ewing Brady, Denison Clift, Kate Corbaley, Eric Howard,
Adeline Alvord, Rob Wagner.

PALMER PHOTOPLAY CORPORATION

Department of Education

712 I. W. Hellman Building

LOS ANGELES, CALIFORNIA

What $1 Will
Bring Yon

More than a thousand
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.

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 the most
attractively printed magazine
published today — and alone
in its field of motion pictures.

Slip a dollar bill in an
envelope addressed to

Photoplay Magazine

Dept. 7-B, 350 N. Clark St.. CHICAGO

and receive the March issue
and five issues thereafter.

PHOTOPLAY MAGAZINE

Department 7-B
3SO North Clark Street. CHICAGO

Gentlemen: I enclose herewith $1.00 (Can-
ada $1.25) for which you will kindly enter my
subscription for Photoplay Magazine for
six months, erfective with the Mar., 1920, issue.

Send to.

Street Address .

City

State

pTWvrnpi.AV MAr;A7TNT5 ia CTiaranteed.

lUWIMTJHTIgngTlglJHimilMIMTIBn

tJainingjor/Tuftorship

How to Write. WhaH:o Wr He,
and Where to sell .

CulivlcAe your mind. Develop
^our literary gifts. Master the
arJof self-eXpression.MakG
your spare Hmo profitable.
Turn your ideas into dollars.

Courses in Short-Story Writ-
ing, Versification, Journalism,
Play Writing, Photoplay
T, -p , • W'riting. etc., taught person-

Pr.EsenWetTt ally by Dr. J. Berg Esenwein.
for many years editor of Lippincott's Magazine, and
a staff of literary experts. Constructive criticism.
Frank, honest, helpful advice. Real teaching.
One pupil has received over $5,000 for stories and
articles written mostly in spare time— "play work," he
calls it Another pupil received over $1,000 before
completing her first course. Another, a busy wife
and mother, is averaging over $75 » week from
photoplay writing alone.

There is no other institution or agency 'doing so much
for writers, young or old. The universities recognize
this, for over one hundred members of the English
faculties of higher institutions are studying in our
Literary Department. The editors recognize it, for
they are constantly recommending our courses.

We publish The Writer'a Library, Ij volumes- descriptive
booklet free. We also publish TAs Wriler'i Monthly, the lesd.
ing magazine for literary workers : sample copy 20 cents, annual
subscription $2.00. Besides our teaching service, we offer a
nianuscnpt criticism service.

150-Page illustrated catalogue free. P/eose AJdrrts

X& Home Cbrrespondence School /^^^,

Dep't. 95, Springfield, Mass.

ESTABLISHED IQST

Photoplay Mac;.\zine— Advertising Section

Snufacturer

Wlanul

price

_. _ . Buy at
r ^ B'S Saving or rent

■ °neofmyrebuilt-like-newStand-
ard Visible Underwood Type-
. writers, fully guaranteed. Equip-
J ped with back spacer, two-color
I nbbon. tabulator, automatic ribbon
reverse, etc. Looks, writesand wears ■
like new. Try one for 10 days FREE
Pay onljf when fully satisfied. Easy
*^™?.'r,'?!S discount for cash, or earn
one FRhE t irough my agency plan.

No canvas3i.-,x, 2UO,000 eatis-
fletjcustomeio. 27 years expe-
rience. Act quick and save
money. Ask for offer

No. .!

e. W. S. Shiomin

Presltlont

TYPEWRITER
, EMPORIUM
34-36 w. Lak*
Street
CHICAGO

SPEAK
QUICK

i!ij5?

Making Trials of True Tone by Tune-a-Phone

Capitalize YOUR Ability

THE WORLD PAYS FOR SKILL

T,iH^i^r°'^T'°° "°^ *^ers unusual opportu-
f imf if"'^ making money. It is uncrowded, your
w??h fLr*"" °/'^- *^"'' Correspondence Course
Zpnt^n' ■' ^'^'^ ^^"^ wonderful Tune-a-Phone, our
tSemin^il'^f'f^''''',?^ precision in sound, make
onP ni^i^^ J dillicult easy to understand by any-
one uipiomasivengraduates. IGyearsof success-
ful correspondence teaching. Write for f reebook

^o?'^".^''^*'*^ SCHOOL OF PIANO TUNING
401 fine Arts Institute BATTLE CREEK, MICHIGAN

-...-— ., „^s,,„,e BATTLE CREEK. MICHIGAN

VETERINARY COURSE AT HOMT

Taught in simplest Enelish duriDe
sparetjme. Diploma eranted.
Cost within reach ot all. Satisfac-
tion guaranteed. Have been teach-
ing by correspondence twenty
years. Graduates assisted in many
ways. Every person interested in
stock should take it. Write for
cataloETue and full WT B> p e>
particulars • • F Im b b

Lonilon Veterinary Corres.
School

Dept. 5 London, Ontario. Cdn

not'^nl*'^K"*[^^'°/""" Photoplay is guaranteed
not only by the advertiser, but by the publisher.

FOR A SINGM DKAWING

Leading illustrators and com-
"" " ■" "1,000 and

and their

'"pHINK OF IT!
X mercial artists are frequently 'paid $1,000 and
more for single illustrations or designs
work is eagerly sought.

Everyone may not achieve such remarkable success
-but the opportunities before you now in thissplendfd
profession have never been excelled. Commercial artists
-both men and women -who have developed their
lloTa Slf anST ''^"''''''^ ^^^^'^^ ^^ $35, $75.

Millions Paid Yearly for
Commercial Art

,,,7*^ ^<^^3nd for high-class commercial art is growing bvleat^^;
and bounds. Thousands of advertisers oeriodirX =,;J k
hshers buy millions of dollars' worth ofdeSe,^? and iil,,«7r=.t''"'''
ZT,^^^'- ^°°^ coniniercal art is vital o^modernSes-
and artists who can produce it earn extraordinary inconwt

Develop a High-Salaried Ability
Through Federal Training

If you like to draw, learn in vour snarp timp fi,,-^,,„u i.u
Federal home-study method-a pro^?n result-getter by the f.ccesi
of hundreds of Federal students. The course is f ascinat^m elsv
to learn and apply, and endorsed by leading illustrating 'r-fm
panies, designers and commercial artists as l»,mS For ^^/
Course ttj Commercial Designing "■ '^er u.u s r oi . . ^^i

mzedlrtl[s''t'Af'r-t:V'r^^°''ll"^ ""^f ^"^^ nationally recog-
nizea artists as Charles E. Chambers, Magaz ne :,nd Storv libit
trator, whose drawme-s for ''Get-Rich-Quick WalHnlf^rd" fn
S^r^r'p^" f!'-^^™i>i^'-to"^i"'ons; Fra„kl?n Boo hf 'Tainte?
with the Pen, whose wonderful line drawings are constant?v
appearing in magazines; Harold Gross. Designlrfo? the Gorham
Dent Edw v'Rrl "''"'r^f^-r'^^'^ of the Chicago Tribune Art
uept., t.dwV. Brewer, of Cream of Wheat Fame- Matlack
Price, an authority on Posters; Charles Livingston Bull the wel^
known animal painter, and others. Korean profit by he advice
experience and success of these men, who have produced and
sold hundreds of thousands of dollars' worth of commercfal Irt
e^alTourse." '"""'^"''^ "" ''''"'"'' ""Sinal lesZ^o7he Fpd-

Send Today for " Your Futur<

What about your future? The well-prepared reap the rewards
of hie Send today for "Your Future," a 56-paKe book befuH
fu y Illustrated in colors, showing remarkabl^work by Federal
fiV.^';?,'^; "" i"S °f "''="■ successes, and of opportunities in thfs
field that will open your eyes. In the great era of commercia!
expansion we are entering the trained man or woman wiU win ou
-as sure as the sunrise. Why hesitate? If you would succeed
every day, every hour is precious to you. Get this book - send
the coupon NOW without obligating yourself in any way

fCHAS E

l\¥i:

•.i=?,?,?;: ^

r.ivK+:.

HAROLD GROSS

Z'^'fi'mV^i/ti.;

??^-^

L M PHOENt)

*W-1^J

»>

COUPON

''^''^Jl'^t SCHOOL OF COMMERCIAL DESIGNING
3213 Warner BIdg.. MINNEAPOUS, MINN

GENT1.EMEK: Please send me Free Bo„k ••Your Future." without obligation to me.

Name

(Write your address plainly in margin. ) "

When you write to advertisers please mention PHOTOPLAY MAC-iZINE.

Photoplay Magazine— Advertising Section

Voiff* Choice
50c a Week

CLASSIFIED ADVERTISING

£3.

"S^?:

Rate

SOcents

per

word

^JJP

■tJTTd

^fTpfiif'^'^-^-^^r''^'^

All Advertisements

have equal display and
same good opportuni-
ties for big results.

mjtoPMSf

~SJ

This Section Pays.

85^f of the advertisers
using this section during
the past year have re-
peated their copy.

!U:U;U:U;U-UCrTJ^TPU''lj.UUUlJii;U'U^

rrh^rvri-n-'H-rfrt^rtfl

TTD^i-UiJl,

FREE!

With every Bet is inoluded — FREE
— a Consultlnff Membership whieh
gives yott the privilege of sahmit-
ting yoar perplexing problems to
a corps of expertsfor an entire year.
This Consulting Membership regu-
larly Bells for $12.00.

No matter what your occupation, one
of the home study sets listed below will

ouickly fit you for a better job and bigger pay. Any
Bet you select will be sent for seven days examina-
tion, and if you decide to buy you may pay the rock-
bottom price at the rate of only 50c a week. But
you must act now! The rising cost of paper and
binding materials won't permit U3 to continue tne
present low prices much longer. . ,i.v„,ifi„a

These bool<a are the work of recognized authorities.
They are written in plain, easily-undei^tood ljfnB>'age
by recognized authorities, and contain hundreds ot
photogrf phs. diagrams, taides eto., that make d'ffi™ J
points as simple as A-B-0. Ha"f'"°?Pl''/?^/"'^?j^,'f
bound in halt or full morocco leather (except as noted),
and stamped in gold.

Pay-Raising Boolis

at Greatly Reduced Prices

FORMS FOR APRIL ISSUE CLOSE FEBRUARY RRST

$19.80
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Carpentry and Contracting. 5_ volumes,
2138 pages. liiOO pictures. V\as Sio.UO. Now
Civil Engineering. 0 volumes, 3900 pages.

3000 pictures. Was .?4.j.00 Now

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pages, 2600 pictures. Was .S40.0U Now

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pages, 2000 pictures. W as S30. 00 Now

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pages, 2500 pictures. Was S30. 00 Now

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3300 pages, 2500 pictures. Was >.3o 00. Now
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1500 pages, 600 pictures. Was 820.00. Now
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1728 pages, 2000 pictures. Was 820.00. Now
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volumes. 1454 pages, 14110 pictures. Was

$20.00 ^o"

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pages. 800 pictures, etc. Was 820. 00 Now

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tures. blue-prints, etc. Was $20.00 Now

Send No tUoney

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Yes, we'll gladly ship any set right to yotir home
or office upon your simple request. Pay only ship-
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then remit only $2.80 or return them at our expense.
Pay balance at the rate of $2.00 a month— 50c a
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Act now-while these splendid books are being
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HELP WANTED ,

TJ. S. fiOVER^-JlENT WANT.S HUNDKEDS HAU>-
nay Mail Cleil«. .$1300 first year. Raise to .f2UilU.
jlen— women. Examinations coming everyvylicie, ( om-
m<m education. Sample ques;io.is f';j''-„. .^^'''t^' """"V
diateUv. FraiilUin Institute. Dept. N-204, Rochester.

New Y'ork.

I5E A DET1XT1VE:-EXCE1J-E.NT OlM'OKTUNITY ;
giiod pay: travel. Write C. T. Ludwig, jOi Westover

Tsidg.. Kansas City. Mo.

(JOVT rOSlTlONS ARI3 DESIRABLE. $1000—
$1200 I" start. Let our ex)ie:t (Former Govenimeiit
Examiiiw) prepare you. Free. Imoklet. Patterson Civil

Service Scliool. Box 5024. liorliesliT, N. Y.

~vbMI5N TO SEW. (iOOirs SENT PREPAID TO
your dour; plain sewing; steady work; no canvassing.
Send stamped envelope for prices paid. Universal Co..

Dept. 21. Philadelphia. Pa.

"IVANTED— 5 BRIGHT, CAPABLE LADIE.S TO
travel, demonstrate and sell dealers. J.!.>.ou to
$.-.n.00 iier week. Railroad fare paid. Wnie at
oiue. Goodrich Drug Co.. Dept, d9^ Jjiiiaha. Nebr.
RAILWAY TRATFIC INSPECTORS; f 110.00 A
ni.iuth to siart and expenses; Travel if desired; l-n-
lip itcd advancement. No age limit. Tliree months
liome studv. Situation arranged. Prepare for per-
manent position. Write for liooldet C.M26 Standard

Business Training_I^n3titute^_Buffalo,_N._Y.

HELP WANTED TO TINT PHOTOGRAPHS. TTTltN
siiare time into money. Experience unnecessary. 1 as-
cinating work, easy to learn. Write: Kedkrafts, Dept.

201. Denver, Colo.

WOME1N--BECOMB DRESS DI-iSIGNERS. $12r, A
month. Fascinating work. Sample lessons free.
Write immediately. Franklin Institute. Dept. N-Sbt,,
RnclKS'er. V. Y
AGENTS AND SALESMEN

$40 TO .fion A \vei;k. Kiit.i-. sA:Mri.i:s. cold

«i.'n letters anyone can put on windows. Big demand.
I iherai offer to general agents. Metallic Letter Co..

4.S1-K N. Clark. Chicago.

"tEIJ^ THE REAJDER.S OF PHOTOPLAY WHAT
you liave of interest to them. You can reacli ilicni
at a very small cost through an advertisement in tlic
classified section. 8 5% nt the advertisers using tins
.sc'tion during tha past year have repeated. Tlie section

I's read and brings results.

■ INSYDE TIRES— INNER AIUIOR FOR AUTO.MO-
hile tires' prevent pmictures and blowouts; double tiro
mileage ' Liberal profits. Details tiee." American
Vccessoiies Co . Cincinnati. Ohio, Deiit. 129.

MANUSCRIPTS TYPEWRITTEN

.MANUSCRIl'TS TYPEWRITTE.N. COUKECTLY
arranged and piinetnatc.l. Neatness, promptness. Cri-
terion Service. West New York.Js'ew .lersey. ^

'^■ENAltlOS. MA.M SCKIPTS TYPi;D TEN CENTS
page. Carbon included. Seven years' experience.

Marjorie .Tones. 008 Itcaper Block. Clilcago.

SCE.VARIOS. MANUSt RIPTS. Al J. CONTID 1;:JS'TI AL
work professionally put in form and typed. We criti-
cize script frco of iliarge. Tliomson Literao' Bureau,

Station !■' Hoi 120. New York. ^__^_^

MOTION PICTURE BUSINESS

■ $35.00 PROFIT MCHTIA'. SMALL CAPITAL
starts you. No experience needed, Our machines ars
used and endorsed by government institutions. Catalog
free. Atlas Moving Picture Company. 438 Morton

Bldg., Chicago. ______^__^— ^

ni n COINS WANTED

" GENl INK OLD lOlN AND LARGE 42 P.MIB IL-

-si:^'";;ifci:"'"s;^„r^f^v.^"'^; .i?' Me,.r^c^^

i'wer Mebl Bldg.. Dept. p. Fort Worth. Texas.

■ WATCH YOUR CllAXCE. VMS OFEBK FRCIM 10%
to looo";. premium on old Cents. Dimes. Quarters.
Half Dollars.'^ Dollars, etc We buy ^'1 ? '' ™'"f «"^
hills Get posted. Send 4c for Large lUustiated Coin
Circular It may mean large profit to you. Send
S^L™'x-nmilm"ic%iank. Pent. 7 5. Fort Worth. Texas.
"old COINS. LARGE SPRING COIN CAT.UXJGUB
nf ^Mns for sale free. Catalogue quoting prices paid
?orToins. ten cents. William Hessljin. 101 Tremont
S'rcet, Dept. X. Boston :m -s-.

PATENTS

r 4T1'-NTS WRITE FOR FREE <:UIDE BOOK

and Eviclence of Conception Blank. Send model or
sketch for onln on of its patentable nature. Highest
Referonces'. ""p omp? AUention. Bea.,onable Terms,
vtctor T. Evans & -^ '"''^ Ninth \\ ashington. D. t .

SHEET MUSIC

1.T PI4NT\DOSI CO., MUSIC PUBLISHERS. 240
«■ diiV, St N Y C. for popularizing purposes,
offer tile r YaVest WaltV. Song •■Egyptian Nights.- 30c
"eller. and eleven other choice song hits, post paid

for SI 00 ^ ■

FnllCATION AND INSTRUCTION

SPANISH- SPONTANEOUS METHOD. YOlJ AND
I exdiange private letters exclusively in Spanish even-
i^r inexrensive. Particulars free GuiUermo Hedm.
R.-.09 Franklin Ave.. St. Louis. Mo.

Rider Agenfs Wanted "Don't Shout"

Everywhere to ride** and_exhi- ^^^^== iLi."* .... i ._ l — .

Everywhere to ride - — ..t,— ;,

bit the new Ranger "Motorbike"
completely equipped with electric
light and horn, carrier, stand, tool
tank, coaster-brake, mud guards
and anti-skid tires. Choice of 4*
other styles, colors and sizes in
the "Haneer" line of bicycles.
EASY PAYMENTS if desired at
a small advance over our Spec-
ial Factory-to-Rider cash prices.
DELIVERED FREE on approval
and 30 DAYS TRIAL.
YIpcC Lamps. Wheels

Sundries, and parts

p ■■ ^ ^r OUIIUIICO. a.iv. ^u> ..k

for oil bicycles-half oaual prices,

SEND NO MONEY but tell us exac
vou need. Do not buy until you get
terms and theb.g FREE catalog. ^_„_,„„

M^i M 1^ CYCLE COMPANY
b M U Dept. S.40 Chicago

I American Technical Society, Dept. X-872, Chicago, U. S,

Please send me sot of.

I for 7 DAVS' examination, shipping charges col- .

lect. 1 will exi'mine the books thoroughly nnrt. it I

satisfied, will sc.id S2.80 within 7 days unci si each I
, month. S3. 00 for Law, until 1 have paid the special

' price of If I decide not to keep the '

(books. I will notify you at once and hold them sub- .

ject to your order. Title not to pass to me until the I

«rt* i.. f..ll>r r.ni.1 1 nr '

"I hear you. 1 can hear
now as well as anybody.
•How'? With the MORLEY
PHONE. I've a pair in my ears
now. but they are invisible. 1
would not know I had them in,

myself, only that I hear all nghl.
^16 MORLEY PHONE for the

is to the ears what
glasses are to the eyes. In-
visible, comforlable, weight-
' less and harmless. Anyone

can adjust it" Over 100.000 sold. Wrile for boolilel and lesfimonials.

THE MORLEY CO..Depl.789,26S.15th St.,Phila.

DEAF

DOYOU LIKE TO DRAW?

CARTOONISTS ARE WELL PAID

We will not give vou any grand prize if you

answer this ad. Nor will we claim

to make you rich in a week. But if

you are anxious to develop your

talent with a successful cartoonist,

so you can make money, send a copy

of this picture, with 6c in stamps for

portfolio of cartoons and sample leeson

piate. and let us explain.

The W. L. Cvans School of Cartooning

650 Leader Bldg., Cleveland, O.

GIVEN

ACROMATIC TELESCOPE

«,U.T .VOU WANT ,

li.JUST<

IW^-

FARM

'■-smw&m}

-j "g^ C ENT^

set is fully paid for.

Name.

.Vddeebs.

Reference.

OR RANCH

Made upon new Fcientific principles, nieeiy brassbound
"vith powerful lenses, scientifically ground. Travelers,
hunters, farmers, boy scouts and everyone needs a te-
lescope. Have yiu ever enjoyed the marvels of a tele-
Boope! Each telescope pruaranteed just as represented,
or money promptly refunded. Send 99 cents to-day.
EASIERN HOVeLiY CO., Oepl.73, -t77E.93St.^ew York

ill/ 1 11 III C Hawaiian Guitar. Violin, Mandolin.
UIMILCLC Guitar, Comet, Tenor Banjo or Ban|9

WonderfDl new system of teachlne note masic by "»"• J" ^''
papila In each locality, we Ki»e a »20 eaperb Violin Mandolin.
Ukulele. Guitar. Hawailn Guitar, Cornet, Tenor Banio or Banjo aoso-
Intelyfree. Very small charge for lesaona only, we guarantee sac.
cess or no charee. Complete outfit free. Write now No oblluatloo.

SLINGEBLAND SCHOOL OF MUSIC. Inc. Dept. 42 CHICA60, ILU

wmsosi

PATENTSFNSE.

"c%e Book for Inventors & Mfr».

Bv Return Mail FREE . Wri<e
liACEy&'liACEY, Dei»t. E, Wi»limgton.D.C

Learn How to Write

Short Stories demand for short
m stories, photoplays and feature articles You
■^can learn how to write at home in spare time. lacR
l.ondo?8»iA»o. He and other great writers have en-
dorecd our hoSe Btndy coarse. Course in fascnabng
and takes only a few of your spare hoars. v

,,, .. X _ <_u k»l> and deta » of oar Limited Inl«-

Write for free book SuJiors. offer, no obligation,.

Hoosler Institute. S.S. Dept ^^32 Ft. Wayne. Ind.

Kverv advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Finish This Picture

Fill in the missing lines. See how close
you come to the original drawing. The
above picture was drawn by Student Wynn
Holcomb. We have a great number of stu-
dents and graduates whose work appears
in magaaines and newspapers all over the
country.

Can You Draw?

If you like to draw write for our book.
Read about our new method Home Study
Course in cartooning, illustrating, designing.
Learn at home, by mail, in spare time.

Become an Artist

Illustrators, Cartoonists, Commercial Art-
ists make big money. You can earn $25 to
$100 a week and more. Learn under per-
sonal direction of Will H. Chandlee, famous
newspaper, magazine, advertising artist of
30 years' successful experience.

Book and Outfit Free

Complete outfit free to new students.
Write for handsome book, "How to Become
an Artist." Tells what Course includes,
shows many drawings made by Director
Chandlee and many students.

Write Postal NOW

Don't miss our book. Even if you have no pre-
vious knowledge of drawing, our Course will enable
you to become a successful cartoonist or illustrator.
Many students earn money while they are learning.
If you are ambitious to get ahead, to earn more
money, write for our free book and special offer
now. You can do as well as our other successful
students! Write now for free book, "How to Become
an Artist." Mail letter or postal.

WASHINGTON SCHOOL OF ART, Inc.

1122 H Street, N. W., Washington, D. C.

^n'35«>100aW^

BECOME A PROFESSIONAL

PHOTOGRAPHER
Big Opportunities NOW.

Qualify for this fascinating
profession. Three months
course covers all branches:

Motion Picture — Commercial — Portraiture

Cameras and MateHals Furnished FREE

Practical instruction; modern equipment. Day or
eveninir classes; easy terms. The school of recoe-
nized superiority. Call or write for catalog No. 37.

N. Y. INSTITUTE of PHOTOGRAPHY

141 W. 36th St.. New York 104 Flilbush Ave., Brooklyn

DIalDgs'.HuQulogsm ■ W A Vaudeville Acts
Musical Beadlngelvl H W ^HowtoBtageaFlay
Drllle, Pageantel laM I VMake - up Goods
Tableaux, Jokes, Folk Dances, Entertalnmente,
Eecltatlcns.Pantomlmes.Mlnstrel Material, Speakers,
Commencement Manual full of New Ideas-and Plans.
CatslogFree,T.S.Deni8on&Co. Dept.76 Chicago

My Way of Teaching Piano

Was Laughed at in 1891

But now, after over twenty-five years of
steady growth, I have far more students
than were ever before taught by one
man. I make them skilled players of the
piano or organ in quarter the usual time
at quarter the usual cost.

To persons who have not previously
heard of my method, this may seem a pretty
bold statement. But I will gladly convince
you of its accuracy by referring you to any
number of my graduates in any part of the
world. There isn't a state in the Union
that doesn't contain a score or more skilled
players of the piano or organ who obtained
their entire training from me by mail.

Investigate by writing for my 64-
page free booklet, "How to Learn Piano
or Organ."

My way of teaching piano or organ is('«-
tirely different irom all others. Outof every
four hours of study, one hour is spent en-
tirely aiuay from the keyboard — learning
something about Harmony and The Laws
of Music. This is an awful shock to most
teachers of the "old school," who still think
that learning piano is solely a problem of
"finger gymnastics." When you do go
to the keyboard, you accomplish tivice as
much, because you understand iv/iat you are
doing. Within four lessons I enable you to
play an interesting piece not only in the
original key, but in all other keys as well.
I make use of every
possible scientific help
— many of which are
entirely nnknoivn to
the average teacher.
Mypatented invention,
the COLOROTONE,
sweeps awa}' playing
difliculties that have
troubled students for
generations. By its use,
transposition — usually
a "night-mare" to
students— becomeseasy
and fascinating. With
my fifth lesson I intro-
duce another impor-
tant and exclusive
invention, QU I N N -
DEX. Quinn-Dex
is a simple, hand-
operated moving-pic-
ture device, which en-
ables you to see, right
before your eyes, every
movement of my hands
at the keyboard. You
actually see the fingers
niooje. Instead of
having to reproduce
your teacher's finger
movements from
MEMORY — which
cannot be always ac-
curate— you have the
correct models before
you during every
minute of practice.
The COLOROTONE
and QUINN-DEX
save you months and
years of wasted effort.
They can be obtained
only from mc and there
is nothing else, any-
where, even remotely
like them.

Marcus Lucius Quinn
Conservatory of Music

Studio PB, Social Union Bldg. Boston, Mass.

DR. QUINN AT HIS PIANO

Fiom the Famous .Sketch by Schneider, Exhibited
at the St. Louis Exposition.

Men and women who have failed
by all other methods have quickly and
easily attained success when studying
with me. In all essential ways you
are in closer touch with me than if
you were studying by the oral method
— yet my lessons cost you only 43
cents each — and they include all the
many recent developments in scientific
teaching. For the student of moder-
ate means, this method of studying is
far superior to all others, and even for
the wealthiest student there is noth-
ing better at atiy price. You may be
certain that your progress is at all
times in accord with the best musical
thought of the present day, and this
makes all the difference in the world.

My Course is endorsed by distin-
guished musicians who would not
recommend any course but the best.
It is for begi mers or experienced
players, old or young. You advance
as rapidly or as slowly as you wish.
All necessary music is supplied with-
out extra charge. A diploma is
granted. Write today, without cost
or obl'pation, for 64-page free booklet,
"How to Learn Piano or Organ."

iFREE BOOK COUPON

; QUINN CONSEKVATORY. Studio PB

■ Social Union Bldg., Boston. Mass.

■ Please send me. witbont cost or obligation, your

■ free booklet. "How To I, earn Piano or Organ," and

■ full partii^nlars of your Course and special reduced
i Tuition Oder.

' Name.

■ Address

W'hen you write to advertisers please mention PHOTOPLAY MAGAZINB.

Photoplay Magazine— Advertising Section

Huck Runs Away

It was such a nuisance to have to put
on a collar for Sunday and black his
boots and wash his face every single
day, to say nothing of his ears. Huckle-
berry Finn had had just about all he
could stand — so he had to run away.

Let Huckleberry Finn andTom Sawyer
take you by the hand and lead you back.

MARKTWAIN

Perhaps you think you have
read a good deal of Mark
Twain. Are you sure? Have
you read all the novels?
Have you read all the short
stories? Have you read all
the brilliant fighting essays?
— all the humorous ones and
the historical ones?

Think of it — 25 volumes filled with
the laughter and the tears and the
fighting that made Mark Twain so
wonderful. He was a bountiful giver of
joy and humor. He was yet much more,
for, while he laughed with the world,
his lonely spirit struggled with the
sadness of human life, and sought to
find the key. Beneath the laughter
is a big human soul, a big philosopher.

rKtiti Volumes

Paine's Life of Mark Twain

Not only docs this coupon bring Mark
Twain at the low price, but it brings
you absolutely FREE Albert Bigelow
Paine's Life of Mark Twain.

It happens that we have a few sets of
the fine 4-volumc edition on hand not
enough to dispose of in the usual way.

There are only a few — this coupon
brings you one. Never again will you
have a chance to get one except at the
full regular price.

Send the Coupon Now

You can put this aside and forget it
until a month from now — and wish you
hadn't— or you can cut the little coupon
and send it along with nothing but your
name and address. Better send ''le
coupon. Things like long rows of Mark
Twain aren't going to be cheaper in money —
and tiiey're going to be a lot more in joy and
inspiration. Thc\- are the fountain of youth.
Send the coupon ami drink at it.

HARPER & BROTHERS

HARPER & BROTHERS Photo 2-20

18 Franklin Square, New York City

Send me charKea prepaid, a set of Mark Twain's works in 25
volumes, il'li.atrated, bound in handsome Brcenclotli, stamped in
Kold, with trimmed edgea^ and Paine's Ufa of Mark Twain, in 4
volumes, bound to match, tRF.Ii^.

It not satisfactory, I will return them at your expense; otherwise
I will send you $3 a month for 14 months.

For cash deduct 8 per cent from remittance.

NAME

ADDRESS »

OCCUPATION ;••• ;••••••••;••

It you prefer the beautiful half leather Wnding. write to us for
particulars ,

Studio
Directory

For the convenience of our
readers who may desire the
addresses of film companies we
give the principal active one?
below. The first is the business
office; (s) indicates a studio;
in some cases both are at one
address.

AMEBIC AN FILM MFG*. CO., 6227 BroadwM.

Chicago; Santa Barbara, Cal. (s).

AETCUAFT PICTUBES CORP., 485 Fifth Avenue.
New York City; 516 W. 54tli St.. New York
CUty (3) ; Fort Lee, N. J. (s) ; Hollywood.
Cal. (s).

BLACKTON PRODUCTIONS. INC., 25 'W. 45th
St., New York City (s) ; 423 Classen Ave.,
Brooklyn, N. V,

aOBERT BRTJNTON STUDIOS. 5300 Melrose
Ave.. Los Angeles, Cal.

CHIARLES CHAPLIN STUDIOS, La Brea and De

Longrre Aves., Hollywood, Calif.

CHBISTIB FILM CORP.. Sunset Blvd. and Gowei'
St.. Los Angeles. Cal.

FAMOUS PLAYEBS FILM CO., 485 Fifth Ave.,
New York City; 128 W. 56th St., New York
City. (s).

FOX FILM CORP.. 130 W. 46th St.. New York
City; 1401 Western Ave.. Los Angeles (3);
Fort I.ce, N. I. (s).

THE FROHMAN AMUSEMENT CORP.. 210 Times
Building, New York City.

GOLDWYN FILM CORP.. 460 Fifth Avenue. New
York City: Culver City. Cal.

THOMAS INCE STUDIO. Culver City. Cal.

liASKY FEATURE PLAY CO.. 485 Fifth Ave.,
New York City; 6284 Selma Ave., Hollywood,
dl. (s).

METRO PICTURES COBP., 1476 Broadway, New
York City; 3 W. 61st St., New York City (8);
1025 Lillian Way. Los Angeles, Cal.

EXHIBITOBS-MUTUAL DISTRIBU'HNG CORP..
1600 Broadway. New Y'ork City.

PATHUD EXCHANGE, IND.. 23 W. 45th St.. New
Y'ork City; A.STRA FILM COBP., Glendale, Cal.
(3); ROLIN FILM CO., 605 California Bldg..
Los Angeles, Cal. (s).

PABAT.TA STT'DIO, 530 0 Melrose Ave., Los Ange-
les Cal. (s).

ijOTHAacEit FILM MFG. CO., 1339 Dlversey
Parkway. Chieago, 111. (8).

SELIG POLYSCOPE CO.. Western and Irving Park
Blvd., Chicago (s) ; Edendale, Cal.

SELZNICK PICTURES COBPOBATION, West Ft.
Lee. N. J.

UNIVERSAL FILM MFG. CO.. 1600 Broadway,
New York City; Universal City, Cal.: Coytesville.
N. J. (3).

■VITAGRAPH COMPANY OF AMERICA. B. 15th
St. and Locust Ave.. Brooklyn. N. Y. ; Holly-
wood, Cal. (8).

WHARTON. INC.. Ithaca. N. Y. (»).

WORLD FILM CORP.. 130 W. 46tb St., New
York City; Fort Lee. N. J, (s>.

coimSE ill

TWOtEJillS

you ARE BADLY if you lack
HANDICAPPED S^Sf„"°;

You cannot attain business or social
prominence. You are barred from
a successful business career, from
the leading professions, from well-
paid civil service jobs, from teaching
and college entrance. In facl^ em-
ployers of practically all worth-while
positions demand High School train-
ing. You can't hope to succeed in
the face of this handicap. But you
can remove it. Let the American
School help you.

Fir YOURSELF FOR A
BBG FUTURE '^^ ^tr^^lk

prepared by some of America's leading pro-
fessors, will broaden your mind, and make
you keen, alert and capable. It is complete,
simplified and up-to-date. It covers all sub-
jects given in a resident school and meets all
reqitiretnents of a High School training.
From the first lesson to the last you are
carefully examined and coached.

USE SPARE TINE ONLY

Most people /dte away .^/d- hours a week.
Probably you do. Use only one-fifth of your
wasted hours for study and you can remove
your present handicap within two years. You
will enjoy the lessons and the knowledge
you will gain will well repay the time spent
in study.

you RUN NO

So that you may see for
yourself how thorough and
complete our training is,
we invite you to take ten lessons in the High
School Course— or any course of specialized
training in the coupon below— before decid-
ing whether you wish to continue. If you
are not then satisfied, we will refund your
money in full. We absolutely guarantee
satisfaction. On that basis you owe it to
yourself to make the test. ._-,„ , , ,,
Check and mail the coupon NOW for full
particulars and Free Bulletin.

RISK

AMERICAN SCHOOL

or CORRESPONDENCE

Dept. H-712 Chicago, Illinois

ssssnaaiSSES

Explain how I czn qualify

~ for the position checked.
....High School Graduate Lawyer

Plpptrical Eneineer Business Manager

•.•.J'lo'Lilht&f-'oTerSupt Certified Pub Acconnten.

Hydroelectric Engineer Accountant and Auditor

Telephone Engineer

Telegraph Engineer

Wireless Operator

Architect

Building Contractor

Civil Engineer

Structural Engineer

Mechanical Engineer

.....Shop Superintendent
.....Steam Engineer

Bookkeeper

Stenographer

Fire Insurance Expert

Sanitary Engineer

Master Plumber

Heating & Vent. Engineer

Automobile Engineer

Automobile Repairman

Airplane Mechanic

General Eilucation Coursa

:brStemS!! and Designer ::::;Cominon School Branches

Name

Addrees..

Every adrertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine— Advertising Section

Tou cb^n ed^rn from ^lio*2
a.n hour in ijourspAre time
writing show c&rdff;
quickly Andoivsilij lea^rned

MO CAMVASING
we teAch you how and

SELL YOUR WORK

.T^^rrsAnERKAH SHOWOmD JCHOOl

2-10. m\i ma. J2?» ^; TORonia.cAfiADA

^^asHome^

A Complete Conservatory Course

Bv Mail Wonderful home study music lessons under
^A Aui, ?''^'" American and European teachers
Endorsed by Paderewski Master teachers guide and coach
you. Lessons a marvel of simplicity and completeness?

Any Instrument or Voice u^lVse'™^

are .interested m-Piano. Harmony. Voice. F^jblic School
Jwfn' ^'°\'"- ^"""T'- M='"dolin. Guitar. Banjo, or Reed
Organ-and we will send our FREE CATALOG covenne-
a" instrumentaland vocal courses. Send NOW ""^^""^
fi170 ^.NIVERSITY EXTENSION CONSERVATORY
6179 S.egel-Myer. Bldg. Chicago, Illjnoi.

mmm

"$100 a Week, NeH!

Think What That Means To VsV

tt<

kiBy Mail in Ten Weeks

, ,^,' P?"';''"';s now open for men. ivomen and hovs

i'lT'^ i" ^•■'■'"'^s for beginners average $2J5 a niondi.

S eady advanceinent up to $350. Opportunity to travel or lo-

"eeks and guarantee positions to those who qualify. No

srhnol'Sri""'"''"" ?.«",'■"">■■ >""•-' correspondence r.,dio

school m America. Wireless inslrumtnt.' sent to stiKicnts.

Send postal for Free Book, " Wireless the Opporlonity of Today."

Jjalional Rajiojnslilule.Depl.154. 14lh & USls.Washinglon, D.C.

Be a "Movie
^^ Photographer

"- ^ Earn $50 to $200 Weekly

Faseinatinir work takinir you to
\ all parts of the wii Id

E. BRUNEI COLLEGE
' OF PHOTOGRAPHY

They ve made me Superintendent— and
doubled my salary! Now we can have the
comforts and pleasures we've dreamed of— our
own home, a maid for you, Nell, and no more
worrymg about the cost of living!

"The president called me in today and told me. He
said he picked me for promotion three months ago
when he learned I was studying at home with the
International Correspondence Schools. Now my chance
has come— and thanks to the I. C.S., I'm ready for it ! "

Thousands of men now know the joy of happy, pros-
perous homes because they let the Interndtional Corre-
spondence Schools prepare them in spare hours for
bigger work and better pay. You will find them in
ofhces, shops, stores, mills, mines, factories, on railroads.

everywhere. r—-. t.„ „„.„.„ LJl

'NTEHNATIONAL ^CORRE^SPONDENCE_ SCHOOLS

■^581.^1

/No i-onnection witlii
V any other school }

-_ _„ _ -^ -269Broadway,N.Y.

Oon.°rl.i"ph'„'t''i"''y- ' -Tionth"' rnurse complete instruction in
Mmer?L I?. ^ f^'"."""' "otion Pictures operating all standard
OMr/fet' .E^P"' '"sfU'-tnrs. Installments taken En<ile Brunei
defphiA niV L'"'pt K N?" York. Chicaeo. Boston, Ph.la-
aelphia. Detroit. Pittshurgh . Call or send today for Booklet P.

How to Raise Cash

Mail us old or broken jewelry, diamonds, watches, old
gold.silver.plaiinum, magneto points, false teeth (with
orwiihout gold fillings). War Bonds and Stamps-
anyihine valuable. Highest prices paid. Cash by
return mail. Goods returned if you're not satisfied.
THE OHIO SMELTING & REFINING CO-

a04 Lennox Bldg. CLEVELAND, OHIO

everywhere.

Why don't you study some one
thing and get ready for a real job, at
a salary that will gi\e your wife and
children the things you would lik«
them to have?

You can do hi Pick the position
you want in the work you like best
and the I. C. S. will prepare you for
it right in your own home, in your
spare time — you need not lose a
day or a dollar from your present
occupation !

Yes, you can do it ! More than
two million have done it in the last
twenty-eight years. More than
100,000 are doing it right now.
Without cost, without obligation,
find out how you can join them.
Mark and mail this coupon !

BOX 6509, SCRANTON, PA.

«h« .Pi^ ."' '"'"'out obligating me, how I can qualify for
the position, orm the subject, be/ore which iSwkX.

■■" "D SALESMANSHIP

D ADVERTISING
D Window Trimmer
DShow Card Writer
nSign Painter

EI.Eti.ilCAI, ENGINEGIt
Kleetrlo I.iiriiline and Itji.
Electric Wirir. ,7
Telegraph Engineer
Telephone Work
UEOIIiNICALENGINEKK

;ci.

SUflohanleal Draftfiinan
Moehlne Shop I'raotlee
JToolmaker
Gas Engine Operating
CIVIL ENGINEER
l8ur»ejlnf and Mapplne
MINE KOIIFMANorKNtnt
STiTIONAUY EINSINEEIt
Marine Engineer
Ship Draftsman
ARCHITECT
Oontraetor and Hnlldnr
irebltectnral llraftsnau
Concrete Builder
Structural Engineer
PI.UUIIINd INU HEk riiVG
Sheet Metal Worker
, Textile Overseer or Biipt.

JnilEJIIST

Q Navigation

D Railroad Trainman
DILLUSTRATING
Q Cartooning
nBlISI.\ESS MANAflEMER*
U Private Secretary

□ BOOKKEEPER

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WINTON SIX

Today not a hit too early

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^Tjhe World's Leading C/Vfovm^ (T?iAure Q^VLa^azine

PHOTOPLAY

Vol. XVII

February, 1920

No. 3

Give Labor the Star Dressing-Room!

LET the conciliators ta\e a lesson from the movies. Put the spotlight on the full
dinner-pail. Give the man who worlds with his hands a press-agent. Give

Labor the star dressing-room!

Tour true genius of arbitration goes bac\ of stiff soulless things li\e Law and
Contract Agreement to the little prides and prejudices, the small ambitions and secret
vanities of simple human nature.

Something else than salaries and living-costs is at the bottom of our wor\aday
sic\ness. We need heroes. We always have needed and we always will need heroes.
Once we had them in l^ngs. T^ot long ago we had them in money monarchs. Very
recently we had them in soldiers. Right now we have them on the screen. Who
should be next but the master-laborer: the fellow who can drive a locomotive better
than any other man alive, the champion coal-digger, some V\/allace Reid of the doc\s,
a ~bAary Pic\ford of the cotton mills.

Do you remember the widely-heralded rivalry of the ship-wor\ers duriyig the war?
Do you recall Seattle's champion riveter — lionized in T^ew Tor\?

Publicity, celebrity, applause, pictures in the papers — we all li\e them, and the
man who says he doesn't is a liar. These are among the things that will wipe out
class distinctions — not laws or mere cold-blooded wage lifts. The moving picture has
made its people the intimate friends of the whole world.

Send that master tire-ma\er down to the photographer s, and as\ for pictures
that will reproduce — li\e those he too\ of Tom Meighan last wee\. That woman
who ma\es the best bread in town — let's have a personality story about her. V^/on^
der if she's married? What about Tom fones, twenty years in the switching tower in
the South End — remember that winter night in 1902, when he saved 26 and all her
passengers? And speaking of thrills for the news-reel, how about Slavonian John,
handling, at midnight and single-handed, that living hell, a tilting Bessemer converter?

It's time to realize as a nation on our education in motion picture publicity.

It's time for a brand new set of heroes and heroines.

It's time to give Labor a Star Dressing-room!

ifr *^' ^

ORDINARY, garden-variety snow isn't always to be had wVien needed — so Director Frank Lloyd
discovered when he wanted sno^v scenes for "The Silver Horde." So he built a hill, fifty feet high
at its peak and grading do-wn for a distance of one hundred and fifty feet; and covered it with salt —
fifteen tons of it. The hill terminated at the property tank, which -was filled, and on the surface was
constructed a sheet of moving picture ice: eight hundred pounds of paraffin. The trees, as you can see in
the lower picture, only grow half-way; but the camera admirably conceals this fact from the screen.

W - O - R -

That's All!

Is beauty essential to success ? The Prettiest
Sliow-Girl answers, emphatically " No ! "

By OLIVE THOMAS

SOME people think it is an advantage to be beau-
tiful. It isn't.
It is a harder thing for a pretty girl to succeed
than it is for a homely one. Men are never
willing, no matter what they may say, to acknowledge
that a pretty girl may have some asset besides ner
good looks. Men are all alike. So are women — only
some have better profiles than others.

I come from the Follies. Now, the Follies is a
much-misunderstood institution. I say institution not
because Mr. Ziegfeld's press-agent used the word first,
but because any theatrical entertainment which has
been running for a dozen years, playing in the largest
cities of the country, costing many thousands of dollars
every season to put on, and employing only the best-

EDITOR'S NOTE: Florenz Ziegfeld.
manager of the institution of beauty
which bears his name, would perhaps be
justified if he voiced a protest against the
films — for they have stolen some of his
most beautiful girls. Among them, Olive
Thomas, proclaimed by Harrison Fisher
and other artists as the perfect type of
brunette beauty; the toast of Manhattan
when she was a member of the Follies.
Now that she is a film star, she has had
time to look back and gain a keen retro-
spect of show-girl life. She tells you,
here, why she left the Follies; and gives
you an insight into the mental processes
of these beautiful choristers.

Photoplay Magazine

"Rubye deRemer
went into the movies
as the heroine of 'The
Auction Block" — and
she's still in them,
acting, as -well as
looking beautifu

" Mae Murray was
the Nell Brinkley in
the Follies, and im-
personated Mary
Pickford in the movie
burlesque She looked
so good she got a con-
tract right away ■with
Lasky. "

looking girls, must be an institution of a sort. Beauty is the im-
portant thing in life, anyway— beauty in everythmg._

I'm from the Follies— and I'm always being misunderstood.
I've never told anybody about it before because it's an old line.
People think that nothing is required of a Follies girl but beauty
—well I worked harder in the Follies than I ever did in my lite
Most of the Follies girls are ambitious. Do you think any ot
them are content to stick in the chorus all their lives? Some,
probably; but not many I know. There is a g.amour about the
Follies that you can't deny, especially if you have been m them.
The elaborate sets, the beautiful tableaux, the gorgeous costumes
—did you ever stop to think that to a beauty-starved girl, one ot
the creations she is given to wear means an awful lot.'' 1 can
remember when I was just a kid— only about eighteen— and poor,
and lonesome, and I used to go to the costumers and wait in a
lone seemingly endless line for my costume, and fussed ana
frefted while'it was being fitted-but let me tell you that when
the opening night came, with that audience out there, and the new
songs and the glitter-I was mighty proud to be just a part of
it; and that beautiful costume gave me such a feeling of well-
being as I have not felt since.

I said up there, that I worked hard in the Follies. All of the
girls don't work so hard. You see, the whole thing inspired me
I mean because the Follies is a sort of material triumph and it
seems to me any ambitious girl who's in them must feel im-
mecHate'v that she too must be successful, m a matena way at
St Anyway, I felt that. And I accepted Mr. Ziegfeld's offer
to appear^in ^he Midnight Frolic as well as the regular show,
and then — I thought of pictures. . , , uu

Now, I know one former Follies and F-'oli'^ g'-"! ^ho was wUh
them ior five years; and was quite content As she used to say,
Quaintly '"Well, you know, every girl would like to be m them
aTd be&des, all [he best people come." This gjl had a dan n
part, too, while it was always my duty o be as ^ecoratrve as l
could But the glitter and the same best people out front every
opening night and all nights in between began to^pdl, in other
Xrds I got an exaggerated attack of Higher Ambition,
""ome of [he girls'had left the Follies from t™e t^im^^jJS f,
into pictures, and made a success m them. I thought 1 couia

"Marion Davies —
another Follies girl
now in pictures —
works awfully hard
. . . She s pretty, and
she would slave away
all day and many
days to get a scene
right."

"Kay Laurell and I
were in the Follies at
the same time. In
her first picture she
played a dance hall
girl in Rex Beach's
"The Brand." Mrs.
Be

Ira L. Hill

^^u '!i"^' ^^ f ^""^^ '° ^^^y- Little Olive was in for a
jolt, though she didn't know it. I tried out first in a
l-amous Players picture with Owen Moore and Irene Fen-
wick; and I thought something might come of it— say a
contract. But nothing happened. International Film was
puttmg on the Beatrice Fairfax serial then, and I tried that
1 was m "Play Ball" and some others. But I didn't get
on as I'd expected; it was pretty hard to go through with
the performance at the New Amsterdam at night and go
up on the roof for the Frolics show afterward, and then
get up early m the morning to go to a studio. I stuck
lor a while; then I decided it was do or die with me—
and I took a tram west, and landed at Triangle. There I
got a regular job. And maybe I didn't work.

I always laugh when anyone tells me that all a Follies
girl has to do is to signify a wish to go in for serious stuff
via the silent drama, and there she is with her name on
picture posters in letters a foot high. It takes a lot more
than a Follies reputation to make good in pictures. The
i-oUies don't make the small towns.

A good many of my friends in the Follies are in films

iheres little Martha Mansfield. Martha is in several of

the big scenes in "The Follies of igig," and she's in the

root show, too; and she went to a studio every day until

(Continued on page 128)

k'.

FEW years ago every young girl, at some dreary
moment ?n her schooldays or in an hour of ambitious
SflSn during vacation, asked this question: "How

^ *can I get into motion pictures?" A great many boys

asked It, too aUhough as in the list of applicants to every art,

eirls were greatly in the majority.

^ Time has altered that question, ^o"^^^^^^;, J^.^"^^ "^ Z

^™"' ITLltr tl a he p tue^aker has only to ask, now-
Xr.^ o'rS t^obtain th'e enthusiastic services^c,f any man
f ^oman on earth. So the ^ueries^ now - ■ .What^. the
secret of screen success? ,,Whft makes a Jta ,„

^•^^Jh^"rsr I ?o ^l:Sl a thrfndtrers a mo^nt^h from

adoring strangers?" Photoplay Magazine,

Let me say this to you, reaaers ui i n
by way of general answer:
You make the stars.
It is not in my power, nor in
the power of any manager, to
"make" a motion picture star or
a stage star. We can only set
piomising people in your way. it
you like them, you do the rest.
It is your acclaim, your demand,
which differentiates the mere lead-
ing ingenue, of practical utility
and littl.e magnetism, from the
national favorite who receives
three hundred or five hundrec
dollars every day of her life and
is the literary heroine of a whole
brigade of professional and volun-
teer press-agents.

Of course it would be utterly
; silly for me to say that the only
I necessary qualifications for inter-
i national prominence on the screen
were youth and an opportunity.
If that were so, our once well,-
ordered world would be inundated
by a race of movie queens, and
in a universal congress of art and
celebrity we should all die ot
nothing' to eat, or perish durmg a
cold winter for nothing to wear
Ours is a business in which
many are really called, while few
are chosen by the multitude.

Only a few of the many good
young cinem.a actresses attain
renuine stardom.

And— alas!— some of the stars
are very far from being good
actresses.

In a general, way, every star
traverses the same path, and it is
the route of hard work. There is
no picture luminary today, male
or female, whose name has simply
been hung up in the electric sky,
without years of preparation.

The ambition to become a great
and individual success as a screen
actor is an honest and worthy one,
and I will say that without that
ambition, in some degree, it is not

Tuch aTat:rt^in^h: ^uSfos^.^for it is only the continued
belief in one's ability to do better and better work that enables

^"p^L?sin^g"Thi^'nturd'- ambition, the girl,, or the boy,
should seek a place in some good stock company and be w.ll-
inr for an indefinite period, to do anything that comes to
hand or m\y be assigned' From maid parts or ^^-f'^^^^,
small "bits," the young actress progresses to a small pnncipal
1 that may run through the five or six or seven reels of a
_u„.„„i„„ T-hfl npvt <;ten s a "supporting lead, that is to

How to Win

WKat makes a star? Managerial confidence

exploitation — or public selection?

The question is answered in this story.

By JESSE L. LASKY

sav a part opposite the foremost member of the cast, if the

nla; is one in which anyone is starred, or one of the leading

dSs if the play is a feature production, put out entirely
parts, II me p y ^^^^ .^^ ^^^ ^^^^^^^ ^^ ^^^

the name of a famous di-
rector who makes it. Young
women who can play leads, and
maintain a standard of interesting
and acceptable work are so rare
that, having reached this stage,
the neophyte is an assured picture
success whether she does or does
not reach the stage in which her
name, on the billjng, precedes the
name of the drama. For the rest
it is entirely up to the public. It
audiences like her, the exhibitors
will begin to write in to the man-
agers of branch exchanges: "Give
us some more pictures with Maude
Muller in them." Presently,
when these demands come in fre-
quently, and from many different
parts of the country, the pro-
ducers will one day send out a
piece with the magic announce-
ment: "Maude Muller, m—
and the deed is done! This is
identically true of young men, ex-
cept that there are, and probably
always will be, many more idolized
voung women than young men,
hence women have a bigger stellar
opportunity. In its loyalty to its
comparatively few male stars the
public is just as staunch, and
sometimes I am inclined to think
that the men have built more
solidly; perhaps, because the male
star has a longer, harder climb
and the public is cooler and
more wary in its picking. There
is a glamour, a very spirit ot
romance, about a beautiful young
girl which no boy, however
handsome, stalwart and capable,
can ever have. A beautiful, spir-
ited girl incarnates youth and its
ideals to voung and old alike, to
women as well as men. She pos-
sesses a certain faculty of en-
chantment because of the very
fact that she is just a girl— apart
from any mere sex appeal— tor all
people, everywhere, are continu-
ally interested in what happens to a pretty gijl' f *f ^^^^^J
n\J nf make-believe The successful young men of the screen,

Sletr'a^rr'; his same .la^°- -J.^d "dm^ri^t4i^sS
of fourteen to forty -ho may be found^^admnmg^^_^^

wlhe'^toYath:? and mother, and To other young men, they
must make good sheerly upon talent

A managerial attempt to create a star, ^l^at is lo sdy,
actua^process of placing a young P"^- ^^P^ ^^^/^s In Sis
mediately in stellar parts, seldom if ever succeeds.

Caiiipliell

Jesse L, Lasky. in whose organization many stars have
been torn, sJ^s that publie favor alone can establish
an a:tor ^r actress in a position of stellar prominence.

JT IS not in mj' power, nor in the power
of any manager, to "make" a motion
picture star or a stage star. We can only
set promising people in your way. If you
like them, you do the rest.

vy ci

Screen Success

lyiR. LASKY is the partner and associate of Adolpli Zukor, in the
m largest assemblage of motion picture enterprises in the world
and he is and always has been the one more closely allied with the
production end of these concerns. He has been a photoplay 'maker
since the industry's earliest years. He has endured all its vicisssi
, tudes. and has enjoyed a multitude of its triumphs. A considerable
percentage of the whole number of screen stars is in his employ and
most of these have actually attained their celebrity" in some Jne of
tile Zukor-Lasky studios.

connection I feel free to tell one of my own experiences. I
think I can without any injustice to the young woman in ques-
tion, give her name, so that you will all" know exactly what I
am talking about. Not a great
many months ago I was so pro-
foundly impressed by the mag-
netism, the natural dramatic
qualifications and the charm of
an adopted daughter of Gus Ed-
wards, in vaudeville, that I con-
sidered her a great and immediate
possibility in motion pictures. In
vaudeville she had already made
a national success under the quaint
name, "Cuddles." She was known
from coast to coast, in every place
where people patronized the high
class two-a-day. Transferred to
the screen as Lila Lee she was
given the best, in stories, direc-
tion, support and international ex-
ploitation, that my institution af-
forded. And yet some-
thing was lacking. What was it?
I knew of nothing more that could
be done for Lila Lee from the
, manager's viewpoints My Direc-
tor-General, Mr. DeMille, could
offer no more than the very best
that he had already supplied. I
had a very frank talk with her.
I told her, as I have told you, that
stars were neither born nor made,
but were selected and discovered
by the sovereign public. I told
her that I liked her work, and
that I beh'eved in her as I had
always believed in her. I advised
her to buckle down and work
hard, playing every part that was
given her, being content with her
roles whether they were star parts
or merely support. Being a sensi-
ble little girl, she saw that this was
the right thing, and the only thing,
and she became one of the hardest
workers in the Hollywood studio,
neglecting no opportunity to learn,
to acquire experience, to add to
her knowledge of make-up, char-
acterization, or dramatic interpre-
tation. This was a very fine thing,
a very big and brainy' thing for a
little giri still in her teens to do—
a giri, you must remember, who

had been a great feature in one field, and for whom manv a man-
ager, whatever her success or failure with me had been, would
still produce on her demand that coveted stellar crown. As I
say, she grimly stuck to it, and by and by Mr. DeMille assigned
her to the plaintive little part of 'Tweeny, the maid, in "Male
and Female." Her remarkable performance in that part has
won recognition that few stars have ever had; I think Lila Lee
has found the reward of her patience and perseverance. I know
that that performance has answered my wondering and per-
plexity concerning her.

NLY a few of the many good young
inema actresses attain genuine star-
dom. In a general way, every star trav-
erses the same path, and it is the route
of hard work. There is no picture lum-
mary today, male or female, whose name
has simply been hung up in the electric
sky, without years of preparation.

■yo MARY PICKFORD, ever since she
1 left short dresses, life has been noth-
ing but exhausting labor, or else quiet se-
cluded preparation for more exhausting
labor. The golden hours of indolence, and
the memorable delights of long summer
vacations that are youth's gifts to every
American girl, the exciting pleasure of liv-
ing even awhile from society and social
rounds, Mary Pickford has never known.

THE public has erratic momentary
whims, but in the long run it never
makes a mistake; the star who endures
from year to year only does so because
he or she deserves to endure.

POSSESSING honest ambition, the girl,
or the boy, should seek a place in
some good stock company, and be will-
ing, for an indefinite period, to do any-
thing that comes to hand or may be as-
signed.

HERE is a glamour, a very spirit of
romance, about a beautiful young
girl which no boy, however handsome,
stalwart and capable, can ever have. A
beautiful, spirited girl incarnates youth
and its ideals to young and old alike, to
women as well as men. She possesses a
certain faculty of enchantment because of
the very fact that she is just a girl.

On the other hand, let me cite the case of a man inter-
ested in the production of motion pictures who has per-
sistently put forth a beautiful young woman, in star
parts, who has not so far manifested any of the dramatic
or magnetic qualities which alone can draw the champion-
ship of the great picture audience. This man, an enter-
prismg producer, is sincere in his belief that the young
woman is an actress of ability; she, upon her part is
hard-working, and equally sincere in her desire to 'do
everything which makes for success. But so far she
has never manifested the magnetic spark that wins' and
so the great directors who have labored upon her pieces
and her fine stories and elaborate exploitation, have been
as nothing. The public has remained cold and silent,
and the young woman is not a star no matter how enthu-
siastically the advertisements and the electric signs may
assure her that she is one. She may yet arrive, but if she
does, it will be on merit, and not on the mere deliberate deter-
mination of herself or her manager.

Charies Ray, one of the great
stellar triumphs of the hour, is a
product of years of hard work in
all sorts of rol,es, and of intense
study and preparation. The same
is true of Wallace Reid. It is
easy, now, for young men all over
the country to view these success-
ful young men and opine that
things have "Come easy" to them.
On my word of honor, let me tell
you that both of them are prod-
ucts of year after year of labor —
pl.us the ultimate good luck of
public selection.

I may cite the very well
■ known example of the greatest
woman star the screen has ever
known, Mary Pickford. And in
so doing, let me say that there
are very few men or women, of
any age, who have so thoroughly
immersed themselves in their
chosen work. To Mary Pickford,
ever since she left short dresses,
life has been nothing but ex-
hausting labor, or else quiet se-
cluded preparation for more ex-
hausting labor. The golden hours
of indolence, and the memorable
delights of long summer vacations
that are youth's gift to every
American girl, the exciting pleasure
of living even awhile for society
and social rounds, Mary Pickford
has never known. Idolized, feted
— yes, but she has always had be-
fore her the tremendous problem
of maintaining her place in the
mind of a public eager for new
sensations and new objects of ad-
miration. She is the hardest worker
I have ever known on the screen.
I know of no young woman, what-
ever her hopes and dreams, who
would have followed the hard path
of success as unflinchingly.

"Being a star" is not the total
or even the beginning of artistic
success as we are beginning to
count it in picture terms. .'\n am-

v-nrf>,,, fi,. f « i^'^'*^" merely to be "a star" is not

^.'orthy the time or effort of any young person. Real screen
success is no longer counted in terms of billboard advertising
electric signs of freak "personality stories" in the periodicals
and newspapers. Screen success lies in being an actor, or an
actress, who can simulate life, and the depiction of life bv
painting writing, or personal mimicry, is an art won only by
hard labor. Many an actress on the stage-young, magnetic
earnest, charming-has come to the studios only to find that
the camera does not like her. Many a pretty face, to use the
(Contimied on page 131)

s=,Ms 'JSS-r. JS.-=K.'-.i:i:'iit. :i ;;S

fHERE is no subject related to the production of motion
pictures that is so fascinating as the monetary returns
to the players. Not only does the confirmed fan revel
^ in the figures— real or purported— but even the most
infrequent cinema goer registers immediate interest when the
subject of movie salaries is broached.

Nearly four years ago Photoplay told m detail about the
big salaries paid the film stars. Just parenthetically it might
be stated that the star who now is drawing the highest salary
of them all was not "among those present then, but wen

get to that later. , , i „,,

In that article several of the big producers were quoted as
saying that they didn't know where the salary mflation would
end- one of them said it would stop only when the players
recruited from the stage would outlive on the screen their
advertised reputations, or words to that effect The general
impression among those who signed the weekly checks was
that the stars were getting the cream and that if something
didn't happen soon to stop
the flow of the cream actor-
wards, the whole business
would go to the dogs.

Just so that the reader
may with least difticulty
make the obvious compari-
sons it may be recalled that
at that time Mary Pick-
ford led all the movie wage-
slaves at the teller's window
with a check each week for
$2,000; Charlie Chaplin
was banking the then fabu-
lous amount of something
over $1,000 a week — fabu-
lous for a comedian; Frank
Keenan had been paid the
highest weekly salary of any
male dramatic star up to
that time — an even $1,000
_by Thomas H. Ince; and
Francis X. Bushman was re-
corded as "the highest paid
screen lover" with a $75°
tof.'^n Wnwpvpr. that

The Little OY

Sketches

Ethel Plummet

There, little film fan
stars can buy butter
authentic discussion

xr nx;n legitimate invaders were paid sensational sums
year— 1915— t^o legitimate m $,0000 for one picture,

for brie engagemen s ^iH ^^/^";'^; ;f ^^^^nt for three pic-

''^'^^^'TriSe?somSon computed on a weekly basis
tures. The latter s compensduu ^^, ^g Both

amounted to $5,000 a week, ^issj^urke^s^^to i^^^^^^^^^^ ^^_

Four years ago. Bill Hart's salary wasn't
worth mentioning. In the last two years
he has netted something over $900,000.

cause of the advertising
value of their names. To-
day when she works in pic-
tures Miss Farrar gets twice
as much as then, showing
that she has outlived the
stage value of her name, if
her former salary was a cor-
rect appraisal.

It is much more difficult
nowadays to tell with any
degree of authenticity what
the big stars put in the bank
weekly because a consider-
able group of them classify
themselves as independent
producers. In nearly each
instance there is a nominal
drawing account against the
profits of the company.
Others get a salary and per-
centage of net returns. So
that this story will deal
with what the stars and
players have been realizing

^».-

'>>>! \

thd^?L

iio^

Pay Check, Now!

— don't you fret; the
'n eggs — as yet. An
of screen incomes.

ANDREW

DAY

Tlie vogue of Nazim-
ova IS based. . . on her
overwlielming appeal
to the feminine sex.

from their efforts and what their future expectations are, based
on figures which have been obtained by the writer from au-
thentic sources.

So that the record may be complete and there is provided
basis for added comparisons, it may be stated that at the
expiration of her $2,000 weekly contract Mary Pickford signed
a new one at $4,000 a week and this was raised to $10,000
with a percentage of the profits. As a financial asset, Mary
stood alone. Then came
Chaplin's big jump and Fair-
banks also with his inde-
pendent company which
gave him an income of over
a half million a year.

To-day the highest salaried
picture player is Madam Alia
Nazimova, once employed in
a Yiddish Theater on New
York's East Side; a noted
stage actress who with others
four years ago regarded pic-
ture playing as a "prostitu-
tion of art." Nazimova is
the current wonder of the
cinema because her vogue is
based not so much on the
perfection of her produc-
tions as on her own bizarre
personality and artistry, and
seemingly an overwhelming
appeal for the feminine sex.

Keeping the Wolf Away

EACH week Metro pays Nazimova $13,000.
Geraldine Farrar receives from Goldwyn $10,000
each week.
William S. Hart netted over $900,000 in the past two
getis 2So"oOo"* productions in the next two years he will

Mary Pickford's income the last year was close to the
half-miihon mark, the net profit cf three pictures which
she made for First National at $250,000 each.

Many a salaiied star has fared better than Charles
(^haplin in the last two years. Since his "million dollar
contract was made he has drawn less than half a million
dollars besides paying the cost of his productions.

The profits of Norma Talmadge and Anita Stewart in
the past year are estimated at something around half a
million to each.

wn''^''^c.'^^" "'^? getting $4,000 a week when she and
William Fox parted company.

<t<i ?nn ^'' «:? "-'^"?wn stars receive checks ranging from
$5,000 to the paltry $1,000 a week. Leading n.en and

w"^",~;if''^1i''f '^'',3r?':t"a'^'°'' — have found a silver
lining to the old cloud H. C. L.

Each week that she is working Nazimova draws from the
pay window of the Metro studio in Hollywood a check calling
for $13,000. Her contract does not provide for a regular
salary, but for a lump sum— $65,000 for each production in
which she appears, paid in weekly instalments. There is a
limit of five weeks for the making of each picture and a pen-
alty for each day over— the company pays Madam the penalty
—so that the total amount of her returns may be safely placed
at $13,000. In addition the family exchequer is given a fur-
ther little lift by the check for $1,000 which Charles Bryant
brings home each week. Charles is Madam's husband and
eading man. (Of course the salary is paid him for being the
latter.) "

Next among regular salary drawing stars comes Elsie Fergu-
.son and Geraldine Farrar, who, however, only works before
the camera part of the year. Her weekly check from Gold-
wyn's reads $10,000.

This brings us to the group of big money makers who have
their own companies: Mary Pickford, Charl'ie Chaplin, William
S. Hart, Anita Stewart, Norma Talmadge and Douglas Fairbanks
0^ 'l^^se the biggest money maker during the last two vears
was Bill Hart. Hart made eighteen pictures, twice as many as
he will make in the next two years, which netted him something-
more than $900,000, nearly a million dollars. Four years ago
when the writer was digging up information about salaries
Bill s wasn t worth mentioning— a paltry 300 simoleons a
week. Of course the government took official cognizance of
Bill s prosperity and also a goodly percentage of that $000 000
via the income tax route. But enough was left to fla" any
curious wolves from the vicinage of Bill's doors. By the terms
of his new contract Hart will make nine productions in the
next two years for which he will receive a total of $2 250 000
Of course he must pay the cost of production but this shoulci

leave him a balance of some-
thing over a million and
three quarters — perhaps two
million dollars.

Mary Pickford's income
during the last year was
somewhere close to the half
million mark, the net profit
of three pictures which she
made for First National at
$250,000 each. Miss Pick-
ford has begun production
under her United Artists ar-
rangement and unless present
signs fail the coming year
should see her profits well
over the million mark. This
prophecy is based on the re-
turns so far on the first
United Artists picture of
Douglas Fairbanks, which is
said to have sold to the the-
aters on a basis of something
close to a million dollars for
the United States. Under the

Photoplay Magazine

In 1915, Francis X. BusKman

was recorded as "the highest

paid screen lover' with a

$750 quotation.

former plan, it would have been impossible to invest a total of
nearly $400,000 in a single production ,.,„.„. , ,, ,

Much has been said about Charlie Chaplm's "million dollar
contract," but it is nearly two years since it was executed
and since then Chaplin has drawn less than a half million dol-
lars besides paying for the cost of his productions so that
many a salaried star has fared better than Charles However
the funny one feels somewhat compensated by the tact that
had he worked faster. Uncle Sam would have taken proportion-
ately more as income tax. , u a
Norma Talmadge has -her own company with her husband
as partner so that salary checks do not bother her. Her profits
and those of Anita Stewart for the last year are estimated at
something around a half million dollars each. Then there is a
long list of stars whose
checks range from
$5,000 to the paltry
tliousand a week, in-
cluding Theda Bara,
who was being paid
$4,000 a week when she
and William Fox part-
ed company ; Mar-
guerite Clark, Pearl
White, Pauline Freder-
ick, Elsie Ferguson,
Mabel Normand, Viola
Dana, Mary Miles
Minter, William Far-
num, Constance Tal-
madge, Wallace Reid,
Alice Brady, Madge
Kennedy, Florence
Reed, Major Robert
Warwick, Bryant
Washburn, Lillian
Gish, Dustin Famum,
Dorothy Phillips, Dor-
othy Gish, Mildred
Harris Chaplin, Tom
Mix, H. B. Warner,
Jack Pickford, Bessie
Love, William Russell,
Earle Williams and
others.

Clara Kimball Young
has her own producing
company, so has Ses-
sue Hayakawa, and
Roscoe Arbuckle and
Frank Keenan, and
quite a few others. No
cognizance is being
taken of those of the
stage who take their
cinema spasmodically.
Some of the fans are
beginning to wonder,
having read so far,
where Charles Ray
comes in. Strange as
it may seem, the popu-
lar Ray is not among the big salaried ones. His contract, made
more than two years ago before he had acquired anything like
his present following, called for a weekly recompense of $500.
Under an arrangement with his present employer Thomas H.
Ince, it will expire January i and Ray will have his own com-
pany with a First National outlet and a large drawing account.
Mae Marsh is also missing from the list. Her salary with
Goldwyn was $2,500 and it is said that when she resumes work
this fall it will be on a salary of $5,000.

It's not only the stars and the directors— the latter will
not be discussed in' this dissertation— who have progressed
along the financial scale. The quotations on leading women
have been climbing fast and those on leading men have traveled
upwards by the well known leaps and bounds. As a rule the
male lead draws more money than the feminine lead because
when the latter shows any real class any number of concerns
are willing to star her, as witness the case of Katherine Mac-
Donald. Good feminine stars are very much in demand. Ac-
j;„„ *^ fV,<. men wVin cpll tVip nictures a sirl star is much easier

to dispose of than a male star, hence the preponderance of the
former. Only a few male stars have been developed during
the last year. Eugene O'Brien, Tom Meighan, Owen Moore,
and Lew Cody. O'Brien, one of the best of the screen's leads,
was raised to stardom as a result of the popularity he attained
as a leading man; Meighan was elevated to that class by the
magnificence of his work in "The Miracle Man" and "Male
and Female," and Cody is something of an experiment, an
effort to see if the public will assimilate a brand of story hero-
ing a disciple of domestic infidelity.

Top salary for leading men has risen to $75° a week, al-
though there are a few instances, like that of James Kirkwood,
as exceptions. Kirkwood was induced by Producer Allan Dwan
to lav aside the megaphone to play the lead in "Luck of the

Irish" at $1,000 a

week. Henry Walthall,
now classed as a lead,
is also an exception.
The list of male leads
whose salaries range
from $750 downwards
is headed by such
names as Mahlon Ham-
ilton, Conway Tearle,
Elliott Dexter, Milton
Sills, David Powell,
Jack Holt, Wyndham
Standing, Thomas
Holding, Norman Ker-
ry, Roy Stewart, Irving
Cummings, Herbert
Rawlinson, Tom Sant-
schi, Frank Mills,
Charles Clary, John
Bowers and others.
Then there is a group
of juvenile leads head-
ed by Robert Harron,
whose salary is close to
the thousand mark,
Richard Barthelmess,
Niles Welch, who _ is
figuring on a starring
career; Allan Forrest,
Jack Mulhall, Cullen
Landis, Casson Fergu-
son, Ralph Graves and
others.

The list of leading
women is even more
restricted. Several
casting directors have
told me that the dearth
of good leading women
amounts almost to a
famine — that the avail-
able good ones not un-
der contract could be
counted upon the fin-
gers of one hand. Sala-
ries for feminine leads
range upwards to $500
and the Hst of high salaried ones includes Naomi Childers,
Betty Compson, Kathlyn Williams, Gloria Swanson, Wanda
Hawley, Jane Novak, Lois Wilson, Anna Q. Nilsson, Sylvia
Breamer, Alice Lake, Eileen Percy, Florence Deshon, Helene
Chadwick, Kathryn Adams, Florence 'Vidor, Anna Little, Josie
Sedgwick, Louise Lovely, Rosemary Theby and others. In
some of the studios all gowns are supplied the feminine leads
with a correspondingly lower salary to equalize that saving to
the player. The big salaries, as in the case of male leads, go
to those who free lance, rather than to those who tie them-
selves up with long time contracts.

Even the long abused character actor has found a silver
linhig to the H. C. L. cloud in increased emoluments and a
good heav)' can almost write his own check. This class of
subordinate players is headed by such as Theodore Roberts,
Herbert Standing, Alec Francis. Noah Beery, Wallace Beerj',
Robert McKim, Lon Chaney, Tully Marshall, Raymond Hat-
ton, Bertram Grassby. James Neill, Charles Gerraid. The
(Continued on page 125)

Slant Eyes
and Bumps!

— So that when you see Viola
Dana in " The Willow Tree "
you needn't say: "Well, what
do you know about that?"

HOW long dees it take to become, a Japanese?
If you contemplate trying to be a real Oriental you might refer
to Viola Dana who, after experimenting two weeks with make-up as-
sisted by two Japanese maids, knows that it takes just two hours to
transform herself mto a real Mme. Butterfly. She is portraying the Japanese hero-
me m "The Willow Tree" and the transformation process is a daily part of her
business.

_ When all the strings have been tied— for the Japanese never use any pins,
either on the costume or in the hair— and the obi which is the broad strip of
brocade used for a sash to the kimono, and the tabis (which might be called
"foot mittens" in point of resembling a hand mitten though the big toe is the
thumb of the foot) and the coiffure are all properly adjusted, Viola looks like
a still small voice from the Far East in her garb of Nippon— very dainty, very
romantic — a late word from the beau monde of the Orient.

While such women as Farrar, Pickford and Nazimova have essayed such a
role even the Russian artiste admits that Viola's makeup is an achievement
superior to her own. In some of her photographs Miss Dana looks like a small
edition of the famous Russian. There is a certain strange foreign look about
her eyes and face, doubtless due to strong French strain. And between the high
type of France and that of Russia there is often a marked resemblance.

The fun begins before the heavy black wig is adjusted. Preparatorily, the
eyes are tied back — a trick accomplished by drawing the hair tightly around the
head— to get the Japanesy slant to them. This stunt lifts all the muscles of the
face so that it is hard to get any variety of expression — a desirable result.

Aside from the advantages of the makeup for the role the result of the hair-
pulling contortions evoked inquiry from friends at dinner one evening who had
not heard about her newest part. Having noticed two very big bumps on either
side of her head they wanted to know if she had gone in for prize fighting.
And they were really anxious about her until she volunteered the information
that the bumps are on her head every evening from having the skin on her
forehead pulled out of place for six hours a day.

The greatest difficulty is the wig. It takes the maid over an hour to make
the coiffure. She combs the heavy and long oiled black strands again and again
with the novel looking wooden combs used by natives, and ties each switch firmly
with waxed paper string — also a native custom. The worst of it is that the
wig cannot be made up before putting it on INIiss Dana's head. The proper
effect must be proportioned to her particular style. Consequently she has to
arise at an unconscionable hour in order to arrive at the studio early enough to
give the maid plenty of time to do the actual hair-dressing upon her head.

After the wig is on and dressed, Viola paints around the edges of it with black
cosmetic in order to blend it in with the skin so that it is quite undiscernible
that she wears a wig. She also puts cosmetic inside the lower lid of her eyes to
accentuate their narrowness. She had her choice between doing this and cutting
off her eyelashes. The Japanese have practically no eyelashes at all. But the
fear that the curling lashes she now has might not grow in again and the fact
that she didn't propose to be always a Japanese heroine kept her from making
this sacrifice to Art.

And tlien, you" re a
perfectly appointed
Japanese maiden,
furtively awaiting
the 5:30 o'clock
studio whistle in
order to get back
into Western garb.

First thing is to draw the hair tight back from the
forehead, in order to give the eyes the proper slant.
(This makes a stoic out of the babiest of stares).

Then, when the eyes are slanted sufficiently, a
Nippon maid combs the oiled tresses of the heavy
black wig with a native Japanese wooden comb.

You must either remove the lashes or paint cos-
metics on the inside of theunderlids. Viola Dana
chose the latter process, doing the painting herself.

Blind

Husbands

THE post coach slowly creaked its way up the laborious
road to Cortina D'Ampezzo set in its niche in the moun-
tains. Dr. Robert Armstrong glanced casually at the
Austrian cavalry officer seated opposite and in that
glance appraised him as a shallow-headed fop. In the same
casual reflection he decided his wife who sat beside him would
as usual share his opinion, if indeed the doctor went so far
in his off-hand observation to formulate it into definite thought.
In a moment he dismissed the stranger from his mind and re-
turned to his reading. „ , . r,

Dr Armstrong was feeling in excellent humor. After a year
of exacting though most satisfactory work at the American
Hospital in Paris he was on his way for a fortnight of moun-
tain climbing in the Alps. In a few moments they would be
at the quaint Hotel Croce Bianca with its unworldly atmosphere
of peace. Old Sepp, philosopher and guide of the region would
be there to meet him— Old Sepp, whose words of simple wis-
dom were a healing balm to the souls of jaded, mmd-weary
men They would climb Monte Cristallo this year, he and
Sepp, The clean air and the vigorous exercise would put him
back' in fine trim for his next year of work. ^ _

A feeling of deep content permeated Dr. Armstrong s bemg^
He was wearing his most comfortable outing togs. He had
completely relaxed. Also by the gift of his confreres at the
hospital he had a fine line of new scientific treatises with which
to regale his leisure moments. Then, too, Margaret was there
beside him If she had not been there he would have been
desolate with a sense of incompleteness. It would have been
much the same as if he had found himself in a sick room
without his clinical thermometer. But she was there, and he
was possessed of that vague, proud feeling common to unde-

who do not find it necessary to outwardly demonstrate the
state of their emotions. Margaret was looking well, charming
and beautiful — that was enough for him.

Settling himself more agreeably into the upholstery of the
side seat of the coach Dr. Armstrong immersed himself in his
book with the complacent smile of the man who considers that
he is on perfect terms with a very kind world.

Lieutenant Erich Von Steuben, sitting opposite, was a
connoisseur of beauty. Also he was an adept at sensing out
domestic infelicities which might, with some manipulation, be
made to flower into an hour's amusement.

"Neglected— and very beautiful" Von Steuben observed as he
watched Armstrong plunge into his book quite ignoring the
attractive wife beside him. The lieutenant, having an eye for
such things, noted too the all but concealed look of mortifica-
tion which first set her red lips a-quiver, then straightened them
into a hard proud line.

This was just the sort of thing that he lived for. Von Steu-
ben adjusted his monocle, and placed with studied grace his
tapering and perfectly manicured fingers about his sword
hilt. Not too forwardly he let his experienced eyes travel
in appraisal from the neat ankles to the modish sailor which sat
so fetchingly on the pretty head of the unappreciated wife.

No woman, especially no woman of beauty, could have been
quite unconscious of the officer's gaze, so clearly full of ardent
approval as it was — no woman, even far less hungry for some
sort of recognition of her power to charm.

Margaret Armstrong was tired of being pushed into the
background of her husband's life, of being ignored and well
near snubbed for some cold inhuman scientific pursuit, of being
treated as pleasant and decorative but most unessential.

She was young and warm blooded. She was filled with the
natural craving for affection and approbation characteristic
of an impulsive nature. And though she recognized the covert
insolence of the glances of their fellow traveller in the Hotel
Croce Bianca bus, she was rather more gratified than insulted
at the tribute. While she despised the perfidious bird of prey
type that Von Steuben obviously represented she was flattered
at his frank appreciation of her physical charms.

A crowd of the villagers of Cortina D'Ampezzo in front ot
the hotel greeted the arrival of the bus. Sepp was there just
as Dr Armstrong had expected, and others whom he had be-
friended on earlier visits. They shouted jovial welcomes and
crowded about the step. The doctor jumped down with out-
stretched arms. It was wonderful, this cordial friendliness ot
the mountain people! In the glow of enthusiasm which swept
him he forgot all about Margaret. He said his greetings all
around, then as an after-thought turned to see what had be-
come of her. The fop of an officer who had ridden up with
them was helping her down the coach steps. Her cheeks were
aglow with color and her eyes were bright. It annoyed Arm-
strong just a trifle that Margaret should permit this posing
jackanapes to touch her arm. But it did not occur to him
that her eyes might be very bright and her cheeks very red
that another should have seen of what very casual importance
she was in her husband's attentions. _

The inn keeper showed them to their quarters with a great
bowing and display of humble courtesy. _

r>r Armstrong threw down his wraps, answering Margarets

High above the Alpine clouds the
treachery of a jackal Austrian, the
indifference of an eminent Ameri-
can surgeon, and the love-hunger
of his pretty young wife meet and
fight to an impressive climax.

By BETTY SHANNON

questions with a tone of vast preoccupation, and rushed out
straightway in quest of Old Sepp.

But Lieutenant Von Steuben in his chamber down the hall
changed his clothes with the greatest care, sprayed himself
with perfume, then stooped over to look at himself approving-
ly in the glass.

"The lady pines for attention" he smiled to himself, "She
shall have it."

Margaret Armstrong was not a frivolous, vain young woman.
She was to the contrary a sane-minded, wholesomely reared
American girl with ambition to be of real use in the world.
She looked back with tender memory at the days before her
husband becaipe an eminent surgeon, days when they were
forced to economize and plan, days dear to recall because then
he needed her. She hated the success which demanded all his
time and thought, and which had pushed her out of his life so
far that he no longer turned to her even in his playtime.

It had been Margaret's hope that this trip into the Alps
would bring him back to her again, back to her as the lover
of their early married days. She had selected her wardrobe
with greatest care, remembering even the colors he had pre-
ferred on their honeymoon. She had, chosen practical things
for climbing, hoping that he would see by these that she was
prepared to go with him wherever he went.

But Dr. Armstrong did not notice the new clothes. It did
not enter his head to include Margaret in the expeditions he
planned with Sepp, nor did he think of consulting her pleasure
in the matter. He was liberal in his allowance to his wife.
He assumed that she would prefer to sit around the hotel or to
make excursions into the interesting places of the village with
the other women guests, rather than to go with him.

With husbandly absent-mindedness he let her do her own
fetching and carrying. He was entirely unmindful of her com-
fort. Also he spent all of the time when they were together,
either in their suite or in public, reading from his fascinating
new works on science.

At first she ignored the officer's persistent courtesies, or ac-
cepted them with frigid thanks. Then as he persisted in spite
of her hauteur, and as her resentment and loneliness grew upon
her she unbent a little for sheer want of human companionship.
By the evening of the celebration of the Festival of the Trans-
figuration, Margaret and Von Steuben were on rather friendly
terms. He had been clever enough to recognize her funda-
mental loyalty to her husband and had so far tempered his
flattery and conducted himself as not to destroy her confi-
dence. This was, he recognized, a case in which he must work
slowly. He was a sly dog.

It was a night for loves and lovers — the silver night of the
Festival of the Transfiguration. Through all the curious old
streets of Cortina D'Ampezzo dallied the amorous evening
wind, gentle as dew, and wooing with the fragrance of a thou-
sand flowers brought from the mountain sides. Bright lan-
terns burned like jewels, lending passion and color to the
shimmering chastity of the moonlight. Wild music called
to the joys of the dance and the air was sweet with song.

The vividness of the night with its lavishness of delight
awakened a poignant longing in the heart of Margaret Arm-
strong for something that was not hers.

It was not enough that she should sit looking down at the

The surgeon forced Von Steuben to the edge of the precipice.
" Has there been anything between you and my wife ? " he
asked, with deadly calm. "Now — the truth — or you die! "

hotel piazza while her husband, unmindful of her presence
or of the glamour of the evening, talked learnedly with the
American physician who was his guest, or listened to boast-
ings of the American's two companions who vowed to climb
Monte Cristall.o from the unconquered side the next day.
These things were vapid to Margaret. The youth in her was
calling for love.

At last she could stand it no longer. She arose and went
into the inn. The piano stood open in the deserted living-
room. She swayed against it, holding her hands before her
eyes for a moment. Then she sank down to the bench and
slipped into a plaintive melody she had sung as a girl.

Margaret did not know that Erich Von Steuben entered the
room, or that he had picked up a violin from its case on the
music cabinet, until the thin, sweet voice of the instrument
joined hers. She glanced at the Austrian and they went on to the
end. When they were done she sat still, looking down at her
hands. Von Steuben laid the violin down on top of the piano
and bent over Margaret.

"Why are you here?" he asked. "You are missing all of
the gaiety."

"I do not care for gaiety tonight," she answered drably.

There was a pause. Von Steuben bent closer and took Mar-
garet's hands in his.

"You are brave," he said with feeling. "But why do you
always think of him?" — he pointed to the piazza — "he does
not think of you. He does not care how young you are. He
does not see that you are beautiful. I see your loveliness.
I adore—"

ATarcarpf rnsp frnm thp henrh. Von SfpiiVipn rpnrhpd nut

Photoplay Magazine

When Von Steuben kissed Margarets hand. Dr. Armstrong
choked a swift desire to throw him out of the door.

his arms to embrace her. She shpped away and ran out through
the door without looking back, rejoining her husband and his
friends at the table.

If Dr. Armstrong' had gone off the following morning as
usual, for a jaunt with Old Sepp Margaret would have avoided
Erich Von Steuben. She had no desire to precipitate another
situation like the one of the evening before, and yet she knew
that she would not have the will power to prevent one if she
were alone with the officer.

But it happened that the surgeon decided to spend the day
in the village, and furthermore he offered to escort Margaret
and the lieutenant on a walk through the market place. There
was nothing for Margaret to do but accept, and to
treat Von Steuben as though nothing had occurred
to change the status of their relationship. She could
not refuse to go without giving an explanation, and
she did not choose to give one.

As the trio stopped to admire the curious, age-
stained antiques spread out to tempt them in front
of an odd little shop, the ancient buggy of the gray-
haired village doctor rattled toward them over the
cobblestones, then stopped. The old physician beck-
oned to Dr. Armstrong. In a moment the younger
man returned to where Margaret and Von Steuben
were examining an exquisite box.

"I've got to go with Dr. Brunner on a serious
case," he said.

The light and vivacity died out of Margaret's face.
She turned away so that her husband could not see
the tears of disappointment that sprang to her eyes.

"Dr. Brunner needs me, Margaret," he added qui-
etly. "Lieutenant Von Steuben, would you mind
looking after my wife until I return?"

All the fires of Margaret's rebellion against her
husband, against his profession, against Fate, against
the people and the things which continually con-
spired to take him away from her, burst into flame
again as she saw him drive away. She adjusted her
hat at a more daring angle before an old mirror set
in a priceless carven frame, then turned to the Aus-
trian with a coquettish smile.

"I know a beautiful place where I want to take
you," Von Steuben whispered in her ear. She
clasped her two hands around his proffered arm and
gayly they started down the quiet road that led past
the roadside shrine away from the town.

Many a woman who believes in a moment of
vengeful unhappin'ess that she can cast aside the
restraints of her traditions finds that she has over-
estimated the abandon of her desperation.

Margaret Armstrong, as she walked arm in arm
with Von Steuben, was astonished to find that she
was repelled by the insinuations of his flattery and
by his presumptuous familiarity. In spite of the
fierceness of her determination to fling herself free
and carelessly into a flirtation the flame of her re-
sentment died down to a gray ash, leaving her more
miserable than before.

* When Old Sepp, scouting over the fields with his
dog, came upon the two seated on a lone rock, over-
looking the sweeping valley, Margaret welcomed
his appearance as an excuse to get away from the
ardent wooing of Von Steuben. She chatted with

the old guide with great vivacity, finding relief for her distressed
conscience in his homely observations, ignoring the Austrian
and suggesting that they go back with Sepp to the viljage.

Von Steuben rose without a word and helped Margaret down
from the rock, bowing stiffly in deference to her wishes. His
thin lips snapped together in a nasty determined line. The
game was not being played according to his rules.

Margaret, back at the inn, stayed in her room all the after-
noon, tortured with unhappiness, both dreading and longing
for her husband's return. A rush of tenderness and patience
for his faults and shortcomings swept her. The pendulum of
her emotions had swung back from the momentary disloyalty
of the morning to a violence of feeling that was almost torture.

Toward late afternoon she put on the prettiest of her frocks,
arranged her hair becomingly, and sat down by the window
to await her husband's coming.

It was almost evening when he arrived. The sun was strik-
ing fire from the gold cross on the chapel and the shadows
lay long over the cobblestones. He lingered to consult in the
market place before the hotel with Sepp and others of the old
villagers, who seemed in earnest conclave, wisely shaking their
heads together. Margaret waited with an agony of forgiv-
ing.

Dr. Armstrong entered the open door and walked past Mar-
garet without a word of greeting.

"I was afraid of it," he said, reaching into a closet for his
hobnailed mountain boots. "Our three American wise fools
are not back yet. Sepp says that means they are in trouble.
Dr. Brunner is not able to go to them. I'm the only doctor
here and it's my duty- to go. A party is going up."

' I promise, I promise," Margaret answ^ered eagerly. " Only go —

Photoplay Magazine

Margaret uttered a quick, cry and ran to her husband, put-
ting her arms on his shoulder.

"But if it wasn't safe for them, it isn't safe for you," she
exclaimed.

Armstrong kissed her dispassionately on the forehead and
put her aside.

"But it is my duty," he said, hurrying into his climbing
clothes.

Duty! Again duty! Always duty! And duty to some one
else who was sick or dying or in danger, with never a thought
for their own love that was dying for want of his care!

Margaret left the room and went to sit alone on the piazza.
Her hands were icy cold and her eyes burned with fever. Her
cheeks flushed red with the shame of her chagrin. When Arm-
strong came to bid her good-by and tel.l her that the rescue
party would not return until the following day, she kissed him
with eyes that did not see. She went back into the hotel
without waiting to watch him up the path and wave a fare-
well.

Lieutenant Von Steuben was up and about early the follow-
ing morning. Before the curio shop where he had been the
morning previous with Margaret and her hu.sband was fairly
open the officer was there bargaining with the deaf old dealer
for the boa which Margaret had admired.

Von Steuben returned to his room and awaited his time
until the halls were empty and every guest on the floor save
Margaret had gone down to breakfast. Then he stepped cau-
tiously to her door, box in hand.

The lieutenant's low rap interrupted Margaret in her dress-
ing. Thinking it one of the maids, she tossed back the locks

please go ! " In Ker desperation, shp would liave promised anything.

Sepp looked at the officer ■with accusing eyes. With a half-
smothered oath. Von Steuben turned to his own room again.

she was brushing, threw a chiffon negligee about her shoulders
and unlocked the door. The Austrian wedged the toe of his
boot in the narrow opening and flung the door open. When
Margaret saw who was outside she tried to slam the door
shut again. But Von Steuben had taken a step forward. With
one hand he reached the satiny box around the edge of the door.
"See," he said, "I think of you the first thing in the morn-
ing."

Almost without thinking Margaret took the box in her hand
and looked at it uneasily, scarcely knowing what to say. Von
Steuben took her silence for an acceptance. He squeezed him-
self through the door, closed it again and stood with his back
against it."

Margaret set down the box and ordered the of-
ficer from her room. He grinned insinuatingly.
"Well., lady, I am here."

He reached forward suddenly, grasped Mar-
garet's arm and drew her to him. She struggled to
be loose, but he held her powerless. She dared not
scream.

"Please let me go — please — please," she gasped.
For answer Von Steuben circled her head with his
arm, forced up her chin and kissed her full on the
mouth.

"That's better than a husband who doesn't love
you, isn't it?" he gloated.

"What if he should come novi' — there, I hear him."
Margaret fought in Von Steuben's arms as they
heard footsteps coming up the stairs. Von Steuben
dropped his hol.d and stood tense and still with Mar-
garet. But the footsteps want past and died away.
Presently a door slammed down the hall.

Von Steuben, coward that he was. was glad to
leave. But to save his face, he crushed Margaret
more closely to him and whispered, "But I'll not
let you go until you promise that I may come again
sometime when we can be alone."

"I promise, I promise," Margaret answered
eagerly. "Only please go now, go, go." In her des-
peration she woul.d have promised anything.

Von Steuben left the room jauntily with the air
of a man who has won. Margaret sat down to stare
at herself, very white and shaken, in the mirror.

Half an hour later she was aroused by the tolling
of the churchbell. She went to the window. The
villagers were hastening toward the path down which
the rescue party would come. She hastily threw
on her clothes and ran to join the people.

It was a solemn procession that came winding down
the narrow path. The rescuers carried improvised
biers on which lay the three boastful Americans.
Dr. Armstrong and Sepp followed in the rear.

As Margaret watched the saddened group come
toward her her overwrought nerves gave way. Erich
Von Steuben, who had followed her from the hotel,
rushed to her side and caught her in his arms as she
fell in a dead faint.

The commotion drew the attention of the people
away from the approaching party. Some one called
to Dr. Armstrong. He strode to the knot of people
gathered about, brushed them aside and took Mar-
garet's limp form from the Austrian's arms, carry-
ing her to the Croce Bianca. (Continued on page 126)

Pearl

White's
Party

RUSSELL started it all. ^ •„ ^ ,.

He called up Pearl White one day— from the Ottille Orphan
Asylum where he lives— and told her in his own characteristic
baby way that he wanted a Party. Pearl had never heard of
Russell but Russell knew Pearl. , , , .. t^ n ,,

So Pearl called up the matron of the asylum and asked if Russell and
the other children could come to her home in Bayside. Nearly thirty
children arrived, and they had ice-cream cones and gingerbread, and
Russell — whom you see prominently pictured above and at the right —
was ringmaster — for hadn't he arranged the party, himself?

After a day in the woods and dusk in the drawing-room, where Pearl
played and sang to them, they bundled into two cars and went home.

^^^^IV

^sr-

f^'n't

sf-iiige^

'\.-^;-f ■.'**^"

i-4

Cutting Back

Reminiscences of the Early Days

By
WILLIAM N. SELIG

EDITOR'S NOTE: Colonel William N. Selig is a
real picture pioneer. Consider that he was re-
sponsible for the first real serial, "The Adventures of
Kathlyn" which may be said to have started the pres-
ent wave of popularity for chapter drama. He was
'■^- first, too, to introduce animals as film actors; first
produce a long historical photoplay, — "Christopher
Iambus," in three thousand feet, a forward step in
se old days of split and one rcelers. Selig pre-
ted a new era in celluloid drama when he staged
he Spoilers" and this marked, too, one of the first
tances of a widely-read novel being translated into
tures. He was the first to move his producing
ces to California. And the Selig zoo is still one of
Liie beauty-spots of Los Angeles. His activities are
not done — he has just superintended the production of
a new serial in which animal: and human actors share
honors.

A FEW weeks ago a small group of amateur bandits
undertook to hold up a bank in a little suburb of
Los Angeles. They were appropriately armed and
wore the determined countenances of men on serious
business.

But the cashier and his assistant didn't believe it. The
former took a swing at the leading bandit; his assistant took
care of the ne.xt one and in the melee that followed all of the
would-be robbers were captured.

You see, the bankers thought it was a movie scene and were
aggrieved that permission was not first invoked to use the

bank for the filming thereof, as is the prevailing custom.

And it is not even a decade ago that the Los Angeles police
were getting daily calls — hurried robbery, murder, abduction
alarms — only to discover upon investigation that the partici-
pants in the pseudo-violence were moving picture actors. Hav-
ing sent the first motion picture company to California, not
quite a dozen years ago, I may modestly lay claim to initial
honors — if the police will permit that word — along those lines.

It is not quite twelve years since that pioneer company left
Chicago looking for sunlight and finally got to Los Angeles by
way of New Orleans. Today the making of motion pictures

All old pictures by courtesy of James McGee.

The first studio in California, at 8tli and Olive Streets, Los Angeles, in what is now the lieart of Film Row. Francis
Boggs, at the left with hat on, is directing his Selig players in their first "Made in California" product, in March, 1908.

Photoplay Magazine

Francis Boggs, who ■%vas the first stage director, in

Mr. Seligs memory, to undertake seriously the

making ol film plays.

is perhaps the greatest industry not only of Los
Angeles but of the entire coast, for it pays in
salaries alone approximately $30,000,000 a year.

I have no desire to pose as the cinema discoverer
of what the writers now call Califilmia for it was
the late Francis Boggs, my chief director, who first
learned that the sunshine of California was the ideal
light for moving pictures. This was long before
artificial lighting came into use.

But as this is to be something of the nature of
historical narrative, it is best to go back to be-
ginnings and take the various steps in the advance
of the business in chronological order. I am taking
it for granted that the reader will permit me to talk
a little about myself without being charged wiih
immodesty.

Unless I am mistaken I am the oldest person —
in point of service — in what we love to call "the
game" for I have been in it for 23 years. Long be-
fore some of our present stars were born and when
most of the present big figures of the industry were
still children, I was making "movies" in Chicago with
real honest-to-goodness actors.

There have been many claims put forth by vari-
ous persons as to the first stage players to go "into

Kathlyn Williams, a pioneer still in favor, as

she appeared in "The Fire Chiefs Daughter,"

one of her first for Selig.

pictures." I want to say that I hired actors for movies so long
ago that I have even forgotten their names.

At that time, 1896, we were making twenty-five and fifty foot
scenes to be shown in vaudeville theaters and elsewhere, and I
used to go over to the Hopkins Theater on South State street and
get actors out of the stock company to play in the scenes. At
that time there were three companies in business in this coun-
try, Edison, Biograph and Selig. It was ten years or mqre be-
fore D. W. Grifiith applied for a humble job at the door of
Biograph. Lumiere, in Paris, was our foreign competitor, a big
shipper of film to the United States. The movies then consisted
of nothing longer than fifty foot strips — one scene, usually of a
fire department in active eruption or something else depicting
some every day occurrence in which action dominated.

There has been much talk of the person to whom invention of

An "all-star cast" in a Selig film of

Besserer,"Daddy" Richards (deceased),

Bosworth, Herbert Rawlinson

the close-up should be credited, as well as
to the first persons with any sort of stage
reputation to pose for the pictures. I think
I can dispose of both these claims by citing
the fact that the first close-up was made by
Edison — two persons kissing — the kissers be-
ing May Irwin, and I think, John Rice.
There were no censors then to trim the kiss,
but at the same time, it was before the age
of the soul-kiss, so no one thought of measur-
ing it. However the entire action, I think,
took about fifty feet._

Shortly afterwards l made a comedy that
proved a sensation. It was the scene of a
tramp stealing a pie from a window ledge.
A bulldog spied him and gave chase,
grabbing him by the seat of his trousers as
he was about to climb the fence. The climax
came when the fence broke under the weight
of the tramp, which was not at all in the

Photoplay Magazine

scenario, but that gave it a concluding punch. That picture was
more than a sensation, it was a riot. And I can't even remem-
ber the name of the star. I only recall that I got him from
the vaudeville stage. This was in 1897, 22 years ago. That same
year, on March 17, motion pictures were taken of the Corbett-
Fitzsimmons argument at Carson City, Nev. It was done on a
special size film, of much greater width than used now but as it
required a specially made projection machine, comparatively few
persons ever saw it.

Of course there was a great deal of scene taking during the
Spanish-American War and some very good films were made at
the Pan-American Exposition in 1901.

Then followed a long period of litigation and filming was con-
fined largely to scenics, parades, etc., the forerunner of the present
news weekly. I can remember filming the Grand Army Parade on

1910 vintage. Left to right: Eugene
Thomas Santschi, Art Acord, Hobart
and Iva Sheppard.

State street, Chicago, and showing the film on
the screen at the Hopkins while the parade was
still in progress, an unprecedented feat and one
that even today would be commented upon.

During the next few years while the courts
were occupied with patent litigation I confined
my efforts to making scenics along different rail-
road lines which were used for advertising pur-
poses. This was one of the early uses of the
motion picture for commercial purposes.

The next era of the film industry begins with
the production by Edison of "The Great Train
Robbery." It was the first single reel picture
containing a story in continuity, though it was
really only 800 feet long. However it was a big
step from' the short length single scenes and
marked an important milestone in the forward
march of the new art form. Soon afterwards I
made a picture of similar length, "The Lynching
at Cripple Creek" and this went out, like "The

Hobart Bos-worth's first picture, "The Roman."

This was made in 1908. The girl is Betty Harte.

This picture was filmed on the famous Gillespie

estate at Santa Barbara, since widely filmed.

Train Robbery," for a long "run" under what we
used to call the "black tops." the dark-hued tents
which were familiar to all devotees of the county
fair. Chris Lane, of a vaudeville sketch team,
played the leading part in the lynching affair.

Later I engaged as a director Gilbert M. Anderson
who later became famous as "Broncho Billy." He
had played a part in "The Great Train Robbery"
and he applied for a position as a director. His first
picture was "The Tomboys." This was followed by
"The Female Highwayman." "Who's Who." "Dolly's
Papa" and "Lights of a Great City." This was in
IQ06. Later Anderson joined forces with George
Spoor, organizing Essanay.

I almost forgot to chronicle the production of
"Humpty Dumpty" a 675 foot classic in 1904. This
came before "The Lynching at Cripple Creek,"
which was followed by another "Western" — "The
Holdup of the Leadville Stage" done in 850 stirring
feet of film. Other productions of that time were
"The Serenade," 500 feet long, and "The Gay De-
ceivers."

Francis Boggs, so far as I know, was the first
stage director to undertake seriously the making of
motion picture plays. He had been an actor and

Bob Leonard's first picture job, with Betty Harte,

in "The Politician." How do you like the style,

girls?

Photoplay Magazine

The first real studio in Los Angeles — the completed Edendale studio of Sel'c*,
where Boggs ■was murdered. It is now occupied by Clara Kimball Young.

director of stock productions for many years when he came
to me early in 1907. I have always regarded him as the real
pioneer in photodramatic production, as well as the real dis-
coverer of California as the paradise of the photoplay maker.
Had he lived he would have become a figure of international
importance as he was far ahead of his time. He was assassin-
ated by an insane Japanese gardener in my Los Angeles studio,
on October 11, 1912.

When the inclement weather of Chicago drove Boggs south-
ward, he was succeeded by Otis Turner, who died about a year
ago, after a long and successful career. In later years Turner
was generally regarded as the dean of the directoral profession.

Boggs started for New Orleans in April igo8. He had
orders to turn out a one reel drama each week. His first com-
pany consisted of Tom Santschi as leading man; Jean Ward
as leading lady; James McGee, now manager of my Los
Angeles studio who has been with me continuously ever since;
Harry Todd, another actor still in the game; James Crosby,
cameraman; the latter's wife and Silence Towers, who played
characters and mothers.

Meantime we were making "Damon and Pythias" in Chicago.
That nearly broke me because it was so long that the exhibitors
refused to run it. It measured just 2400 feet and the theater

men of that day wouldn't take anything that ran longer than
a reel. "The Holy City" released the same year ran even a
little longer.

Boggs made "In the Bad Lands" as his first offering en
tour and next came "Faust" with Tom Santschi as "Faust,"
Jim McGee as "Valentine," Harry Todd as "Mephisto" and
Miss Ward as "Marguerite." This was filmed in a little
Louisiana town.

Wet weather overtook the cinema troupers in the south and
Boggs, having started "Monte Cristo" was compelled to go
on to California to finish it. It was cut to one reel because
it couldn't be sold, but later I had it redone in three reels.

The first studio in California was built — or rather impro-
vised— by Boggs at the corner of Eighth and Olive streets,
Los Angeles, within hailing distance of the present "Film
Row," the seat of film distribution for that section of the
country. The studio didn't amount to much as studios go
nowadays but it was the beginning of California's greatest in-
dustry. The photographs of that pioneer institution, for which
I am indebted to Mr. McGee, tell better than words just
what sort of a place it was.

Meantime we were still making pictures in Chicago. WaUie
(Continued on page 130)

At the left — when Fatty Arbuckle made (and fully earned) "five a day." The comedy was called "The Sanitarium" and was
made under the Selig banner, in 1909. The man b.ehind Fatty is George Hernandez. At the right — an old unidentified Selig,

featuring Stello Rogetto. James McGee is seated at the right.

"Call
for
Alice
Joyce!

By ADA
PATTERSON

Alice, the fair Boni-
face of the Joyce
hostelry. figuring
that forty percent.
Below, at the door
of her hotel.

j^^^^fe^SSh

^^fcldi.

EVERY morning when the sun has
skirted the treetops of Central Park
and shines generously upon the roofs
of the houses and hotels in the nearest
of the Seventy-second Street blocks, a fiock
of pigeons flies to the same roof and preens
and waits. The pigeons visit only this hotel.
I know because I live in one of the neighbor-
ing hotels and witness the daily visit. They
light and preen upon the roof of the Hotel
Joyce for a sufficient and excellent reason.
Alice Joyce, the owner of the hotel, has or-
dered that they be fed.

■ "Try crumbs and peanuts and wheat dif-
ferent mornings. Whichever they like best,
feed them. Give them all they want of it
every morning."

She is generous to persons as to pigeons.
"Why haven't you put up awnings?" she asked
the manager of the Hotel Joyce.

"Owing to the high cost of cotton their price
is prohibitive. None of the hotels have awn-
ings at all their windows. They furnish them
only to the guests who pay for them. Be-
sides, the summer isn't a hot one. Some pre-
fer not to have the light shut out."

Her manager is plausible and persuasive.
But his argument failed. "Put up screens at
every window, please," said Miss Joyce.

The awnings appeared before every window
of the Hotel Joyce and remained there until
as summer receded there was no doubt that
the full quota of sunshine would be welcome.
She employed a housekeeper from a neighbor-
ing hotel. A poor housekeeper who tried to
supplement her few deeds with many words.
. She had received ten dollars a week at the
neighboring hotel. It was more than she was
worth. But Alice Joyce placed her name on

"««f^^wsB*.^

the payroll opposite fifteen dollars a week.

"While the cost of living is so high
that is the least I will pay a housekeeper,"
she insisted.

Since early last summer AHce Joyce has
been an hotel keeper. Why? For two
far different reasons. She is interested
in the art of home-making, and knowing
the homelessness of even the prosperous
New Yorker, desired to change that con-
dition. Another and cogent reason is
that, being a good business woman, and
she is such, she is not deaf to the sound
of "forty percent a year."

Miss Joyce had been negotiating for a
theatre of her own. Should she buy one
of the many offered? Or would she build
one? The problem engaged her mind
between pictures. A friend of the family
hearing her brother, Frank Joyce, men-
tion the projected Alice Joyce theatre,
said: "Why a theatre? Why not an hotel?
A well kept hotel can be made to yield
forty percent a year."

Miss Joyce bought the new twelve-
story brick hotel at 31 West Seventy-
first Street. One hundred and fifty-three
rooms snuggle cosily beneath its roof.
Each is differently decorated, and fur-
nished otherwise than its neighbors.
"The sameness of hotel rooms detracts
from their homelikeness," the fair Boni-
face says. "I want my hotel to be like a
home." A Japanese conducts the restau-
rant, which is never closed.

Tlie first article
in Pauline Fred-
erick s creed is "I
believe ev ery
woman should be
a good house-

keeper. "

What

They

Wanted

To Be

Not every comedian

believes himself an incipient

Hamlet; a lot ofthem have still

wilder ambitions.

By
ADA PATTERSON

'•Drawings by
Florence 3VlcAnelly

EVERY star of the screen cherishes a belief that he or
she would have been as successful in another art or pro-
fession. Each believes that millions would have reached
his or her coffers by another channel as readily as by
the cinema. Their faith is that of the scientist who declares
that, given a certain amount of ability, it may be harnessed to
one of several forms of activity with equal success. One of
the greatest of New York editors, espousing the doctrine, has
persuaded himself that he would have been as great a doctor
or lawyer as an editor.

The modesty with which BiUie Burke keeps in the back-
ground her belief in her own potentiahties as a painter is only
measured by the positiveness of that belief. Miss Burke gets
out her easels and paints and
brushes and paints alleged like-
nesses of her defenseless three-
year-old daughter, Florence Patricia
Ziegfeld. The guessing games that
result from an exhibitioi of the
finished sketches might destroy a
conviction less thoroughly rooted
that she might have been a painter.
"What is that? Frutti?" asks her
husband. Returning from a day
of rehearsals of the FoUies, Mr.
Ziegfeld innocently thinks his
lovely wife has amused herself by
painting her white poodle "Frutti"
by name. Mrs. Burke, her mother,
icnowing naught of her grand-
daughter's sittings in the Japanese
gardens of Burkeley Crest, asks if
the product of diligent hours is a
chrysanthemum. But Miss Burke
shakes her Titian poll and thrusts
forth her piquant chin. A painter
she would have been had not the
screen intervened. There is no
doubt of it, at least in her mind.

As sure is Mabel Taliaferro that
she would have been a sculptor
but for the intervention of the

blue hght and the camera. Alice Joyce thinks she has furnished
proof that she might have been as successful an architect as
an actress in the silent drama.

Marjorie Rambeau, and Marjorie Rambeau's mother, share
the opinion that the beauteous Miss Rambeau would have been
a successful physician. If that be a delusion I share it with
them. Marjorie is of highest power magnetism that flows from
a reservoir of unlimited health and abundant strength. So
vibrant, so vital is she that she might have built a fortune as
a faith healer. Her mother studied medicine. The daughter
had elected to adopt the same profession. But needs pressed
and the stage was the road to ready money. She took it.

The first article in Pauline Frederick's creed is "I believe

discovered
that designing and manufacturing
dolls is a way to fortune.

■fr'/frfn;. ^1

every woman should be a good house-
keeper." She can perform every
branch of the household art. She is
a Boston girl with a full quota of
Yankee faculty. Often she irons her
chiffon blouses because no one else
irons them to suit her. She thinks
domestic science should be thoroughly
taught. If there were visiting teach-
ers of domestic science she believes
every household would be happier.
She would have been glad to serve
in such capacity had not the screen
claimed her.

Robert Edeson is a physical culture
specialist. Wherever he sets up his
home there is also a gymnasium.
With but slightest encouragement he
organizes groups of his fellow ac-
tors in the art of keeping yourself
fit. He would have been a doctor
but that the time and expense of tak-
ing a medical course and the years
required for the establishment of a
practice reared mountain-high ob-
stacles to "Bob" Edeson in his teens.
Instead he suppHed himself with
nearly infinite vigor by a health course
on a western ranch and in the north-
ern woods. An hour a day in his
gymnasium at the Hotel des Artistes
is his minimum. Those are reasons

why he says "Motion picture work

is being paid for what I like to do.

I like to ride and swim and dig and

wrestle. The movies give me a chance to do these and pay me

for it."

Hamilton Revell paints a little and makes many artistic
photographs. Mrs. Fiske thinks them artistic else she would
not have permitted him to photograph her. His studies of
her adorned the menu cards at the dinner given to her last
winter by the Society of Arts and Letters.

Marguerite Clark has discovered that designing and manu-

Billie Burke gets out
Her easels and paints
alleged likenesses oi
her defenceless th
year-old daughte

Evidently Mrs. Fiske thinks
Hamilton R.evelle an artistic
photographer or she would not
permit him to photograph hi

facturing dolls is a way to fortune. The demand for dolls
is as great as that for motion picture entertainment. If she
hadn't adopted "the pictures" she would have invented and
manufactured a huge variety of dolls.

Kitty Gordon, who came from the neat, tight little island
of England, has a liking for landscape gardening. Also a be-
lief that that way success would have lain for her. At her
home at Manhattan Beach, the Moorish villa with the yellow

roof, she gives evidence of what
she might have achieved had she
turned her back upon pictures and
her face to English and American
gardens.

Bessie Love thinks her forte is
animal training. She watches with
manifest envy the woman who
cracks the thongs above a snarling
leopard's head. But she would
have tamed the leopard by means
of love and patience, she insists.
She doesn't believe what she hears
about the untameliness of the
leopard. She wouldn't fear to
undertake the education of a zebra.
Meanwhile she practices on the
lawn of her Hollywood home re-
ducing a mongrel dog and two
feeble minded poodles to a state
of complete subjection.

Nance O'Neill says folk travel
without the necessary degree of
forethought and display of
intelligence. She would have liked
to arrange and conduct world tours.
Howard Estabrook studied Spanish
that his dream of owning a cattle
ranch on the Argentinian pamapas
might come true. He would a
South American ranchman be.
Kathleen McDonnell started her
livelihood earning as a pianiste.
She believes she would be a great
composer, if the film studios did
not absorb all her waking hours.

How To Write Movies

READERS of Photoplay are familiar with the work
of Anita Loos and John Emerson, the best known
collaborators in scenario writing in the realm of
" motion pictures. They wrote and directed the famous
Douglas Fairbanks photoplays of last year — "Wild and
Woolly," "Reaching for the Moon," "Down to Earth," etc.
They have written many other photoplays for such stars as
Elsie Ferguson and Mae Marsh, and they are now authors
of all the Constance Talmadge screen dramas of this year.
Miss Loos (Mrs. Emerson) has produced a steady stream of
successful photoplays from the age of sixteen.

This series was posed by Mr. Emerson and his demitasse
wife in order to show amateur scenario writers exactly what
is expected of a movie writer under the present system.
These pictures tell aspiring movie authors how to get the
idea of how to assemble the completed film — a duty which
producers expect from those from whom they buy their
stories. Of course there are a few requisites for success in
this work which cannot be given you in two pages — -such as
ability to write well, originality of ideas, knowledge of plot
construction, and other trifles.

1- WHERE THE IDEAS COME FROM

"The greatest mine for movie stories is your daily news-
paper. After reading hundreds of hackneyed ideas sent in
from amateur scenarioists, we usually find the idea we're after
in a headline. You don't think a coal strike makes a good
story? We prophesy that more than twenty photoplays dur-
ing the coming season will be based on that coal strike —
just as every good news story forms inspiration for scores of
scenarios. Do not work and fret over some flimsy, antique
situation. Read the papers and you'll never lack a plot."

2 — READING THE SCENARIOS

"Since the demand for movie stories this year is many
times greater than the supply and since $5,000 is now the
minimum price for a good plot, nearly 70,000 people through-
out the country have started to write movies. Send your
story to the scenario editor, for no matter how many tons
of scripts he gets a week, he'll gladly read it in the hope of
finding a good story — just as we do. The pile on the table,
representing the stories received in a few days, will give you
some idea of the competition in scenario work."

i«

3 -WRITING THE SCENARIO

"After you've got the plot, sit down and write it out in
scenario form, numbering the scenes 1, 2, 3, etc. You'll find
it simpler if you collaborate with someone else, for it's mighty
easy to get mixed up if you haven't somebody to check you
up and keep you from changing your hero's name or your
heroine's character. We find it easiest to dictate our scen-
arios— saves time and facilitates concentration on the work.
Composing a script with your own fingers often presents a
conglomeration of figures and fancies that bewilder the most
adamant of genius. It can be done — but slowly, and when
you're under contract to turn out a new photoplay every
two months you'll hire a stenographer, too."

4 -PLANNING THE STORY WITH THE STAR
"Here you see us working out details of the scenario with
our star, Constance Talmadge — something you will have to
do when you sell your movie. Make your story fit the star
and keep her — or him — on the screen in at least 50 per cent
of the scenes, or you'll never sell the script. And when they
call you in to town to confer with the star, prepare for
shocks, for these notables usually have pretty definite ideas
of their own — as in our tableau above where Miss Loos
looks her dismay as Miss Talmadge and Mr. Emerson cheer-
fully set about dissecting a pet scene upon which the author-
ess had spent many ambitious hours. It's hard — but neces-
sary— to let them revamp."

5 — CASTING THE PHOTOPLAY

"Authors are usually called upon to cast their own stories
nowadays. This means interviewing scores of aspirants,
looking over their photographs, and tactfully explaining why
they won't do; sometimes it means searching the highways
and by-ways for a rare type. Beware of writing into your
scenario some such character as a red-headed girl with a
dimple on her left cheek and a Roman nose, for you may
have to find her for your producer. On one occasion we
spent a fortnight looking for two five-year-old darkies who
would match up as twins."

6 — SUBBING AS DIRECTOR
"Many photoplay writers direct important scenes in their
screen dramas, for producers are gradually realizing that,
by letting one brain supervise the story, a finer bit of artis-
try can be produced. Many directors, on the other hand,
are learning to write scenarios, just as Mr. Emerson— who
is directing the shimmy dancing in the cabaret scene of
Constance Talmadge's latest picture, 'The Virtuous Vamp,'
— has made a study of directing. If you aspire to make a
profession of scenario writing, you had better plan to learn
every phase of photoplay production."

7 -WORKING WITH THE STUDIO STAFF
"Did you know that as a movie author, you will be ex-
pected to come to the studio and help produce the photo-
play? It's all too true. In the above picture you see us
explaining a big scene to Miss Talmadge, the director and
cameramen. Movie writing is an all-around job, so don't try
it unless you are willing to help supervise the production of
yo\ir story. To most really successful screen authors that's
all a delicious idealist's dream about lolling eternally out on
the veranda, sipping iced drinks while your privately-owned
accountant totals up the daily arrival of scenario checks."

8— DOPING OUT THE SUBTITLES
"Writing good subtitles and planning illustrated subtitle
cards to be held before the camera is one of the hardest,
yet pleasantest, sides of photoplay writing. It is a scenar-
ioist s one chance to 'spread himself in clever, forceful ver-
biage. Use lots of subtitles — it's one of the secrets of good
screen dramatization — but make them terse. The faster the
action, the shorter the subtitle. Never forget that for every
word you add to your subtitle card, another second or so
must be added to the time it is held on the screen in order
that the slowest-reading spectator may fully grasp it."

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9 — CUTTING THE PICTURE

"Here's the hardest job of all. After your photoplay has
been completely filmed, and the actors and directors and
photographers have gone off for a few days' rest, you'll
have to sit up nights cutting the picture. They give you
a hand projector wherein your photoplay appears in a micro-
scopic animated picture (if you grind hard enough), and
tell you to pick out the best scenes and assemble them.
Since a picture consists of only 5,000 feet, and since they
have probably taken 60,000 feet in the making of it, none
of which is in any kind of sequence, you'll probably wish
you'd stuck to your old trade. For you must not let even
one badly acted or photographed scene slip in."

10 -THE FIRST SHOWING

"There are no first nights or author's curtain-speeches for
photoplaywrights, but, withal, there is no thrill which quite
equals that of watching your own story when it appears
complete for the first time on the screen of the tiny studio
projection room. The cast and technical staff will be there
to view it with you. Above you will see this sort of an
audience watching the final showing of the picture, 'The
Virtuous Vamp,' which you have followed from start to
finish in this series; the names from left to right are Irene
Conahan, the cutter, "Anita Loos, Tallulah Bankhead, of the
cast, Constance Talmadge, the star, Oliver Marsh, the
cameraman, Conway Tearle, and Mr. Emerson."

Up In Jimmie's Room

IT is evident that actors and directors must he agile as acrobats. The tough part of it is that when you gaze at
the finished picture in your theatre you 11 not suspect that ONven Moore dougfairbanksed up the mock-staircase
to gain the balcony, there to meditate for "Picadilly Jim. Wesley Ruggles, also of porchclimbing proclivities, is
directing him -while the third rising young man is the cameraman. After all, film-acting is largely a matter of poise.

Wkat Do Since the production of

Th W t > motion pictures is even more
y ' a manufacturing business than

the preparation and presentation of stage plays,
those who hold the purse strings are continually
saying," We give them what they want." "They,"
in this instance, being the ultimate consumers,
the public.

There are a good many false ideas abroad
as to what the public really wants. Most of
these false ideas, let us hasten to add, are. held
by the public itself. That is to say, it knows
exactly what it wants, but it is utterly incapable
of telling what it wants. If you ask, you get a
wrong answer, because the public doesn't know
what to say, and the producer is, more often
than not, wrong in his inference.

There is a suspicion abroad that the primary
requisite is a love story, for the main theme. A
love story that must come to a happy ending.

Hardly less positive is the notion that the
American people, who set the photoplay taste
of the world, demand lively and incessant
action. The paramount interest must be con-
tinually dramatic and continually in conflict or
motion.

Sugar and speed — these are primary ingre-
dients you would put in if you, or almost any-
one else, were to write the prescription.

As a matter of fact the theme of the great
screen successes has been neither of these
things, but the same thing that is the theme of
stage or novel triumphs : human characteriza-
tion.

Come as close or go as far back as you like,
and you will find that this statement will stand
any test of statistics or reminiscence. Love is,
indeed, the dominant emotion of the human
race, and action is the very breath of life to
drama; but the quality that makes a play either
the whilom diversion of the moment or a living
document that enthralls the nation is a lack of
human characterization, or human characteriza-
tion in truth and abundance.

Pick out your successes where you will and
you will see that this is absolutely true.

What made these pictures ? Plot ? Love
interest? Action? These contributed, but the
spark, the fire, the breath of life, was humanity.

Show us a director, a scenarioist or an actor
who is persistently human, and we will show
you human materials who are as bound to
advance themselves and their profession as one
and one are bound to make two.

Movie A director who is known as a mar-
-»«• 1 tinet rather than as a Puritan was
JViOraiS. talking a company up into the San
Bernardino highlands for a week's location
work in the mountains. He had a rather gay

crowd, and the gayety started in an innocent
rough-house and good time on the outbound
train.

He addressed his company: "Ladies and
gentlemen, we are not going on a picnic. This
is a trip for business purposes. I want no
swearing, no sky-larking, no card-playing, and
as little cigarette smoking as possible."

A dead and terrible silence.

Then a timid male voice rose: "Pardon me,
sir— would there be any objection to the boys
occupying their evenings with a little plain

sewmg.*^

The Loneliest It's Harrison, N. J., where

Town on Earth the Common Council has

passed an ordmance mak-
ing the cost of a moving-picture license $10,000.

Mayor Riordan introduced the ordinance,
and stated, frankly, that the purpose of the
exorbitant fee is to prevent that pernicious
little influence, the movie, gaining a foothold
in his hitherto highly respectable town. He
didn't exactly call the movie a pernicious in-
fluence, but he indicated as much in other words.

We wonder what the people in Harrison do
with their evenings. The town of Kearney and
the city of Newark are not far away, and both
are places in which the aforesaid pernicious in-
fluence is hopelessly and popularly established-
The commutation service between these places
and Harrison is said to have had a very large
recent increase. Whittling at the corner gro-
cery has come back into vogue, and may become
a fine art. Backbiting one's neighbors, in num-
erous parlor scandal-fests, can also be resorted
to as an uplifting and edifying evening influ-
ence. Pool rooms and back-room gambling are
of course much better for young boys than an
hour in the photoplay theatre. For other en-
tertainments for the young — if the things men-
tioned are not sufficient — we might ask Mayor
Riordan to consult "Spoon River Anthology."

Six Prima-DonDa After the Big Four

Directors. ^°"f ^ '^^ ^'^ .^^^^ r

I he combmation or

Griffith, Pickford, Chaplin and Fairbanks has

been succeeded by a sextette composed of

Messrs. Neilan, Ince, Sennett, Tucker, Dwan

and Tourneur.

Both these alliances owe their origin to a
belief that too much picture profit has been
going to the business end of the industry.

Now there is no combination or organization,
in business, in the army, or in politics without
a head. To be explicit, one head. One exec-
utive mind, one man who is at least chairman
of the board.

Photoplay Magazine

In the Big Four we may concede, for argu-
ment's sake, that this position might go to
Mr. Griffith. It hasn't, and probably will not,
but we are making an argumentative concession.
Mr. Griffith is the acknowledged dean of the
directing profession, and his name commands
world-wide respect. It stands for something. It
is synonymous with photoplay authority.

But who can be the dominant mind of the
Big Six without walking all over some other
Dominant Mind ? Mr. Ince can't take orders
from Neilan. Mr. Dwan's policy can't be
fabricated by Mr. Tourneur. Mr. Tucker can't
tell Mr. Sennett where to get off.

Probably no "orders" or laying down of
"policies" was ever contemplated in this distin-
guished association, but let us repeat that no
organization succeeds on the Soviet principle.
Some one man heads the thing, or some other
man heads it, or presently there isn't anything
to head. We used the term "Prima-donna
directors " in no disrespect. Each of these
gentlemen is a brilliant and worthy creator who
has often received our applause, and we hope
will receive it for a long time to come. But
the fact remains that each is a greater star, now,
than any star he ever directed. And you know
there is only one answer to a star-cluster, and
that's an explosion. We have come to a day
in which there is more rivalry among directors
than among leading ladies. Our one hope is
that the new combine will produce pictures,
and not internal bickering.

Organization In these days of great and cer-
p- . tainly deserved credits to indi-

viduals it is well to remember
that splendid picture organizations, which have
been slowly, carefully built up during the past
half dozen years, and always at the cost of
tremendous labor and infinite experiment and
mistake, are the invisible forces behind some
of our great contemporary successes. The pub-
lic sees the actor and actress; the critic visualizes
the director and the author and sometimes the
scenario writer, but how often does credit go
to managerial foresight, studio organization, and
to the financial forces necessary for the making
of a slowly-built masterpiece ?

In all these things there is a mean, which is
just, between two extremes, both of which are
unjust. The theatrical manager and the
photoplay manager can no longer play the
Czar, as the former did, and for so long a time,
to the exclusion of many another and purely
artistic dramatic interest. At the same time,
while at the moment we have come to acknow-
ledge our debt to the actor, the director, and
even to the long-neglected author, it takes
money and it takes organization to put anything
over, land both these are the property and the
province of the oft-neglected producing
manufacturer.

As a case directly in point let us consider
"The Miracle Man." This publication was first
in the field with its unqualified fortissimo

endorsement of George Loane Tucker's genius.
Photoplay Magazine's criticism was in type not
only before the picture was shown to the public,
but before another review had been printed!
We cannot, therefore, be accused of stealing
any leaves from our self-woven wreath of laurel
for Mr. Tucker when we say that his success
was of two parts: his own inspirations, and the
sustaining faith and the sustaining sustenance,
through many long months, of Adolph Zukor.

A Constructive After viewing "The Con-
(-^^ ■ fession," a film produced

^^^"^' by the Catholic Art

Society, Cardinal O'Connell wrote or caused to
be written in "The Pilot" — official organ of the
archdiocese of Boston, of which he is editor — ■
an extremely sane editorial on clean pictures.

In the course of which he said: "The best
way to remove objectionable films from our
picture houses is to substitute good ones;
pictures like 'The Confession,' a story of real
human interest, beautifully depicted and convey-
ing a noble lesson."

With Cardinal O'Connell's endorsement
of "The Confession" we are not concerned.
We haven't seen the picture, consequently we
do not know whether we should extend it the
same meed of praise. What we wish to call
attention to is the common-sense dictum of a
religious dignitary of wide influence. When
the rest of the ministers and public workers and
guardians of public morals realize that the only
way the screen can be kept clean and uplifting
is by good pictures, and more good pictures,
and always good pictures, the battle for com-
plete screen sanitation will be won. It is
practically won now, thanks to the common
sense of the American people, such organiza-
tions as The Better Photoplay League of Amer-
ica, and a very real desire among the producers
to make only good things. Legislation and
professional censorships are only delaying the
final issue.

No Boiled One of the best directors in Los
oi • . I Angeles, or anywhere, for that

matter, originally came from
Utah, and in that empire of Latter Day Saints
and plenteous agriculture his father is still a
farmer. The old man, a fine and rare example
of the genus Pioneer, made one of his few exits
from the shadow of the Wahsatch range,
recently, to see his gifted son at work.

He was very proud. But one thing was dis-
turbing him. He glanced continually from the
fashion plate actors and the extra men, all in cor-
rect evening attire, to his son — the genius and
master of it all, in corduroy trousers and an old
flannel shirt. It was an alarming discrepancy.
Presently he walked into the thick of it, and
whispered in his boy's ear.

"Say, Frank," he murmured, reprovingly,
"why don't you fix up a little, like these other
fellows? Where's your boiled shirt?"

Madame Alia Nazimova Bryant in a whispered conference ^A^ith husband Charles over a point in the scenario
— or is she laughing at director Herbert Blache because he has placed his shoe on her nice, clean frock?

The Real Na2,imova

Either she is always acting or she never
acts. She doesn't know which herself.

By EDWIN FREDERICKS

0 you know the real Nazimova?

As well ask "Do you know the real Sphinx?"
Over the carved stone head in the Egyptian desert
is the legend "Know Thyself." Madame Nazimova
admits that she doesn't know her real self, that she is wholly
unable to answer the question "Who is the real Nazimova?"

A strange assortment of contrarieties. One questions the
boundary line between actress and woman.

Like a kaleidoscope are the Nazimova moods and manners.
With a thousand changes she makes each one convincing and
reasonable. I have seen her at a dinner party flashing her
eyes and sparkling with mischief — "The Brat" incarnate in
her enjoyment of the fun. An hour later bending over the
piano she has responded to Leopold Godowsky's art with all
the rapt exaltation she wore in "Revelation."

Is she always acting or is she always herself?

"I don't act," she cries, "I only try with each characteriza-
tion to be exactly that sort of a person, with no touch of any
other role visible."

As for her stage career the artist declares it was just a bit
of luck. "I don't know why I chose the stage," she says, "of
course probably because like most girls of sixteen I was
stage struck, and good fortune helped me out." Her genius

is wide and like other women high in her profession it is said
she could have triumphed in many other arts had she not
chosen the drama.

Nazimova vigorously denies any suggestion of affectation — and
dresses in garments that are as nearly outre as modern woman
can wear!

At a big ball recently she appeared in a semi-Chinese garb.
Green and gold flamboyant enough for a princess of the
Orient set forth her unusual type and made her a shining
magnet for all eyes in a room which was filled with the latest
and most expensive creations of world famous modistes. With
her emerald stockings and little green shoes she danced and
romped with the abandon of a soubrette. her short curls flying
and animation radiating from her entire personality like light
from some vivid incandescent body.

My first glimpse of the great actress at home was some-
thing of a facer. On the stage she is a slender lithe figure of
incalculable grace. In the heavy wools and silks of her own
domain she loses height and her broad shoulders, and wide
rather flat figure gives an impression of sturdiness entirely be-
lying the sinuous beauty so apparent before footlights and
camera. "Stubby" the casual observer might say before he
realized the panther-like silkiness of her movements, the

Photoplay Magazine

subtle intrigue of her tread that adds to her stature.

Her fellow players adore her. Good nature enfolds her when
she is at work. She is a hail fellow to brother artists and
cordiality itself to those whom she meets even for a moment.

"Come and see me anytime"' urges the actress — and the
visitor relying upon that graciousness arrives at the studio only
to be met with disappointment at the door.

"Madame never permits visitors on the stage when she
works" is the firm message of the studio executives. Im-
pelled by unusual determination one may force a way through
to the stage there to see only high walls blank save for the
repeated admonition "No one permitted on this set except
members of Nazimova's company."

"Why, I never gave such an order," declares the star later
when her friends jestingly allude to her isolation, "that must
be some idea of the management."

Verily old Mother Goose' httle "Mary Mary Quite Contrary"
had nothing whatever on her. Here's another oblique light on
the whimsicalities which make her life just "one thing after
another." She recently declared herself "at rest." She would
go into seclusion, see no one, hear no one, speak to no one.
And then she took apartments at the Hollywood Hotel, the
social center of the screen colony.

Have you heard how she learned English? That is a typical
instance of her methods of procedure. When she first came
to New York she spoke her native Russian, French, and other
languages of the continent but no English. Impelled by the
necessities of her art she began the study of our tongue on

Hoover I'hoto

A tigerish head of the Russian lady who also appears in ou
a-way up in the front of the book.

June 2 1 St and on the eighth day of the following September
commenced rehearsals of Ibsen's "Hedda Gabler" in EngUsh,
directing her own company without an interpreter.

"How did I learn? Well, not from books. Grammar was
a sealed language to me and rules a dead letter. My first
teacher incidentally was the mother of young Richard Barthel-
mess, the actor to whom success is coming so rapidly. She
brought her English books and I studied them but we got onj
but poorly. Finally I decided that we would learn by conversa-
tion. And with gossip about the affairs of the world, chat of I
the dramatic situation in America and the kind of tea tablel
talk which women know I learned to speak Enghsh. I also!
learned much about American life which was equally valuablej
to me," added the actress significantly.

Madame Nazimova takes color and mood from her environ-
ment both mental and physical. She wears bright garments I
and carries this desire even to her physical surroundings and]
recently purchased a home in Hollywood that she might havej
the walls and wood-work done to suit this demand.

"The walls were gloomy," she exclaimed, "I couldn't standi
it. I must have bright light, windows wide open, curtainsi
pushed back. Mystery and shadows do not appeal to me. ll
want sunshine and the wind of the mountains and ocean." This!
from the heroine of "The Red Lantern," that mystery shrouded!
creature of the orient, from the woman who has added in-j
scrutabiHty to Ibsen's heroines until Hedda and Dora excel]
even the Mona Lisa in their mystic smiling silences.

With all her activity and suppleness of body Nazimova ab-j

hors physical exertion. "I don'tl
know how I maintain myj
strength," she laughs, "except by]
conserving it. I never golf or J
play tennis and I only dance on!
rare occasions. Swimming is tooj
strenuous for me and horses are]
less than the dust. I was thrown
from a saddle horse once and have
never been able to forgive the]
equine race since. My idea ofj
perfect outdoor exercise is ridingj
comfortably in a motor car with]
some one else at the wheel.

"My garden — oh, I love it.]
But I never work there. I watch
the others arrange the plants, trim
the roses and twine vines in the]
trelhses."

For relaxation Madame Nazim-l
ova says reading and playing the
piano are her favorites. Once a I
violinist of great promise, she has]
abandoned the tyrannical instru-
ment. "My fingers are too stiff]
now to get a good tone," shej
laments. "After all I haven't suchj
a love for the violin. My father!
used to beat me when I was al
child, to make me practice, ij
walked five miles to the villagej
for my lesson and five miles home!
again, and then I practiced for!
hours with the parental chastise-J
ment always awaiting the slight-
est neglect of this routine."

No wonder Russia has pro-
duced great violinists if fathers
take such a vivid responsibility in
the matter of juvenile preparation.
Intimates of Nazimova, and
one may count them almost on
the fingers of one hand, say that
in her moments of ease she loves
to nestle on the floor, luxurious
in downy cushions, and read Ib-
sen. She often reads the lines of
the great playwright aloud, and
even in solitude finds keen enjoy-
ment in this vocal reahzation of
his skill as a master builder of
plays. Incidentally it is the
(Continued on page 128)

r art section —

A Genial Crab

After an absence of two years
House Peters returns to the screen.

By
GENE COPELAND

IHEY say that I'm a hard man to get along with."
Thus casually spoke the man — he of the imposing
mien, sitting opposite me on the steps outside his
dressing room — and proceeded to puff away on a
perfecto as nonchalantly as you please.

"The truth of the matter is," he said smilingly, "that's a
reputation I enjoy among certain of the picture folk — so I
have heard," he added parenthetically. "As a small boy my
family thought so too because I preferred adventure to school
books with the result that they sent me to sea to get the adven-
ture that I wanted and the discipline they wanted me to have.
And since having grown up I still retain the faculty for be-
lieving in what I want. Many directors I have known don't
believe in allowing the actor to exercise his intelligence. I
have clashed with some who were more interested in how their
puttees looked than in either actor or story.

"But please," he said most humbly, "say that the
actor is not always to blame. Some directors want to L
treat you as if you were an inexperienced and aspiring I
blonde ingenue. And when a fellow's done everything
from singing a comic song to an eloquent soliloquy in
'Henry of Navarre,' who has played in everything from
domestic comedy to a character like 'The Squaw Man'
— when he's been through the mill, in other words, and been
able to get by,— well, he wants a chance that's all!" he con-
cluded earnestly at the same time rising and changing the
smoking jacket he was wearing for his frock coat and inci-
dentally discarding the cigar for his pipe.

And there was nothing in the manner of the tall, very tall
man with the Duke of Wellington nose and bold blue eyes
who stood before me that suggested affectedness or crass un-
reasonableness. In fact he seemed to be altogether normal
and sound. I had encountered House Peters during his
luncheon hour in a serious, but affable, mood which was quite
natural, for he, like most Antipodeans, takes his work and
himself seriously.

Though he has an original
and perhaps startling pre-
cept to which he adheres
tenaciously. He believes in
an actor staying away from
theatres. He thinks that
his point of view becomes
too artificial by constantly
seeing himself or others
upon screen and stage; and
believes rather in moving in
social circles outside the
theatrical atmosphere and
studying life and human
emotions and expressions
from everyday people.

So upon arriving in Holly-
wood a few weeks ago after
an absence of two years
from the screen and during which time he has been playing
the lead about the east in a Brady shov; he did not attempt
to find a home in the mecca of the movie people but took a
real Italian villa down by the sea. There is a wonderful swim-
ming pool on the grounds in which he keeps his goldfish as both
he and small son take their early morning dips in the sea.

His wife is not a professional. Chiefly I suppose, because
House says there is not room in one family for two professional
people.

Belo-w — scene from
" Love, Honor and
Obey, the photodrama
that brings him back
to the films. Mary
Alden is the -woman.

He believes an
actor should vary
his medium, that
he learns much in
both branches of
dramatic activity.
And the benefit ap-
plies to the pocket-
book as well as to
the actor's art. For
IMr. Peters' experi-
ence was that his
salary went up
from $150 to $750 upon returning to the
stage after making his first picture
which was "The Bishop's Carriage" with
Mary Pickford. And perchance the
whirlwind rate at which things fly along
the cinematographical horizon has swept
from your memory Mr. Peters' various
endeavors, it may be well to mention
that his most notable film success was
"The Girl of the Golden 'West" for
Lasky a few years ago; also "The Great
Divide." He has also worked — in days
gone by — at Universal which he now-
doubtless relegates with the days of one-
night stands in small eastern towns in such plays as "East
Lynne."

In the present picture in which he is being starred and which
is called "Love, Honor and Obey," Mary Alden is playing the
part of the wife and 'Vincent Serrano and Sam Sothern are
supporting.

With this distinguished cast Mr. Peters will be re-introduced
to the screen but as a star, not as a leading man. And indeed
it is a pleasure to welcome him back.

h -i? ^'ol--

"My Pinto and Me

•)•)

By BILL HART

The Westerner's favorite

pony has come back
to steal another picture.

MORE than two years
ago I retired my
Pinto pony to a life
of ease in the green
pasture and luxurious corral of
my Hollywood ranch. That is,
I reckoned I retired him.

The Pinto had worked with
me for two previous years.
And he had sure worked hard.
He had been ridden over high
banks and rolled over chffs; he
had leaped dangerous obstacles
and swam turbulent rivers; he
had jumped through windows
and he had fallen '"dead" while
in full gallop; he had carried
me sure-footedly through
desert sagebrush and over
rough mountain trails; and he
had "acted" with marvelous in-
telligence when I directed. Had
the Pinto failed in any one of
these feats we both would have
suffered serious injury. We
took our chances together.

After a miraculous escape
from death in one of the
scenes of "The Narrow Trail,"
I vowed that my Pinto should
enjoy a long rest from the hard
and dangerous work necessary
to my productions.

But his motion picture
friends have kept faith with
him all this time. For in-
stance, I never need buy sugar
for my Pinto. Almost every
week he receives a box of cube
sugar from the people who love
him as I do. And it is always
addressed to him — in care of
me. Their demands to see the
horse again have become so
insistent that I have decided
to let him. "steal" another
picture from me. Many of the
people say that if I take
chances why shouldn't the Pin-
to take them with me, — so
we're going to take a few more
together.

He's fat and sassy now, but
he's sure game.

An unexpected incident oc-
curred during the production

of "Sand!" the Pinto's return picture after his Bernhardt fare-
well. In the wildest and most inaccessable parts of the Cali-
fornia mountains we were seeking suitable locations, when
Lambert Hillyer, my director, discovered the ideal scenic
oddity absolutely required for certain scenes. Never pass
up an opportunity is the golden rule in producing motion
pictures. And, accordingly, my Pinto pony attempted a feat
which nearly cost me my favorite horse, — and my sister Mary
her only brother.

The odd scene is a natural bridge, or dome of rock walls,
formed by a river running through a huge cave underneath.
The water is very deep in the cave which is about one hundred
and fifty yards in length. Also, it is as pitch dark as night
inside. The action required that the Pinto and I swim through
the cave. In the darkness the advance guard of explorers
failed to notice a wicked ledge which projects beneath the
water from one side of the cave. This obstacle is in the verv
center of the cavern.

.S8

Beloxv — vie'w of the entrance to the cave \vherein
Bill Hart and the Pinto fought death side by side.

When I started with the
Pinto through the cave I knew
the risk we were taking.

Joe August, at the starting
point, turned the crank of his
camera until both of us had
disappeared into the darkness.
The Pinto and I were getting
through in fine shape, until
we reached what I know now
to be the center of the tunnel.
I was still in the saddle.

Suddenly, while swimming,
the Pinto's feet struck some-
thing under water. It was the
ledge projecting from one side
of the cave about three feet
under water. He naturally
tried to swim over the obstacle,
and — we fell over backwards
into a well of water. Down we
went, — I don't know how far
but I'll bet the pool is s'xty
feet deep. In the struggle
under water I was torn loose
from the saddle. When I came
to the surface I was free of
the Pinto but I managed to
make out his form in the dark-
ness thrashing madly about
through the water in a frantic
attempt to climb the walls of
the cave. As they are shaped
like a dome he fell over back-
wards again.

I finally turned him around
and headed in the right direc-
tion. When at last we saw a
dim shaft of light penetrating
through the damp gloom of the
cave — well, we just streaked it
for the good old outside world.
It is a very odd coincidence
that the pony and I should
narrowly escape death in our
first picture together in more
than two years, because in "The
Narrow Trail," the photoplay
which made the Pinto famous,
a similar accident occurred
which resulted in the retire-
ment of the horse.

"The Narrow Trail" required
that I ride the horse over a
log across a canyon, one hun-
dred feet wide. As the log was
round, the feat proved difficult. It was accomplished success-
fully once, but a "close-up" on the middle of the log was
necessary. The stunt had to be done over again.

The Pinto knew he had performed the feat once; he knew
he could not do better. Consequently, he became nervous and
fell off the log, — and I fell under him. As the horse lay on
the jagged stones of the canyon basin, his front feet were not
more than six inches from my face. I could not move from
where I lay — pinned under the horse's body. If the horse
had kicked or thrashed about, my head would have been
smashed. But the intelligent animal lay quiet. When aid
came I was released safely. Upon examination it was dis-
covered that the horse's side was covered with nasty cuts and
bruises. The faithful Pinto had borne the intense pain un-
flinchingly because he knew that if he moved it meant serious
injury to me. And so he retired. But the usually fickle public
never forgot him— and I'm sure he'll be welcome when he
comes back.

T F you QRii tear your gaze away from Mary Thurman — who was washed off the
■*■ Califomia beaches ahe adorned so beautifully for Mr. Senuett, to perform in
drama— you may notieo Bill Hart and his pinto, who returns to films in "Sand!"

The grandson of the old-fashioned green-baize waves
of the theatre ocean scene is this prop boat in a studio.
Pete is rocking it for Ralph Ince, directing "The Girl
from Out Yonder." The actors are insured against
mal-de-mer. Below — Bill Farnum, who can look virile
even in a dressing-room, in, we might say, his first
smooth-face make-up.

^a^(«ijr^rf^fiftjssjpwr/*w;;-f:i,-..-- .■.

Mary and Mildred dropped in on the Gishcs
when they were makinK a PHOTOPLAY
MAGAZINE SCREEN SUPPLEMENT. That's
Dorothy looking up at Miss Pickford, with
Lillian beside her, and Mildred Harris Chaplin
completes the group. Below, to left: The violin
has always been the musical instnmicnt of
love. But Bert Lytell was inspired by the
strains of an accordion, on the studio set, when
he was Romeo to Alice Lake's Juliet.

Olive Thomas was thrown into the
Hudson so she would look wet for a
scene. It was the last of October —
not just the time she would have
chosen for a swim.

YX^HEN he heard Polly Frederick was leaving for New York, Will Rogers came

' ' to see her off. **I allowed you'd get kind of hungry on that long trip," he

said, holding out a paper bag, "so I had the old woman put up some sandwiches!"

Far East?— Yep!

India's farthest from the

mind of Henry Mortimer — it was a hard

country on troupers.

SOME come to the screen from the bar — the legal bar.
Others come from the tarm ; still others from the civil
engineering profession. I have known actors who, before
they decided to cast their shadows on the horizontal
stage were corking good travehng salesmen. But Henry Morti-
mer takes the palm for long-distance commuting to the silent
drama: he came clear from India!

Most people think of India in terms of moon-lit, heavy-
scented evenings with assiduous servants at one's beck and
call to provide relief from the heat with palm-fans and cool-
ing beverages. India, to him, means a series of the most dis-
tressing one-night stands in the world.

"Do you know the call of the East?" asks Mortimer. "It is,
'Boy, another chota peg.' The chota peg is Scotch whisky and
soda, and it provides a slight relief from the deadly monotony.
India's a great country for anyone who is content to live on

He says he never enjoyed anything so
much as he did playing in "The White
Rook, " with Dorothy Dalton (scene belo^v)

chota peg and quinine in the midst of an omnipresent alj-
pervasive series of peculiar odors.

"It was in one of those well-known moments of mental
aberration that I undertook the journey as a member of a
traveling repertoire company touring India and the Orient.'
Studying, rehearsing, and playing a reperloire of seventeen
plays, none of which we played more than three consecutive
times in one place, first took off the edge oi i:he trip from a
pleasure standpoint. Then there were the disadvantages of
old-fashioned theaters with sloping, unsteady stages, insufficient
and frequently dirty dressing-rooms, and inefficient and dirtier
non-English-speaking natives for stage crews. I realized that
the Far East, so col.orfu! in story-books, meant pure and simple
barn-storming for a poor actor.

"In the Manila Grand Opera House, probably the most ab-
ject and forlorn apology for a theater now extant, we found
the dressing-rooms inhabited by Filipino garment makers who
worked during the day in the front lobby making army uni-
forms for the Turk who was local manager, and slept at night
back-stage with their children and their flocks and herds. We
cleared them out of the lower dressing-room.'^, all indescribably
filthy. But they continued to live above us on the upper tier.

"In Corregidor we played a post-exchange, in Bangalore au
infantry drill hall, and in Musscorie a roller-skating rink. The
principal other drawbacks in India, where we spent by far the
greatest part of the tour, are those of climate and unsatis-
factory food.

Morrimer, when he got back to New York, was pretty glad
to occupy a dressing-room in an up-to-date, efficient, and sani-
tary film studio. He plays with Dorothy Dalton in "The White
Rook," and he says he never enjoyed anything so much in his
life, 'Tcrhaps, however," he added, "a bit as a butler would
have looked good to me!"

He was born in Toronto, and went to school at St. Michael's
College in the same Canadian city. He has played — besides
his trip to the Orient — in America with such celebrities as Mrs.
Fiske, Elsie Ferguson, and John Barrymore.

^4»L^^' .^^

You're

PICTURED on this page are
Mack Sennett's contributions
to screen literature. These deluxe
editions are, we may say, very
handsomely bound; some of them
can swim. It has become a habit
for the Tired Business Gentleman
and his Wife to seek an evening's
entertainment in a Sennett diver-
sion, with the beautiful flora and
fauna of the California beaches ,
providing charming centerpieces (
for the delicious drollery of Ben
Turpin and the quaint horseplay
of Charles Murray. Mack Sennett
chooses only the loveliest girls for .
his comedies — so lovely, in fact, i
that it took us a long time to dis- I
cover that there are other peaches
on the beaches. At your right -

Directly above is Mildred June, the very new and very young Sennett find
— one of California's cutest children. But oh, Mildred! What if a great
big ■w^ave came along and splashed that perfectly wonderful nevi' bathing
suit ? Below, Phyllis Haver, occupying her same old post as the blondest
peach in Macks comic garden.

You all knew Har-
riett Hammond. If
you follow the direc-
tion of her pointing
finger, you come. to
the Sunshine lot —
isn't life a problem ?

the Judge !

HF]RE are the Sunshine girls! You probably won't
be reading this liitle explanation, but wc are
curious to know it the Sennett girls have anything on
their Sunshine sislcrs. The Fox comedies have been
coming along lately, maintaining a level that is, w*;
may say, never over our heads. The worst of it is,
though, that while we may vicariously address our Sen
nett favorites as "Phyllis," or "Harriett," we don't
know the names of these girls. For some reason, Mr.
Sunshine, their picture padrone, desires that they re-
main unidentified. We protest. Come on, now — tell
us who they are !

This baby brunette can swim, and dive — as if
it mattered. Tassels are 'very good this season.

For obvious reasons this ostrich refuses to stick his
head in the sand. We wish we -were an ostrich.

Evans

ONE of N'Yawk's best lit-
tle models.
You've seen him in
Collier's and the Satur-
day Evening Post. You've gazed
at his profile surmounting Spar-
row collars in the street cars.
Park, Haffner & Sparks used to
send their spring models out to
be filled by him for publicity
purposes.

Yes, that's J^ck Mulhall.

He himself was an art student
at Columbia. One day a model
was late and Jack volunteered. Thus was he "dis-
covered," and Edward Penfield, Arthur Kelly,
Charles Dana Gibson, Lyondecker and other
famous illustrators have all vied for his services.

Then Jack inherited some money and betook
himself to France. He enjoyed hfe down in the
corner near Switzerland for about six months, and
then suddenly discovered his fortune was non est.
He passed through London during the funeral of
King Edward, and sailed for the good old U. S. A.
in the capacity of valet to a ship's furnaces.

Arriving penniless in New York, he entered the
fold of the old Biograph. "The House of Discord"
was the name of his first picture. The cast in-
cluded Blanche Sweet, Antonio Moreno, Lionel
Barrymore, Dorothy Gish, and Marshall Neilan.
James Kirkwood was the director.

"And," says Jack, "I was the suspense. The
hero entered and found me kissing his sweetheart
behind the window curtain. Just as he raised his
trusty revolver to ping me, !he darling girl said
'Stop! He is my brother!' Then the suspense was
over — and so was I in that picture."

Biograph sent him to California. Then he ap-
peared on the Lasky lot, and later starred in a
series of dramas for Universal. "Madame Spy"
is probably the best known of his U pictures. His
most successful film, he avers, is "Wild Youth,"

He may have been a young man model but be
refuses to be designated as a model young man.
At rigbt — Mrs. Mulball and Jack, Junior.

Once a Model
Young Man

Perhaps it would be more nearly
correct to call him a young man
model — if one must be correct.

the Paramount in which he is featured with Louise
Huff and Theodore Roberts.

Jack Mulhall is now with Metro Pictures Cor-
poration as leading man, and he has lately sup-
ported Emmy Wehlen in "Fools and Their
Money," and "A Favor for a Friend."

And — girls — it is too bad to tell this, but Jack
is married — to a young woman he met when he
first came to the Biograph studios in California.
Every noon he jumps into his speedster and hies
him from the Metro lot over to the Fox studio,
where Mrs. Mulhall is working. Together they go
to their cozy little bungalow in Hollywood. There
they greet Jack Mulhall., Jr. (three years old last
September) and all sit down to luncheon together.
He was, according to the best statistics, born in
Wappinger Falls, New York — it was just about
twenty-six years ago, maybe twenty-seven. He is
one of six children — and the only actor in the
bunch!

Although he is usually designated as a "juvenile,"
Mulhall refuses to be restricted to such roles.
"There's nothing so impossible," he says, "as an
actor who takes himself seriously. He must, of
course, treat his work with a certain degree of
responsibility, or it's not worth anything at all. But
deliver me from one of these fellows who, just as
soon as his popularity begins to bring in the money
— meaning a car, and a valet, and a secretary to
take care of his fan mail — begins to talk about
'my work' with the air of a conquering general.
To begin with, a sense of humor is necessary if
you want to get anywhere — and
if you lose it, bang! there goes
your best chances for success."
He further refutes the theory
that young men who "model"
must be on a par with the tradi-
tional conception of a matinee
idol. It's all in the day's work.
Jack thinks, and just like truck-
driving or bookkeeping, it re-
quires a mental ballast if you
want to hold your job.

'photography by E'vanSj
Los Angeles

The

Copperhead

A story of the superhuman
courage of silence and of sunshine
at the end.

By
JEROME
SHOREY

"To keep it hid," he repeated. "Yes —
it is wonderful to go out into the open
and fight a man's fight, shoulder to shoul-
der with your comrades, stumbling, fall-
ing, crawling on and always forward. But
I knew a brave man once and he did a
thing that was harder than anything you
boys tackled in France."

A story from Brother Andrew was an
event. He preferred listening to talking.
So I kept my mouth shut and waited, and
this was my reward. . . .

ONE of the terrible things about war is
that it is a time when every man
ought to keep cool, and hardly anyone
can. The Milville folks ought to have
known Milt Shanks well enough to know
that he couldn't be anything that wasn't
square. But it was 'sixty-one and Lin-
coln had called for 75,000 volunteers, and
that seemed the only thing in the world —
the need for fighting men. Milt was big,
rawboned, powerful and in the prime of
life — a fighting man if there ever was one.
But he didn't volunteer. Then the neigh-
bors began to talk. They remembered that
when he was a youngster he had a chance
to go to West Point, but turned it down,
and let Tom Hardy take his place. But
they didn't choose to remember that
Milt's folks were poor, and that it takes
money to be a West Pointer. They re-
membered that when Hardy came back

Madeline wouldn t listen to Tom

at first 'when He asked Her to marry

him.

RAVER Y— yes, it's just

about the biggest and

finest thing in the

world, because you
can't be brave without being
honest and strong, and you
can't be honest and strong
without being clean — and
cleanliness is next to godli-
ness." The old man paused,
then abruptly resumed. "Hand
me that book of old poetry
— yes, the one there beside
Bunyan's 'Pilgrim's Progress.

I handed the book to him
and he began to finger the
pages, hunting for something.
Brother Andrew was very old, but his
mind was alert, and he liked to have '.!s
youngsters come and tell him about the
Big Job we had just finished. His spirit
was as young as it ever was in his prime,
and his eyes would light up at the recital
of adventures in the Argonne. It was
surprising to have him turn from that to
poetry.

■'This is it," he said at last "Listen:

" '/ have dove a braver tiling
Than all the ivorthies did.

A braver yet from it did spring,
Which was — to keep it kid.'

Photoplay Magazine

"I've loved you too, Martha," MiU replied, "and I love you for
time and eternity. Just as sure as the stars arc in the flag
you 11 look into niy face some time and admit 1 was ri{,'ht.

from West Point a lieutenant and recruited a company for the
Mexican War, Milt first said he would go. and then backed out.
But they didn't know, or else conveniently forgot, that MiU
had a wife and a sick baby.. He would have gone anyhow
only a stranger was going past and talked him out of it. The
stranger said:

"The country's young and growing up. You've got to help
it grow. They don't need you — yet."

That stranger was Abraham Lincoln, and there was something
about him that made men do the right thing. Milt stayed
home.

Nobody knows better than I how much Milt wanted to
volunteer when Lincoln called for volunteers in 'sixty-one.
He heard the news from Newt Gillespie, who had fought in the
Mexican War, and Hardy — he came back a captain — was
recruiting again. Gillespie was among the first to join his old
leader, and Milt was on the way when I met him in the road.
He had done well in the intervening years. His family was
happy and he had as pretty a home as you could find near Mil-
ville. His boy, Joey, was almost a man, and the girl, Elsie,
was a little picture. And 'Martha, his wife, was happy as a lark.
But Milt was ready to leave all this because Lincoln was
calling for men. I was on my way to his place when I met
him in the road.

I had a letter for him. Tt hod come to me by a special mes-
senger, with instructions from Wasliington. 1 was connected
unofficially with government officials — but never
^, mind about that. 3 knew what it was about. I don't

.say .1 was glad tliat they had sent it to Milt instead
of to me — but this I know — I was proud to be a
friend of the man thev sent it to. And
Milt didn't hesitate.

'Til just catch the stage to Spring-
field," he said. "Tell my folks I been
called out of town on a deal."
I went with him up to the town. There
was a .small-sized riot in progress. It •
.seems, in the middle of the recruiting,
Leni Tollard had made some remark
damning the North for interfering
with slavery and such things
which he held was none of
their business, and it looked as
if he was going to get pretty
rough handling. It didn't mat-
ter to Milt what the quarrel
■was about— he wasn't going to
see a hundred men against one
and he stopped them. It
doesn't take much to stop a
mob when it's just begin-
ning, anij Milt shamed them
into letting Lem go. But it
didn't help Milt's popularity
any. and the folks remem-
bered it against him later.
Well, Milt went away for
quite some time. Travel took
longer then. When he came
back he didn't bother teUing
where he baci been, not even to
his wife. He didn't need to tell
me. i knew. And I knew too
that if he was the man I took
him. to be, he was working un-
der orders that must be near
breaking that big heart of his.

J^rilling was going on by this
time and just about every man
tiiat was eligible was practicing
holding a gun and keeping step.
The day Milt came back he
strolled down sort of casual to
Lem Tollard 's blacksmith .shop. I was
standing across the street when Milt went
up to Lem, put his hand in his pocket,
pulled out a button and .showed it to Tol-
lard. Then they went back into a dark cor-
ner and began talking with their heads clo.se together. I wasn't
the only one that saw this, and pretty soon a little crowd had
gathered and was waiting for Milt. When he came out one of
them stepped up and said;

"Shanks, we want you to declare yourself. You and Tol-
lard seem pretty close. Are you with us or against us? We
know how Lem stands."

I held my breath. What kind of .stuff would Milt be made
of? God. it was a hard thing lie had to do.

"I don't hold fur coercin' of Southern people," he said, in
his slow, quiet voice.

"You hold for the North to defend itself when the South
begins shooting, don't you?"

"I don't know as I do," he replied, still calm. "They aint
come into our territory — nof yit."

"Well, then take this warning, Shanks," said the spokesman,
shaking his finger in Milt's face, "don't let us catch you giving
comfort to the rebels."

With that they went away, muttering among themselves,
and T trailed along with them. Y'ou see, it was like this — there
was g'enerally understood to be a secret society working in the
North to help the South. We didn't have any actual proof,
but the word was passed around. We called them Copperheads,
because that was the most poisonous snake we knew about.
Lem Tollard we were pretty sure was one, and now it looked
as if Milt Shanks had joined the society.

Feeling against Milt grew so bitter that I believe all that

Photoplay Magazine

saved him from being lynched, perhaps, or at least run out of
town, was sympathy for his wife, and the fact that his son,
Joey, enlisted. When Milt came home, his wife, Martha, was
waiting to send him. While he was away she had made a
uniform for him and had it all ready. She met him at the
door, and held it out to him.

"I made it for you. Milt. God bless and keep you," she
said.

He just stood there frozen for a minute, and then looked
away.

"I can't do it, Ma," he said. "I'm for peace, and besides,
I got you and Joey and little Elsie to look out for."

"In 1846 you had a child," she said, surprised and almost
fiercely, "and you was devil-bent on going to war. What's
wrong now."

" 'Taint a just war," he said, and turned away from her.

Joey was only sixteen, but he was strong as any man. Still
he was under age and he couldn't go without his parents' con-
sent. He had been drilling with Captain Hardy and came run-
ning in with the news that he could go if they would let him.

"Why, Joey," his mother protested, "me and Elsie needs
some man at home, and I ain't despaired yet of your father
going."

"I can't go, knowing everything as I do," Milt insisted.

Joey clenched his teeth and turned to his mother, almost
shouting:

"God a'mighty. Ma, let me have one parent I kin look
up to."

Martha stood hesitating, turning from one to the other of
them, and then to Joey :

"Git into this uniform — then we'll see who'll go."

She believed all along that this would force Milt's hand —
that he would call Joey back and go himself. But Milt just
stood there, and without a move or a word watched the boy
run into the house to put on the uniform.

"I ain't had riches, and I've had some sickness," Martha

"Don't it mortify you that you

^vas pardoned 'count of Joey?"

demanded Martha. Milt ans-wer-

ed slowly. "It would

if I didn't believe

Joeyd see my side of

it somi day.

■it. -«

said, very low and trembling, "but I've kind of lived on my
respect and trust in you. Milt. Don't tell me it's all dead."

"I've loved you, too, Martha," he replied, "and I still love
you for time and eternity. Just as sure as the stars are in
the flag, you'll look into my face some time and admit I was
right."

They stood there, silent, as if death was upon them, until
Joey came running out, all dressed up in the uniform, a hltle
too big for him, though he was a strapping boy for his age.
Martha looked a final appeal to Milt, and then in silent de-
spair, kissed her son good-by, and sent him to do his father's
work for his country.

And that hour the spirit of Martha Shanks died. Suddenly
she became a very old woman. She saw joey march away with
his company, and then went back home a broken creature.
She did the work around the house mechanically and like a
person in a daze. As for Milt, he made no secret of his oppo-
sition to the war, but sympathy for his wife saved him from
serious trouble. Besides, there was no proof that he was
actively engaged in helping the Copperheads. But finally the
proof came.

What the South needed more than anything else was horses
and mules. It was generally believed that animals were being
sent to the Confederates secretly, and at last the government
got wind of one of these shipments. Word was received that
the party could be intercepted at Tyler's Ford on a certain night
and a company was sent to wait in ambush. The Copperhead
party arrived, was surrounded, and in the short skirmish that
followed a Yankee soldier was killed. It was then discovered
that Lem Tollard and Milt Shanks were the leaders of the
gang that was smuggling the horses through. And Joey was
in the company that captured them.

Miit and Lem were brought before a courtmartial, not only
on the charge of aiding the Confederates, but also on that of
murder. They were not entitled to military immunity as they
were not soldiers, and ranked only as spies. Two shots had
been fired from Milt's gun, and he and Lem
were sentenced to death. But right on top of
this came an order from the Secretary of War
commuting the sentences to life imprisonment.
That finished the Copperheads. The months
passed and word began to come back to Mill-
ville of Joey's bravery in action. And soon
after this news there came another piece of in-
formation. Because of his son's splendid serv-
ice to the Union, Milt had been pardoned. I
took the news to her. She didn't want to see
him, but she was a Christian woman and hesi-
tated to pronounce final judgment.

"Don't it mortify you
completely that you was
pardoned 'count of
Joey?" she demanded.

Photoplay Magazine

"That's what I'm here for. Joey was killed yesterday.
We fetched his body home to-night. He's down at the
church."

And with that he stumbled away.
Still iu that same stupor that had weighed upon
her since Joey went away, Martha went to' a drawer
and gathered up jceys tiny baby clothes in her
arms and crooned above them. It was more than
Milt could stand. Frcm outside came the sound
oi' the band playiug triumphant music to cele-
brate a victory, and within a broken woman
crouched over I he pathetic mementoes of the
babyhood of a fallen hero. Milt went toward
her

"Martha, it's moxe than a man kin stand. Tve
got to tell you — ''

"For God's sake, Milt Shanks! You're un-
clean ! •'

And with that despairing cr}' the tortured heart
of Martha broke, and she lay dead.

It would have seemed that even the fiends of
deepest hell could not have devised any further
torture for Milt Shanks, but the dregs of the cup
were yet to be drained. Joey's body was lying in
state in the church, and thither Milt at last made his
way. Newt Gillespie was on guard at the door.
"You can't come in, Shanks,"' he said sternly.
"But Mewt — it's my boy — Joey. I just want —
to — look — "

"Just before he died," Newt answered. "Joey said:
'I wouldn't have minded sO' much if my father
had fought publicly — on the other side — but now,
don't let him see me, even in my cothn!' "

ONLY for one thing I don't believe Milt Shanks
would have lived, big and strong as he was.
That one thing was the baby, little Elsie. The whole
town now hated him, all the more because somehow
the neighbors seemed to blame him for the deaths of
his wife and boy; and their contempt wasn't lessened
by the fact that Lem Tollard. "his companion in
smuggling and murder," was still in prison, I cduld
have straightened it all out with a single word, but
I was sworn ta secrecy. Even at that I went to Milt
one day and asked him to let me break my oath.
The war was o\'er by then, and I didn't see how it
could do anything but good.

"Feeling on both sides is pretty strong yit," he
said. "Your life wouldn't be sate."
(Continued on page 123)

"But, damn it." Hardy burst out, while Madeline cluii^

pleadingly on hi.-! arm, "in all these years we've despised

you, why haven t you told ?

"It would if I didn't beheve Joey'd see my side of it some
day." he repHed.

"Your revolver showed you tired two shots."'

"I p'inted over their heads."

"You didn't say .so at the trial."

"I couldn't try to throw all the blame on Lem and the
others."

"Milt, for God's sake, if you've got anything to say for
yourself — "

"Martha," he replied, always grave and quiet. "I care more
for what you think than the courtmartial.'"

The news of the fall of Vicksburg had just arrived, and they
were shooting off a cannon in the town to celebrate. Some of
the wounded men had come back already, and one of them,
lame and weak, called at Milt's house.

"I'm just back from Vicksburg," he said, uneasily.

"Did you see Joey?" Martha cried.

He nodded, and then, having no words to break the news
easilv, blurted out:

The Copperhead

NARRATED by permission from the photo-
play, produced by Famous Players-Lasky
from Charles Maigne's scenario based upon i.lie
play by Augustus Thomas, and presented with
the following cast :

Milt Shanks Lionel Barrymore

Tom Hardy William P. Carlton, Jr.

Young Tom ". William David

Newt Gillespie Frank- Joyner

Lem Tollard R. Carlyle

Joey A. Rankin

Martha Doris Rankin

Abraham Lincoln M. F. Schroell

Brother Andrew Leslie Stowe

Elsie Shanks Frances Haldorn

Madeline Anne Cornwall

Dr. James Harry BartietL

Reg. U. S. Pat.. OB.

By
JULIAN JOHNSON

LET a man find a new
way to tell a story,
and he can spin the
oldest yam in the
world with great success.

"The Eyes of Youth,"
a picture triumph of the
past month, contains no
especially new material,
nor any new philosophy of
life. It is an unusual pho-
toplay in form rather than
in substance. It is one
new-fangled narrative fab-
ricated out of three or
four of the oldest in a
hard-worked business.

Max Marcin wrote the
piece originally, for Mar-
jorie Rambeau's exploita-
tion at the Maxine Elliott
theater in New York. Al-
bert Parker made the
transposition to the trans-
parencies, and then con-
ducted Clara Kimball

Young through its mazes.

Last month, or the month before that. Photoplay Magazine
carried the absorbing fiction story. A short resume ot the novel
treatment will suffice at this time. Gina Ashling, perhaps the
most talented and beautiful girl of the small town in which she
lives, faces a three-horned dilemma: shall she marry the rich
man who will help her financially embarrassed father? Shall, she,
relentlessly, satisfy her ambition to become a great singer, or
shall she follow the humblest path of duty and remain at
home? As she is about to decide these questions, on a festal
evening, there approaches her door a weary Hindoo. She is
kind to him, and in the crystal ball which he carries wrapped
in his turban she sees her three possible futures — and rejects all
of them by marrying the man she loved all along.

In the third episode of the fancy, in which Miss Young as
the outworn wife has been discarded like a remnant garment,
the actress does what seems to me the most convincing charac-
ter work of her career. And this is all the more remarkable
because her performance in the picture is singularly uneven.
That is to say, in her exposition of the tantrums of a weary,
temperamental prima-donna she is only superficial — far from
convincing us that she is doing anything more than obeying
her director's behest to "act," whereas in the outcast moments,
as a forlorn drug wreck, she is absolutely true to all of cocaine's

A Review of the T^ew Pictures

The

Shadow

"Scarlet Days," Grif f iths new
Artcraft production, is a story
of California in '49. It is not
the yam itself but the tu-
manity and reality that invest
it which makes the whole
worth while.

symptomatology. This
fidelity goes right into a
close-up. She is a for-
lorn, pitiful thing of
twitching muscles and
lack-luster eyes: a crea-
ture of the living dead.
And in other parts of the
tableaux she is very beau-
tiful, and much less bur-
dened with embonpoint
than has been her wont in
the past year.

The production as a
whole is strikingly effec-
tive without being unusual
in scene or equipment, and
should establish Mr. Par-

ker as a foreman who

knows his trade and its
operators. Vincent Serrano is effective as the Indian Yogi so
strikingly done on the loquacious platform by Macey Harlan.
Milton Sills is both agreeable and disagreeable. William Court-
leigh and Lionel Belmore play a precious operatic pair — with
Courtleigh rather the more operatic, and Bel.more a trifle the
more realistic. There are many other persons; and, altogether,
the piece is something worth seeing.

SCARLET DAYS— GriffithArtcraft

The editor of this periodical — God bless him!— differs with
me in our view of D. W.'s vivid story of California in '40. He
thinks that Mr. Griffith stressed his earthly sentiments in en-
tirely too vivid a fashion; I don't. I think "Scarlet Days" is
a triumph of realism which is still within the bounds of deco-
rum. Maybe you differ with both of us. At any rate, the
piece has some splendid points, and some perfectly gorgeous
characterizations. Basically, it is a trivial Western melo which
hasn't even vitality enough to sustain its original intention.
The hero is lost, and at the end somebody else turns out to be
the hero. As usual in a Griffith enterprise, it is not the yarn
itself, but the humanity and reality which invest it, that makes
the whole worth while. I think the great characterization of the

Photoplay Magazine

Not much can be said for Ckaplin's new instrument of merri-
ment, "A Days Pleasure." There are several funny episodes
but also a long footage of patent vulgarity.

"The Isle of Conquest' is the old island romance more pru-
dently policed than ever. Natalie Talmadge appears in support
of her famous sister. Norma.

Lew Cody is starred in Maurice Tourneur s Robertson-Cole

production. "Broken Butterfly." The story is from "Marcene"

by Penelope Knapp.

month, through the whole range of motion pictures, is Eugenie
Besserer's "Rosy Nell." This wanton mother, aging in her
iniquity, yet with a mother's pride, a mother's heart, a mother's
sense of the sacredness of her trust — somehow — seems to me
a being at once gigantic and grotesque. There is something
colossal,, something vastly tragic, in her merry conduct of the
cabin — where her daughter does not. know that she is her
daughter, and the mother herself plays housewife with the
clutch of the hangman^s-HiT5ose~~ak€ady about her neck. Of
course the picturesqug^tle Seymour, in-ier adorable description
of Chiquita, the hot-tamale vampire of intense ardor and no
soap, runs away with most of the laughter and enthusiasm.
Dick Barthelmess i^s less of a success as d, Spanish bandit —
and much more o^ a success as Dick Barthelmess. George
Fawcett provides aii> inimitable flash of hipiself as an entirely-
too-humane Sheriff, Carol Dempster and ; Ralph Graves wear
the conventional last-grab honors with thair customary charm,
and there is the usual gallery of strikingyportraits, from satur-
nine to comic, which the Head Master-always provides.

ANNE OF GREEN GABLES-Realart

Mary Miles Minter is a bit of established popularity. So are
L. M. Montgomery's "Anne" books. The combination, ergo,
was a weU-advised one for the young star's debut on a new
programme. The same advised selection proceeded in the
selection of Francis Marion as the person who could best weld
four tales into one string for the celluloids. The result is no
drama to speak of, but a more or less biographic account of
a little orphan girl who was alternately pathetic and funny; and
later, alternately fiercely tragic and meltingly lovely. The
high spots of the picture to me were Anne's black-and-white
chicken, the feeding of imprisoned Anne by the little boy,
Anne's innocent encounter with the mephitic polecat while
hunting the picnic, and — later — adolescent Anne's tribulations
as the disciplinarian of the viljage school. William D. Taylor's
direction of the picture is pleasantly adequate without being
in any way original, and the best work of the long cast is done
by Marcia Harris, as Aunt Marilla.

VICTORY— Tourneur- Artcraft

Maurice Tourneur accomplishes a rare feat in the splendid
melodrama whose name is capitalized above. He puts Joseph
Conrad — the absolute Joseph Conrad — on the screen, while
very seriously altering Joseph Conrad's story! That is to
say, Tourneur has caught,^and-«ativeys, the true spirit, the
real philosophy, of the auttfor. In tn^ respect the distinguished
French-American has more unerring capabilities, perhaps, than
any other camera-master Viow at work. Not since his great
optic transcription of "SpVting ILife" has he so thoroughly
caught the timbre, as a muSteran would say, of the thing in
which he has engaged. Every reader of Conrad's dark but
superb story remembers that it ended in a tragedy of heljish
laughter: the bullet intended for the fiend Ricardo hits that
passionate saint Alma, and with her dies the youthful philoso-
pher Heyst, whom she has drawn from an existence of self-
immurement, only to an end of final despair. In Tourneur's
picture things go just the other way: Heyst has killed Ricardo,
and the anthropoid Pedro, in ultimate revenge, dumps "Mr.
Jones," face forward, into the fire, while out in the tropic
garden Heyst says the tender word, and Alma comes to his
arms as the organist pulls the stops for the exit march. Yet,
though the Conrad finale is so radically upset, the dark splendor
of Conrad's thought is preserved in every scene, and in every
episode you get the slow, majestic, tense movement of his
strange drama. It is not a pleasant picture. It may best be
. descrijjjed profanely, as a heller. TheJntemal glare~j»eB~the_
' f^ of Mr. Jones, as he goes over into the fire; the deviltrj^
/M Schomberg; the cold evil of the aforesaid Mr. Jones;- the
^ leers of the serpentine Ricardo — none of these are happy sub-
jects for contemplation. Yet what superb characterizations!
Wallace Beery as Schomberg, Lon Chaney as Ricardo, Ben
Deely as Jones, Bull Montana as Pedro: here is acting; acting
that you won't often find duplicated on stage or screen. Jack
Holt is very fine as the virile young philosopher, and Seena
Owen is at once sensuous and sensitive as Alma. Mr. Tourneur I
has made a fine art of suspense in this photoplay.

Photoplay Magazine

A VIRTUOUS VAMP— First National

This is the best output of the Loos-Emerson combination,
and in its snap and tang really harks back to the incompa-
rable Anita Loos comedies of a year or so ago. It has not,
indeed, the direct sweep or the breeziness of those vehicles,
but it is a close approach to them, and, upon a basis of very
slight farcical material, builds an hour and a half of substantial
humorous, human entertainment. The original notion was car-
pentered out by the late Clyde Fitch, in his comedy, "The
Bachelor." It concerns Gwendolyn Beaufort Armitage, a
young woman of birth and breeding, but no resources except
some rather brisk natural tal.ents, plus a flirtatious instinct that
always lands her in the street whenever she engages in business
where men are concerned. Constance Talmadge, who has had
some considerable practice in being a screen flirt, plays this un-
fortunate young person, and she plays her in deadly serious-
ness from the start to the finish of the picture. She is sup-
ported by a merry and highly capable cast, including the
Collieresque Ned Sparks, the intensely earnest Conway Tearle,
and Belle Daube, an almost-too-handsome mother. Gilda Grey,
perhaps unknown to the country at large in her jelly-roll
specialties, but quite the best clavicular trembler New York
has seen quivering this year, is a merry part of the plot. Miss
Loos and Mr. Emerson facetiously vamp back with their vamp
to her childhood — when, aged six, she vamped in panties and
a picture hat amid the ruins of shaken San Francisco. The
.direction of David Kirkland is pleasantly in the authorial tempo.

THE GIRL FROM OUTSIDE— Goldwyn

Quite awhile ago I considered this piece, perhaps the finest
example of eminent authorial supervision which has so far
come to the arc-light. It has just been released, and in justice
to its makers, and to its distinguished author and overseer. Rex
Beach, I want to briefly note it again. It is a story of Alaska.
Say that, and you merely indicate that it is placed upon a
favorite stamping ground of motion melo. But this is not a
mere repetition, for the fine, studied portraits; the realistic
yet artful handling of situations and characters; the adroit
building of suspense, the genuine conviction with which the
story is told are all unusual, and highly unusual at that. It
is much like 'The Brand," but it is even better than "The
Brand," though in that picture Russell Simpson and Kay
Laurell were unforgettable. Here Clara Horton comes to
legitimate l.eading-ladyhood, supported by Cullen Landis. The
■murder of the bad man by the kindly Chinaman is a master-
piece in script and directorial technique. Much credit must be
directed to Larry Trimble for his fine continuity construction.

CROOKED STRAIGHT— Paramount'Artcraft

Charles Ray seems determined not to grow into a b'gosh
individual from playing simple, unadorned b'gosh parts. As
the gawky young man of "rural antecedents he distances all
competitors, but in this picture he plays not the cow-eyed
yokel, but a poor boy in the city, going bad against his will.
Up against it for a meal on a cold and rainy night, he endeavor^'
to stick up a man who is quicker on 4he draw than is he with
a cl.ub — and the fellow befriends, feeds and warms him, only
to hold him, afterwards, as a partner in yeggmanship, under
threat of turning him over to the police. Like the Pike county
pieces in which Mr. Ray has thrived, this vehicle is the work of
Julien Josephson, and if he has not provided a play so interest-
ing or so dramatic, he has at least given Ray a good character
in a fairly well-knit though not especially appealing story. Ray
and Wade Butler, as "Spark" Nelson, the safe-cutter, are the
principal performers and the tall moments of the entertainment
are those in which the sinister pair, surprised at their work,
manage to effect an escape in which Nelson is mortally wounded,
while Trimble (Ray) drags and carries him away from the
law in a chase which must have enlisted the merry services
of every roaring police Henderson in Los Angeles. In the
latter episodes of the picture we see Margery Wilson again,
after a long absence from the screen, and she has never seemed
more lovely or lovable.

PAID IN ADVANCE— Universal

{ Now. let's go back to Alaska. This is a different sort of story
I from Beach's tense and somewhat quiet film experiment. It is
j the simple, straight-running, old fashioned snow melodrama.

"The Eyes of YoutK"' is an unusual photoplay in form rather

than in substance. In it Clara Kimball Young does the most

convincing character work of her career.

" Eastrvard, Ho ! " is a rather weak vehicle featuring William

Russell. ^Vhite Slavery and other nvhat-nots are dragged in

to provide cheap thrills.

The public will like Allan Dwans well-made adaptation of
Richard Harding Davis" "Soldiers of Fortune." It is a straight-
running yam of South American adventure.

Photoplay Magazine

In "Victory", Maurice Tourneur puts Joseph Conrad s spirit on

the screen, although he very seriously alters Conrad novel.

Profanely, "Victory" is a heller.

As a lumber jack conducting a modiste shop in New Orleans,

William Hart s characterization in "John Petticoats takes him

a step for-ward from his fixed surroundings.

"Dawn", is one of those blind hero vehicles that finish w^ith-

out the usual magical operation. Robert Gordon and Sylvia

Sreamer lead.

The big gambling-hell. Fast women. Faster men. The pure
girl. The good man who has lost himself. The pure girl's
danger. The lost one's awakening. His smashing return. Her
rescue. The discomfiture of all their foes. Love. The clutch.
Eleven o'clock. Let's go home. Out of these materials, Mr.
Holubar has constructed a large and resonant symphony for
his wife, Dorothy Phillips. It has no subtleties. It has no
surprises. Its end is entirely expected. It will doubtless in-
terest a great many people, though it did not especially interest
me.

JOHN PETTICOATS— Ince-Artcraft

No Brian is trying more resolutely to escape a fixed surround-
ing t^n William S. Hart. And few, l.et it be said to Mr. Hart's
icredft, are trying more successfully. In this story he appears
las John Haynes, a-, lumberjack in the Northwest, who has in-
iherittd a "modiste'- shop in New Orleans. Short on education,
John^Hayn£S is tetig on shrewd surmise. And, with some self-
flattery, he surmises his deceased relative has left him a "mod-
est shop" of some sort — he could leave something, even though
he couldn't spell modest. The lumberman's embarrassment
when he I.earns that he, in his uncouth virility, is in the busi-
ness of man-dressmaker, is somewhat appalling. The quaint
humor of the idea permits a number of equally quaint situa-
tions, most of which are funny. The best of these is his up-
roarious exhibition at a ball — in which William slings no mean
hoof, believe us! — while the weakest, from point of probability,
is his vastly overdone and correspondingly unconvincing fright
in an elevator cage. Walt Whitman, George Webb and Wini-
fred Westover are the principal side contributors to Mr. Hart's
unusual specialties. While it cannot be said that "John Petti-
coats" breaks or even approaches any of Bill Hart's real rec-
ords in picture-making, as an off-track experiment it certainly
beats Charlie Ray's venture in the same line. "/

SOLDIERS OF FORTUNE— Rcalart

I have never ceased to regret Allan Dwan's turn from the
spiritual to the material side of motion pictures. In the former
he was a public success and an artistic triumph. In the latter
he is still — a public success. The public will, and does, like a
big, mechanically well-made adventure like "Soldiers of For-
tune." But the public also liked that splendid drama "Pan-
thea," in which he painted not only vivid action, but the soul
of a woman. I wish Dwan woul.d do more "Pantheas." He
can. Perhaps he will. But Dwan is a business man, I suppose.
And he finds that "Soldiers of Fortune" is a better, or at least
more expedient, business subject. Understand, I have no par-
ticular flaws to pick in this virile, straight-running, and not
especially extraordinary tale. It is a fanciful yarn of South
America, civil engineers, kal.eidoscopic governments, picturesque
revolutions, rapid-fire guns and rapid-fire love-making. In
choosing the still-standing buildings of the San Diego exposi-
tion Dwan got an absolutely incomparable set of backgrounds,
used only once before, and then in an entirely different manner,
by Douglas Fairbanks. The story, one of Richard Harding
-p-J2ayis'_ best-known and best-liked novels, is very farniliar to
all American audiences. If enhsts S magaifi.Ltillir^squad"'
of screen specialists, including Norman Kerry, Pauline Starke,
Anna Nilsson, Melbourne MacDowell,, Wallace Beer^Wilfred
Lucas and Philo McCulIough. It's corking "lignt entertainment,
and as easy on the eyes as it is on the mind.

HAWTHORNE, U. S. A.— Paramount

I don't care for this, in comparison to Wallace Reid's recent
vehicles, but this must not be a gainsaying of certain merits
that the piece possesses, of Wallace Reid's jovial, reckless abili-
ties, or of P^j«TfiountV-v;ery fine production. It simply does
not measm^up to the vfe^y high standard Reid's producers
have set for him and themselVes in the last few months. Doug-
las Fairbanks played it on "^he stage, invested it with his
indisputable charm and his inimitable personality, and probably
would have played it a lot better in pictures. At least, it
would have been a lot better for Fairbanks than the things he
has done of late. James Cruze has also much better directing
— that is to say, he has been more adroit, more subtle, and
more original. As -a straight-running version of the escapades
of that impertinent young American who breaks the back of a
revolution, and permits the people to have a republic only after
(Continued on page 113)

West

East

A Few Impressions

By
DELIGHT EVANS

TRYING
To Get to See
Mabel Normand, Alone,
Is Like Trying
To Interview the Sphinx,
With a Party of Cook's Tourists Around.
Mabel Was Late.
Ot Course,
Interesting Women
Are Always Late.
But Mabel
Wasn't Only Late:
She Mistook a Minute
For a Rubber Band, and
Stretched It Into an Hour.
I Stood There,
In the Ritz,

Watching the World Go By,
That Part of the World
That Causes Race Suicide
Among Fur-bearing Animals,
Prosperity Among Jewelers,
And Distress Among Husbands —
Their Own, and Other People's.
Finally, Mabel came —
A Little Girl,
And the Thing that Strikes you Most about

her,
Is her Childish, Eager,
Pouting Mouth —
It Gives her

An alice-in-wonderland Look,
That her Eyes,
A Little Deeper and
Browner and

Sadder than you'd Expect,
Contradict.
And she Wore
One of those
S. R. O. Dresses —
You Know: Standing-room-only.
"Listen, look"—
She Made Me Think

Of One of Booth Tarkington's

Seventeen-year-old Ladies.

"There're

Some People Waiting

To See Me.

I Told 'em I'd be Here—

We'd Better Go."

We Rode Through the Park —

And even a Traffic Cop

Said "Hello" to her.

She Talked —

"Happiness," said Mabel,

"Is Simply a State of Mind.

I've Never Lost my Mind.

When Things Go Wrong with You —

Kid Yourself."

I think if someone Dared her lo Play it.

She'd Jazz Juliet.

I Fell for Mabel.

You Would, Yourself.

A NICE Young Man
Walked into the Office.
There's

A Pretty Blonde
At the Switchboard, and he
Hung his Head, and
Said rather Bashfully,
"Say

'S Mr. Lloyd."

"What Llovd?" demanded the Young Lady.
He Turned Red— 'Harold Lloyd."
"I don't Know," said the Girl,
"You don't Look Like him.
He Wears Glasses."
The Young Man
Turned a Shade Redder.
"Yes, but—

I Left them Out There."
"Some sort of Nut,"
Said the Girl briefly to Me,
"Says he's Harold Lloyd."

Mr. Lloyd

Sure was Glad to See Me.

"I Think," he said,

"I'll Get

A Pair of Glasses and

Wear them.

Would Save Me

An Awful Lot of Trouble."

Manhattan liked him but

It Couldn't Spoil him.

"If anyone I'm working with,"

He says,

"Ever comes Up to Me and Tells Me

How Wonderful I am.

They'll be Out of the Studio

Before they Have Time to Change theii

Minds.
I Got a Swelled Head — Just Once.
I was the Leading Man
In a High-school Play.
My Best Girl— then-
Came Up to Me and
Told Me How Wonderful I was.
Other People Told Me the Same Thing.
I Began to Believe it.
Then

The Old Professor
Who Had Coached Us in our Lines,
Took me Quietly Aside.
'My boy,' he said,
'I've been Watching You.
You Played that Part
As Badly as ^ny Amateur
Could Possibly Have Played it.
If I were You,
I'd Study Harder, and
Not Pay so Much Attention
To What People are Saying.
Nine Times Out of Ten.
They're Lying.'
And
I've Never Been Stuck-Up Since!"

The Lay of the Silent Mummer — By george McDANIEL

TONIGHT my spirit walks abroad
In ghostly pantomime;
Strange eyes gaze on my ghostly shape

In every land and clime.
My other self takes many forms —

Of them you've seen a-plenty —
Sometimes, perhaps, a kind old man,
And then a scamp of twenty.

Last night — in sunny Spain it was

I robbed a coach-and-four
While reading Arnold Bennett

Behind a fast-closed door.
Oh, I'm an awful fellow

In Lisbon and Cheyenne.
But in New York and Rio-Town

I am the best of men.

An hour ago, in Africa,

I beat my English wife.
And half an hour before, in France,

I saved a comrade's life;
And yesterday, while feeling kind,

I gave a lad a dollar.
But shot a check-boy through the head

For mussing up my collar.

I ride around in limousines

And dine in swell cafes,
And break the bank at faro — •

Though the banker never pays.
I also break up hapny homes

And lead young girls astray,
But aid the poor, the blind, the lame —

All on the selfsame day.

I wear the robe of saintly priest,

I sing, I pray, I shrive;
I kill a pal for fifty cents

And cat old men alive.
I woo my neighbor's lovely wife

And shower gifts upon her —
But all the same, I'd have you know,

I am the soul of honor!

I often journey on the sea

While riding in a hack;
My record's clean as snow, in Maine,

In Kansas it is black.
But you'll no longer wonder why

My life's a jumbled plan —
For I will rise and tell you

That I'm a movie man!

Doug's
Flood

Although it is not as
widespread as Noah's,
it does very nicely for
the next Fairbanks film .

Here is the toivn that was built
for tlie flood to S'weep away, in
the picture that Doug made. (You
can see that its a regular little city
with its station and its hotel and
its church — and the washings on
the line). It cost time and money
to build this toAvn. Up in the
mountains the flood is even now
accumulating. (Doug had a pull
with Pluvius.)

Well, the floods descended all right
and here's what's left of the town
that was built for the flood to
sweep away, in the picture that
Doug made. The heroine is
stranded on the roof of a barn ;
various other members of the acting
family are marooned in the tree —
Doug is hanging there by one
finger — and look, at the right of
our picture, trying to hide behind
the tree ■ — the family on the raft
in the family flivver!

Every wedding should have a breakfast. But when
a flood has come along and swept away all your
worldly possessions except your bride, you can't do
much about it. But Doug swam to the ice-box and
found — a ■watermelon.

Did you ever get married? Of course. You ^vere, very
probably, married in a church — but who ever heard of being
married ON a church ? Hero and shero in the Fairbanks
flood swam to the church and -were greeted by the minister
astride the steeple, and made man and -wite.

Photoplay Magazine — Advertising Section

s> ^^^_^

FOUR SIMPLE OPERATIONS EACH WEEK AND THE HANDS ARE ALWAYS

PERFECTLY MANICURED

There is no beauty so easy to gain as lovely hands

IOVELY hands are becoming more
and more conspicuous. They
J are more and more regarded as
one of the chief charms of a beautiful
woman. It is hard to get through a
single day now, without being judged
by one's hands. Badly groomed hands

For clearly white
nail tips, apply a
little Cutex Nail
IV h it e under'
neath the nailt.

are more harshly criticized today than
ever before. And no wonder. For
really lovely nails are so easy to acquire.

Here is all you have to do

Once a week, on some regular day,
give fifteen or twenty minutes to this
simple manicure. It will keep your
nails in perfect condition. Scrub the
hands and nails in warm, soapy water.
Rinse and dry. Remove any dirt from
underneath the nails with an orange
Stick. Never use a metal instrument
for this.

The shape of the nails

Then file the nails to the proper
length and shape, preferably oval. It
is now considered very poor taste to have
the nails either long or pointed.

After cutting, smooth off irregular-
ities and shape the corners of the nails
with a flexible steel file. Finish the shap-
ing of the nails with an emery board.

Cutex Cuticle Remover, Nail White,
Nail Polish and Cold Cream are
each 55 cents. The Cuticle Remover
comes also in 6} cent bottles.

Now for the cuticle. Here is where
many women make mistakes. The
wrong care of the cuticle causes hang-
nails and rough places. Never trim it
with scissors. This leaves a raw edge,
which gives rise to hangnails and often
causes a sore or swollen rim of flesh
about the nail.

Cutex was prepared to meet the need
for a harmless cuticle remover.

The care of the cuticle

In the Cutex package you will find
an orange stick and absorbent cotton.
Wrap a little cotton around the end of
the stick and dip it into the Cutex
bottle. Then carefully work the stick
around the base of the nail, gently
pushing back the cuticle. Wipe off the
dead surplus skin, and wash the hands.

Now ^whiten the nail tips

Apply Cutex Nail White directly
from the tube underneath the nails.
Spread it under evenly and remove any
surplus cream with an orange stick.
Cutex Nail White will remove all dis-
colorations from underneath the nails.

A jewel-like gloss

Cutex Cake Polish rubbed on the
palm of the hand and passed over the
nails gives them a quick, waterproof

Soften and remove
surplus cuticle
with Cutex. It
will leave a thin,
beautiful nail
base.

polish. If you wish an especially bril-
liant finish, apply Cutex Paste Polish
first, then the Cutex Cake Polish. After
washing, restore the polish by rubbing
the nails Hghtly over the palm of the
hand.

If your cuticle has become sore and
tender from cutting, apply Cutex Cold
Cream. Or if your cuticle has the
tendency to become dry and harsh,
apply cold cream just before going tobed.

Give your nails this Cutex manicure
regularly. Do not expect your hands
to stay well-groomed with irregular care.

You can get Cutex in any drug or
department store in the United States,
Canada and England.

If you want a bril-
liant, lasting pol-
ish, use Cutex
Paste Polish first,
then Cutex Cake
Polish.

A complete manicure at for only 20 cents

Mail this coupon below with 20 cents
and we will send you a complete Mid-
get Manicure Set. It contains small
sizes of Cutex Cuticle Remover, Nail
Polish, Pink Paste Polish and Cuticle
Comfort, together with orange stick and
emery boards. Enough ot each to give
you at least six manicures. Send for it
today. Address Northam Warren,
1 1 4 West 1 7th Street, New York City.

If you live in Canada, address Northam
Warren, Dept. 702, 200 Mountain Street,
Montreal.

MAIL THIS COUPON AND TWO DIMES TODAY

NORTHAM WARREN

Dept. 702, 114 West 17th Street

New York City

Street .
City..

. State ,

When you '"-Ite to advertisers please mention PHOTOPLAY MAGAZINE.

OF Dorothy Dalton's performance as Chrysis in "Aphrodite", the spoken spectacle which had its premiere in New York
in December. Burns Mantle, the critic, says in part: "Her beauty of face and form are not to be gainsaid. Her voice is
pleasant and she is not without dramatic force in expressing emotion. She fills the picture admirably.

Photoplay Magazine — Advertising Section

Cunning woolens, delicate frocks, tiny wraps of silk

THEY CAN BE LAUNDERED TO SUIT THE MOST FASTIDIOUS BABY

F course, he's particular ! From
his bootees to his bib, each gar-
ment must be sweet and clean
for the daintiest baby in the world. His
little petti-skirts of finest cashmere with
sweet baby scallops, the frocks of batiste
tinijy tucked and daintily embroidered,
cunning negligee jackets of pale crepe dc
Chine and French knots — he adores to
put them on so spic and fresh from their
Lux laundering.

And his wool things, so silly small they

^ look like make-believe — are all very real

■ ' '"v ,,.«-. to him. Not a single scratchy

- ^^'^^~\J shirt — not one shrunketi band

S"/ in his whole wardrobe!

They're kept so soft and
fine with Lux.

Never allow his pretty things
to stay soiled

His clothes have to be done so often and
so carefully — they need the most delicate
laundering there is. Gather them up every
night and toss them into a big bowlful of
Lux suds.

Nomattingandshrinkingotthose import-
ant soft little woolens, because there's no
rubbing, you see, to hurt the fine fibres. He
can wear the most delicately tinted silks
without feeling the least bit extravagant.
Oh, it's so easy to let Lux take care of
his pretty things — keep every baby
garment fresh and lovely ! Your ^(^

grocer, druggist or department
store has Lux. — Lever Bros. Co. ,
Cambridge, Mass.

HIS WOOLENS AND BLANKETS

Use two tablespoonfuls of Lux to a bowlful oj
water. Whisk into lather in very hot water.
Add cold water till lukewarm. Squeeze rich
suds through garments. DO NOT RUB. Rinse
in three lukewarm waters, dissolving a little
Lux in the last water. Squeeze water out. do
NOT TWIST. Dry in moderate temperature.
Press with warm iron.

l/-

/:r

Copyrighted, 1^20, by Lever Bros, Co.

FOR HIS FINE DRESSES

Whisk a tablespoonfulofLux into a rich lather
in a bowlful of very hot water. Let white
garments soak a few minutes. Squeeze suds
through. DO NOT RUB. Rinse in three hot
waters. Squeeze — do not wring. Dry in the sun.
Silks and colors— Add cold ivater till luke-
warm. Wash quickly. Rinse in three lukewarm
waters. Roll in towel. Press with warm iron.

When you write to advertisers please mention PHOTOFLAT MAGAZINE.

The

First

Camera'

Maid

She s been all over
to go over it again

LOUISE LOWELL doesn L think
much of the fact that she is the
first and only camera-maid in
the world. The unusual has no
fascination for her, perhaps because
all of her twenty years of life she has
been occupied with the unusual.

To begin with, she was bom. in
Samoa; and then to follow that up —
how many girls are there who have
been educated in India and China and
who know almost every square mile
of either country?

Her life, too, has been principally
concerned with being her father's only
son. He believed in training her right from the start. When
she was only three, her bump of fearlessness had not been
developed to its present day growth, and she absolutely re-
fused to go in swimming with her father and mother. Then
father, who was every bit as determined as his daughter, hit

upon a drastic measure. He threw her be-
loved rag doll far out into the water. With
a cry of outraged mother-love Louise
started after it and kept going — until the
water had covered her head.

She was rescued, of course— so was the
doll, and as her father swam back with it,
Louise swooped down upon it and carried
it off. That was the beginning; she has
never been afraid of anything since.

Since she was old enough to use a cam-
era she had carried one. It had been with
her in the Far East, in the new world and
in the old world. When she made a trip
hundreds of miles into the jungles of South
America, she secured photographs that
were almost as sensational as the trip itself
and which illustrated the articles her father
wrote for newspapers and magazines.

It was no wonder that motion pictures
appealed to her. She has always gone in
for everything that interested her. While
she was studying aviation in England she
first came into actual contact with one.
Before long she had mastered its technique
and a moving picture camera replaced the
"still" camera that had formerly satisfied
her.

When the Prince of Wales arrived in
Canada, Louise Lowell was a passenger in
Colonel Barker's plane as
it swept a cordial welcome
to the distinguished guest.
With her was her motion
picture camera, and she
photographed the Prince
and his party from the
'plane. The pictures were
so good that she decided
it was up to her to do
something with them. She
consulted the editor of the
Fox news weekly and he
used them in his review
of important events. A
short while later the same company signed her as the first
woman news-reporter in the world — and the first aerial one.

Despite her adventures Miss Lowell remains essentially femi-
nine. The thing she wants more than anything else in the
world is — curly hair.

the -world — and now^ she plans
, this time at a higher altitude.

THE American public has a long purse and' a short memory; that is the reason
so many screen stars are playing truant from the kitchen.

THE government is going after the butchers. We wish they wouldn't forget
the censors.

Photoplay JVLvgazine — Advehtising Section

RECORDS

ND finally Brunswick Records — artistic companions of

Brunswick Phonographs. These records are made

under the direction of great interpreters: — men who

have the power and faculty of developing musical

selections as they would be played by the composers.

Just as there are directors for the opera, the stage, the
orchestra, we now have directors for records.

This means that each Brunswick Record is not only the
work of some accomplished artist, but is accompanied by the
shadings of a renowned director.

This is why Brunswick Records rise above the qualities
most records have in common. Brunsw^icks are more than
title and artist. They bear the impress of some guiding hand.
One who knows how to bring out the inherent qualities, the
hidden beauty, the magnetic personality, the more spiritual
intuitions of the composers.

Ask to hear these records. Made by the HousS of Brunswick
— a name renowned in the world of music. Compare
Brunswick Records with others. Be their sole judge! Look
for something entirely different. Something sweeter, richer,
truer! You'll find it in full measure in this new Brunswick disc'

THE BRUNSWICR3 =- BALKE - COLLE

General Offices: 623-633 So. Wabash Avenue, CHICAGO

Branch Houses in Principal Cities of United States,
. _ Mexico and Canada _,

Canadian Distributors: Musical Merchandise Sales Co.,
819 Yonge St., Toronto

When you write to advertisers r'ease mention PHOTOPLAY MAGAZINE.

Chasing the Kaiser

The new favorite outdoor sport

of the pictorial news -getters: tracking

Wilhebn to kis Dutch, lair.

By
JULIAN JOHNSON

DURING the several years of the war, the reporters these low persons, dawdled along with the outfit for a 'long

who went from their metropolitan magazines and daily space of country road — and they got away, with none the wiser,

newspapers to the war zone; the artists who "covered" having in their possession three fair-sized reels of foggy and

the war; the still and motion picture photographers speckled but none the less identifiable film of him, much of it

who trundled their Eastmans and American Bell and Howells made at a distance not exceeding thirty feet.

over the battle-lines — none of these told their true and some- Attempts to get his father have been funnier and even

T)ecorations by
Stuart Hay

times startling experiences —
until after the armistice was
well-jelled. And not until
the ex-Kaiser is removed
from Amerongen, will the
motion picture men come out
with their tales of amazing
encounters — some of them
quite true — concerning the
efforts of the American film
companies to capture the ex-
tinct monarch in his lair.

Far more effort has been
made to imprison the late
Kaiser in a lens than has been
expended to catch his well-
cartooned son Frederick Wil-
liam. But the latter efforts
have been more successful.
Perhaps because of Frederick
William's greater personal
■vanity, but more likely be-
cause of the better guard
thrown around his father.

Every film news service in
America has had men in Hol-
land ever since November,
1918, trying to catch Wil-
helm, and they feel that with
his departure to another coop,
they will surely grab him.

Most of these attempts
have been more or less hu-
morous; nofte more so than
the long pursuit that finally
resulted in nearly three reels
of the crown prince. The
celluloid birds who captured
this worm of curiosity trun-
dled about the country roads
for a month, in a farmer's
van, disguised as hucksters.
In the jumble of goods at the
back of their carry-all was an
irregular opening — a veritable
masked battery, for behind it
lurked the eye of an Ameri-
can Bell & Howell. When-
ever their scouts reported the
Hohenzollern heir abroad the

old van went rumbling out on the road. At last, on a foggy,
half-rainy morning the cameramen, in disguise, actually over-
took his lese majesty. Immediately — fortunately they carried
stuff to sell — the best actor of the outfit began to cry his
wares and offer fantastic bargains. He was soon surrounded
by farmers' wives and children, attracted by his clamor, and
into the tumult, as an amused spectator, walked the wanted
gentleman. Frederick William, vastly amused by the antics of

A cameraman may look at a king — particularly if the king is in
Dutch and the cameraman is hidden in a hay wagon. This snapshot,
greatly enlarged, sho'ws the ex-emperor, taking his daily walk
through the formal gardens of Bentinck Castle, at Amerongen.

more persistent, also gener-
ally unsuccessful. The only
man who really got away
with a boxful had his appa-
ratus smashed by a Dutch
guard.

One cameraman of a New
York concern has the proud
distinction of having been
eleven different individuals in
Holland. That is to say, he
has been put summarily over
the border by the Dutch gov-
ernment as a public nuisance
• — and each time has been
content to wander about the
Continent for a little while,
shooting away — and then to
return with a new set of pass-
ports, as somebody else.

Another man, noting the
ample Dutch equator, which
tradition says once projected
porchlike over a considerable
part of Bowling Green, rigged
himself up with a joeweber
stomach having an "aero-
scope"' camera inside, and
thus approached Count Bent-
nick's estate. However, his
abdominal rigidity attracted
too much attention, and as
the guard appreciated no orig-
inalities in make-up and act-
ing, he retired to a confused
obscurity.

Still another actually got
onto the Count's estate, with
an aeroscope held tightly to
his chest, but on developing
his picture — ^he hadn't much,
anyway — discovered that the
beating of his heart had
thrown his camera com-
pletely out of line! The
"aeroscope" is the invention
of a reporting genius who had
been in pretty tight places
over here, and consists of a
completemotionpicturecamera
enclosed in a small black box, with the cranking done mechan-
ically by an engine driven from a small flask of highly com-
pressed air.

The layman may wonder at such persistent efforts to snare
the most unpopular man in the world. But public curiosity
is a matter of curious mathematics; the public would consider
as a supreme optic prize at least one series of lifelike views
of the man it most generally detests.

Photoplay Magazine — Advertising Section 83

If you ask at the store for a Kodak
camera, or Kodak film, or other Kodak
goods and are handed something not of
our manufacture you are not getting
what you specified, which is obviously
unfair both to you and to us.

Kodak'' is our registered and
common law trademark* and cannot be
rightly applied except to goods of our
manufacture.

*Trademark : Any symbol, mark, name or other characteristic or
arbitrary indication secured to the user by a legal registration, adopted
and used, as by a manufacturer or mer:;hant to designate the goods
he manufactures or sells and to distinguish them from the goods of
competitors. Standard Dictionary.

If it isn V an Eastman, it isn '/ a Kodak,

EASTMAN KODAK CO., Rochester, N. Y.

When you write to advert isers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

The violin-shaped resona-
tor of The Cheney creates
true tonal beauty and
adds rare quality to vocal
or instrumental records.

X Q^ie Spirit of cl^USiC Joyous as the song of birds,
^ - lives in The Cheney. Transcendent beauty

of tone, the gift of acoustic science, and consummate art in
cabinet'making, give The Cheney unique distinction.

Cheney tone supremacy rests securely upon basic patents
which cover an entirely original application of acoustic prin'
ciples to the problem of tone reprodudtion.

This master instrument plays all records — better than ever
they were played before.

CHENEY TALKING MACHINE COMPANY • CHICAGO

DEALERS EVERYWHERE

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Paddy B., Ireland. — I have never mar-
ried. It may be a fact that marriage is a
failure, but if a woman loves a man she is
willing to find out for herself. I like my
work and won't you write again and ask
me some — sensible questions ?

Paul C, Montreal. — Please don't ask
me to give any recipes for success in pic-
tures. It's like telling a woman how to be
beautiful in ten lessons: it can't be done.
I do not know of any film companies pro-
ducing in your city. I am sorry.

The Texas Kids. — You two could write
another "Young Visiters." I daresay you
could duplicate Daisy Ashford's peculiarly
feminine and extremely infantile intuition
regarding elderly gentlemen of 42. My-
self, I should be afraid of you. I have
never heard the theory advanced that some
girls do not want to be movie stars because
they would not like the various manifesta-
tions of emotion which usually precede the
final fadeout. In fact, I have heard quite
the contrary. Wallace MacDonald is not
and never has been married. Whether or
not he wants to get married is another thing
entirely. I should not venture to speculate.

EvELVNE B., Bristol, Conn. — So you told
your friend to be sure to look me up when
he comes to Chicago, as you are sure I will
find him lots of fun. Well, I'll begin look-
ing around now and see what I can do.
Your list of favorites matches mine. You
don't need to send Dick Barthelmess the
clippings of what Delight Evans says about
him in Photoplay. Dick reads it himself.
So you think that if wit had a commercial
value I would be rich. Dear girl, it has —
and I'm still a poor man. Clarine Seymour,
Griffith, New York; Gloria Swanson, Lasky,
Hollywood; Marie Prevost, Sennett; Bill
Farnum, Fox (eastern) ; John Barrymore,
Famous Players, New York.

Ilene Ethel, St. John. — I fear I will
never be able to make money. I have not
the genius of the hat-check boy, the aggres-
sion of the taxi-cab driver, the domineering
qualities of the head-waiter. I was born
to blurb unseen — but not unread. Pell Tren-
ton was May Allison's husband in "Fair
and Warmer" but Eugene Pallette, formerly
a Fine-Artist, had the fatter male role.
Crane Wilbur is now a successful playwright.

P. L. R. P., Syracuse. — Doug's popular-
ity has, indeed, increased by jumps — also
leaps and bounds. His latest is "When the
Clouds Roll By" renamed from "Cheer Up."
Mary's new one, "PoUyanna." Mildred Har-
ris Chaplin is with First National under
Louis B. Mayer's management. Joseph
Henaberry is directing her first new picture.

Adaline F., St. Louis. — You say your
fiance looked foolish when he proposed to
you. I daresay he was. Anyway — I think I
would give up my idea of picture stardom
for a while, anyway. Pearl White's latest
picture is "The Black Secret" for Pathe,
from a Robert W. Chambers novel called
"In Secret." Walter McGrail is her lead-
ing man.

01 mi433a

Tte Builder of Destinies.

Beth, Kansas City. — I am sure I do not
know what occasioned your outburst. I
would be much more successful if I would
lie once in a while; people get so tired of
hearing the truth over and over again. I
probably told you an unkind truth and it
always hurts. The fact remains that I
smoke a pipe and am not going to give it
up, not even for you.

Snappy, Fordham. — I don't blame you
for being snappy. When a young lady tells
a young man her hands are cold and the
young man holds her hands, it's all right.
But when the young lady, encouraged, says
"I'm cold all over" and he gives her his
overcoat — well, it's enough to spoil any girl's
disposition. But don't snap at me. Young
ladies, alas, never confide their temperatures
to me. Clarine Seymoure in "Scarlet Days."
You want a picture?

A Girl's Club, Monson, Mass. — I did
write you a letter but you must have
thought it was from one of your old beaux,
for you didn't answer it. I'll try again
sometime. Why don't you subscribe? Mae
Marsh married Louis Lee Arms, New York
newspaper man. She has a little baby girl.
She signed a new contract, with Gasnier, to
make pictures in California. June Elvidge
and Lieut. Badgely are securing a divorce.
Julian Eltinge, on the stage last. Your wish
for a cover of Norma Talmadge came true
in the January issue.

Roberta C, Boston. — You may think
you can stop writing to me. I know that
you won't. For every time I answer you,
you'll answer back; a woman must have the
last word. Besides, please don't desert me;
I need your help. They say a woman al-
ways loves a man whom she can pity. I
need sympathy. There's a lot about your
Bill Hart in this issue.

Opal B., Kansas City. — Of course I don't
believe you — but it is nice to think that the
hotel clerk rang your phone and demanded
order and quiet, while you were laughing
over Questions and Answers. I won't ask
you how it turned out; I suppose you
turned in. Many of the stars have freckles
—for instance, one of the blondest and most
beautiful ingenues covers hers for screen
purposes with make-up. Wesley Barry, on
the other hand, is proud of his. Write soon
again.

Alice, Penn Yan. — Sounds like a tobacco.
Dorothy Gish is in the East now. She
brought her company with her. Vivian
Martin is east also. Anita Stewart works in
Hollywood, Harrison Ford made a flying
trip to Manhattan to work with Marguerite
Clark in "Easy to Get," then he hit the rat-
tler back to Cal.

Questions and Answers

(Continued)

John F. T., Miamisburg, Ohio. — The
Big Four has its office at 729 Seventh Av-
enue, New York City. Griffith is the only
one of the quartet who ilaakes his pictures in
Manhattan: Mary, Dougk and Charhe all
work in the west. Thanhouser is one with
Lubin, Kalem, and Essanay\ it has passed.
The Jimmy Cruzes are in California where
he directs for tasLy. Mignon Anderson has
been free-lancing. Morris Foster with Uni-
versal last. As you know, perhaps, Flo La
Badie was killed in a motor accident.

Betty and Margaret. — There's such a lot
of team work lately. Have all the girls
formed secret societies? I never yet heard
of a girls' secret society that was really se-
cret. Most of those I hear of are for the
purpose of exploiting some well-loved screen
star. Dick Barthelmess is very dark as to
complexion — not disposition. Geraldine Far-
rar was born in Melrose, Mass., and she is
somewhere in her thirties. Dorothy Gish
has no "permanent"' leading man. Dick,
Ralph Graves, and Rudolph Valentino have
all played with her recently.

Pandora, Charlottesville. — Indeed I
hope your curiosity has happier results than
hers. So you don't want to write to Madge
Kennedy because you're afraid she might
answer and spoil the illusion. Yes, I know
just how you feel about writing to celebri-
ties and rich relations. Madge was on the
stage before going into films; she was the
cocktail-imbibing heroine of Avery Hop-
wood's "Fair and Warmer." She was dis-
covered while acting in amateur dramatics.
Married, to Harold Bolster.

Castle Clip Number Two. — So you wish
all our screen actresses would, bob their
hair? I don't know; it mightn't become
some of them. Let's see: there's Irene Cas-
tle— who is, I think, contemplating letting
hers grow; Constance — also Natalie and
Norma Talmadge; Anita Loos; Nazimova;
Viola Dana and sister Shirley Mason. There
may be others; girls have such a way of
turning up their hair to make it look short.
Unless you have curly hair, however, they
tell me that bobbed hair is just as hard to
fix as long hair. Harder, in fact, on rainy
days. Let me know when you join the Hon-
orable Society of the Bobbed-Haired Jazz
Babies.

Mrs. W. D. C.> St. Louis. — It is a pleas-
ure to read a letter like yours. I like H. B.
Warner, myself. In fact, he represents a
boyish dream I always had — I should have
wished to grow up to look like him if I'd
known him then. Sort of a Sir Galahad
person isn't he ? Married to Rita Stan-
wood; address him care Hampton studios,
L. A. There's a little Joan Warner, only
about two and a half years old.

Kitten, New York City. — When a girl
named Kitten inquires wistfully if I have
hair slightly grey at the temples — what can
a poor man do? But I can't lie even to
you: my hair isn't grey at all. I say — what
do they call you, at home? Surely they
don't say "Kitten" whenever they want you.
You seem to be such a nice girl, too. Alec
B. Francis was a member of the old Eclair
company; he was on the stage before that.
Write him at Goldwyn studio. Culver City.

Cleo, Kentucky. — You would like to
drop in on my Eveless Eden, would you?
My stenographer is always here ; every Adam
must have a litttle evil, as the saying goes.
You can drop in any time — with a letter.
Elsie Ferguson, Famous Players studio in
New York. She is a Paramount-Artcraft
star. Latest to be shown, "Counterfeit."
I may not have a nice profile but I turn
my toes out as I walk and I am very good
to office-boys, waiters, and taxi-drivers. If
you would rather read me than eat, you
can say no more.

Josef G. C, Dowagiac, Mich. — Polly
Moran is Sheriff Nell in the comedies. She
used to be with Sennett, took a flyer in
vaudeville, and is now with Fox-Sunshine,
I understand. Works in Hollywood. Other
answered elsewhere.

N. J. B., New Castle. — ^Your answer has
been delayed but I hope this will serve you.
Al Jolson is not in pictur:es-and has never
been but you mighta*Wress him at the. Win-
ter Garden, New/York. John Barryrirlpre's
pictures may h^ obtained through Famous
Players-Lasky, Iss Fifth Ave., New Yo^k.
Francis X. BusHman is on the stage nciw.
Maurice Costello will probably send you a
photograph if you write to him care Vita-
graph, Brooklyn. He is in Corinne^rif-
fith's picture, "The Tower of Jewels '

Kharline p., Tacoma. — Yes, I think
Olive Thomas is perfectly darling. Would
you mind telling her that I think so when
you write? I know Olive, filmically and
personally, and only wish I could get up
enough courage to tell her how much I like
her eyelashes. Her latest are "Out Yonder"
and "Out of the Night." She has been Mrs.
Jack Pickford for several years now. Ella
Hall is married to Emory Johnson.

W. K. Youngstown. — On that bet —
Charles Chaplin has no children. You win.
The little son of the Chaplins died when
only a few hours old. Mrs. Mildred Har-
ris Chaplin's new picture is called "The In-
ferior Sex."

M. E. S., Brighton. — So you want me to
be epigrammatical. One cannot be epigram-
matical with a cold in the head. If I wrote
as I felt this morning, this Magazine would
never pass the censors. Eugene O'Brien no
sooner finishes one picture than he begins
another. Several recent ones are "Sealed
Hearts" "The Broken Melody" and "His
Wife's Money." Norma Talmadge's new
one is called, "She Loves and Lies." Elsie
Ferguson is Mrs. Thomas B. Clarke.

Betty, Hume, Illinois. — Don't address
me as "My dear — er — "! That's as bad as
the proposal of a bashful man — "Darling,
I — "! I should say that man was a good
actor if he starred in a temperance picture
— and he was so enthusiastic too, you say.
Evart Overton? His middle name is Emer-
son; he was with Vitagraph last.

G. C, Providence. — Oh, don't always be-
lieve the billboards of a musical show when
they advertise, "A Chorus of Twenty." They
refer to numbers, not to age. In the films,
however, the girls must be young. It's a
safe bet that Mack Sennett never engages a
girl for his comedies if she's over twenty-five..
Phyllis is just a baby.

C. E. L., Laconia. — Old man, I'd like to
oblige you but I can't even get any myself.
The art editor uses them in the art section,
then he takes them all and says he has to
save them. It isn't right; it isn't fair. And
that was such a pretty picture of Phyllis
Haver, too.

(Continued on page iji)

It^s a SmaU World!

EN Feet From New York to Cairo! That is, ten feet from the structure built to represent a tenement in New York to tlie
picturesque little huts on the Cairo street at the right. It's all on the same lot— a line divides Douglas Fairbanks' outdoor set at
the left from Bessie Barriscale's Egyptian set, on the big Brunton lot in Los Angeles. The far ends of the w^orld meet in a

motion picture studio.

Phoioplay Magazine — Advertising Section

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When you write to advertisers please mention PHOTOPLAY MAGAZINE.

'(Do - 9t

Title Keu. U. S. Pat. Off.

'I 'HIS is YOUR Department. Jump right in with your contribution.
•*■ What have you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine -your
remarks to specific instances of absurdities in pictures you have seen.
Your observation will be listed among the indictments of carelessnciS on
the part of the actor, author or director.

Stoic Chinaware

IN "Why Smith Left Home" there occurs a severe earth-
quake. Small houses on the edge of a cliff are shown
collapsing, and an interior of the house in which Bryant
Washburn and Lois Wilson are marooned shows cupboards
falling, electric fixtures swaying, tables overturned, etc. Yet
through all the confusion a row of plates on a plate-rail in
the dining-room remain calm as a steel strike until the cobble-
stone chimney nearby is shaken over upon them.

Stuart S. Towne, Los Angeles, Cal.

From London to Fort Lee

MATT MOORE, in Olive Thomas' picture- "The Glorious
Lady," is in his London club. The scheming villainess,
in her boudoir, rings him up on a British telephone. Matt an-
swers— through a regulation U. S. A. instrument. G. D., N. Y.

"Till The Sands of The Desert Grow Cold"—

IN your November issue "Mona M., New York," criticizes
Louise Glaum for wearing a fur coat in "Sahara." I agree
with her that a fur coat seems superfluous, but, really, the poor
dear needed it as a protection against the cold. In the last
scene she came out of the tent intending to leave her sweet-
heart to the tender mercies of the nice little missionary, and
her congealed breath could be seen leaving her lips.

Stenographer, Indianapolis.

What Every Villain Learns

IN Enid Bennett's "What Every Woman Learns" we see the
hero strike the villain with such force that he knocks
him across the room. However, the director probably did
not want the villain to be too badly mussed up
until the fifth reel — for he struck him a blow that
started from the shoulder
like a regular punch but
when it met the other, it
appropriately stopped. The
next day the villain shows
up with a beautiful black
eye that any Mack Sennett
scrap artist would be proud
to own.
Elwood Ullman, Jr.,
St. Louis, Mo.

Ten Readers Saw This

IN Mauricei Tourneur'k
"The Life Line," the
great ship runs on the rocks
late at night; the fright-
ened passengers are hastily
summoned from their
berths, and rush forth, clad
in variously assorted night
clothes and outer garments;
but to supply pathos, tod-
dling down the slanting cor-
ridor, come two little chil-
dren, daintily clad in real
party clothes, curls, frillies
and hair-ribons !
L. N. Brown, Lowell, Mass.

Probably Not in Wichita

MAY I not suggest that the director of "The Grim Game"—
a Houdini picture — visit newspaper editorial departments
to see how real reporters and editors act when a big story
breaks? Other news dogs don't listen-in to hear what the star
reporter is saying; nor do the city editor and the s. R. shake the
farewell parting when the latter goes out to chase down a story.
RoYSE Sheldon Aldrich, Wichita, Kansas. ,

Maybe He Wore Out The First Pair

IN "Out of Luck," the Dorothy Gish farce-comedy, Ralph
* Graves, in the burglar scene, first wears a pair of high
shoes and then a pair of low shoes. The chase was supposed
to take place all in one evening, too. R. L., Bellevue, Pa.

Real Heroism — In Both Cases

I SAW "For Better, For Worse" with Gloria Swanson and
Tom Forman. Gloria is seen looking out of a window at
the soldiers. It is snowing hard and all the boys have on large
overcoats and are covered with snow, but when Tom bursts into
the room he is hatless, coatless, and doesn't even fleck off a
single snowflake.

In "Daring Hearts," a Bushman-Bayne film, a little girl
gives F. X. B. a shaving mug and brush. Without bothering
about soap or hot water he starts to shave.

V, D. A., Grand Rapids, Mich.

In The Days Before H. C. 0. L.

IN "Girl of My Dreams" Billie Rhodes takes a large market-
basket of eggs to the hotel to be sold. The basket held
at least eight or ten dozen eggs. She receives two dollars for
the entire lot! Where, and v/hen please, was this story laid?

Mrs. J. M. M., Washington.

Photoplay Magazine — AD\ERrisiNG Section

What

Sousa

Sat^s

" I take this occasion to tell you of the genuine pleasure and
perfect satisfaction your New Wonder Model Instruments, used
by the members of my Band, have given me.

"In our extended engagement at the New York Hippodrome your
instruments have had a splendid opportunity to display their merits.
They have fully demonstrated their worthiness of the Grand Prize and
Gold Medal of Honor given them by the Jury of Awards at the Panama
Pacific International Exposition.

" During our pleasant engagements at the Exposition I had occasion to note the various
bands and orchestras there engaged, and the Conn Instruments seenried to be in evidence
everywhere. Particularly was this the case where High Grade musicians were engaged.
" I still maintain that the new model Conn Instruments enhances the musical value of any
organization to a marked degree and the members of my organization fully accord with me.
" The Conn, Ltd., has created a high standard of excellence for Band Instruments, a
standard worthy of emulation, if possible, by other makers.

" Very sincerely, JOHN PHILIP SOUSA."

JOHN PHIUP SOUSA
From a Recent Photo

THE FAMOUS JACKIE BAND, U. S. NAVAL TRAINING STATION. GREAT LAKES. ILLS.

Lt. JOHN PHILIP SOUSA. Conductor

The organization and successful training of the "Jackie Band " is one of the most remarkableof Lieut. Sousa'sachieve-
ments. Its members were recruited from all walks of life— many of them wholly unfamiliar with music and musical
instruments— and yet in a few short months, Lieut. Sousa was able to develop them into a world renowned organization.

The Jackie Band of over 1,200 members was equipped throughout with Conn Instruments, — a mostsignificant fact when
one remembers the success achieved. And yet good music is no mystery. It is the expression of skill in both the artist and
the maker of the instrument.

Music in Other Organizations

The power of music to inspire and bind together was well illustrated in the Jackie
Band. Hundreds of organizations and institutions are recognizing the same fact and
are using it to the mutual advantage and the profit of their members.

Large manufacturing industries, Fire and Police Departments, Boy Scout Organiza-
tions, Schools, Colleges, Lodges, Churches, etc., are all benefici-
Q^v'^:;r^~"-- -:'tS« aries of the bond of music. Many remarkable Bands and Orches-
ps^f' ^y^' tras have been developed among the members of such organiza-

I 11:5*°='!?'—'- ';:-'"'';;yJf tions with the aid of Conn Instruments.

Unusual benefits of no small proportions await other similar
organizations who are interested in the creation and development
of a spirit of harmony in thought and action within their organi-
zations.

Essential Tonal Qualities

A Characteristic of Conn Instruments

The test of an instrument is its tonal qualities,— its
perfect intonation,— its symmetry of proportion,— its
proper balance, — its embodiment of Art and Science as
expressed in appearance, and performance.

Conn Instruments are the product of a patented
method impossible of attainment elsewhere. An
intimate, scientific knowledge of require-
ments, plus a mechanical skill in production

that approaches the Artistic and Ideal, gives a guarantee
of quality and uniformity in tonal elements that is unsur-
passed. The universal recognition of this superiority of
Conn Instruments by all great Band Leaders of Inter-
national Fame is the best possible guide and assurance for
the beginner or the veteran purchaser of band instrument.
Let ut send information about forming a band in your
organization. If you are a player or beginner, ask for infor-
mation concerning the instrument in which you are interested.

Your Best
Guarantee

of a good Band or
Orchestra Instru-
ment is to see that
it bears this mark

Ralph Dunbar's White Hussars have become so enthusiastic over
their Conn Instruments that they both play and sing their praise.
Those who have heard the White Hussars in Lyceum, Chautauqua
and Vaudeville work know the quality of their work and also appreci-
ate the significance of their enthusiasm for Conn Instruments.

Many brothers and
sisters might well em-
ulate the musical
activities of the
Schuster Family
Saxophone Quin-
tette ■which has
earned an enviable
reputation as
entertainers. The
degree of har-
(Tiony expressed
by this little
family is truly
wonderful, — but
then, they use
Conn Instru-
ments, of course.

Largest and most thoroughly
equipped Band Instrument
Factory in the World.

342 Conn Bldg.,
ELKHART, INDIANA

The Dar-
ling Saxophone ^'^{./A
Four is all that the ^G ^
name implies. Four ^"^+0
charming and capable
young ladies who are meeting
unusual success as musical enter- ^,

tainers in high class vaudeville. They, ^
too, place their dependence in Conn Instru-
ments. The result? Exactly what you would expect, —
the best ever.

Wlien you write to advertisers please mention rHOTOPLAV MAG.^ZINE.

Wanted: Man Who Looks Like Lincoln

IT was in all the New York dailies, in bold type and framed
in a heavy "box:" "Without beard, to appear in moving pic-
ture, 'The Copperhead,' with Lionel Barrymore. Apply today
to Charles Maigne, director, Famous Players-Lasky Studio, 130
West S6th Street."

Charles Maigne made the provision "without beard" because
the man who impersonated Lincoln would have first to appear
in the 1845 episode of the picture and historical records snow
that at that time Lincoln was clean-shaven. Had he been able
to u^e a bearded Lincoln throughout, Mr. Maigne's problem
would not have been so great.

Men, bearded and beardless, short and tall, from all parts of
the east, and even from the Middle West, applied in person or
by letter. Strangely enough most of them were lawyers, per-
fectly solvent — who were anxious to play the greatest lawyer.
Ten of these were selected at a glance and given tryouts. Then
— in walked a tall, clean-shaven man, a little awkward, his long
arms and legs seeming to be in his way. Three of the lawyers
pointed to him — "There's your man."

And given the long hair of the period, the stock-collar and the
tail-coat, little other make-up was necessary — and "N. Schroell"
was engaged to play the part.

Maigne received a surprise when, after the selection of
Schroell, that aspirant for screen honors volunteered the infor-
mation that he was glad the picture work would be for the day-
time only, as, in that case, it would not interfere with his du-
ties as a waiter at the Strand Roof Restaurant on Broadway!

Schroell's history is as unusual as his resemblance to the Great
Emancipator. He has been in this country only ten years. Be-
fore his arrival he travelled over all of Europe and has worked
in Paris, London, Holland and Germany. Although he has
never had a drawing-lesson in his life, he has always worked
steadily at sketching. That is why he is a waiter; he can pursue
his true talents by day. As a child he spent hours making
sketches of the scenes about his home, a tiny village in Luxem-
bourg. The New York World once printed a cartoon of his,
showing the German military machine grovelling in the dust of
defeat before the victorious guns of the Allies. With it was
pub'ished an editorial which declared that Schroell was, through
his cartoons, attempting to speak for the 8,000 Luxembourgers
in the Kanks of the Allies.

Picture at tlie top of page sliows Schroell as the younger and beardless
Lincoln, rehearsing a scene with director Charles Maigne, for "The Cop-
perhead." Directly above — Schroell as a -waiter on the Strand Roof.

Photoplay Magazine — Advertising Section

'tf-

'..■ssfmm^ tot. mmmmmiL'^'-

rf\k..i<iiiil^iiy8

:Vr< ^

H?if-^|-~-ir!i|iii

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Like a
Rare Violin—

Instrumentized

ORE than a faultless phono-
graph— the Dalion gives you
every subtle shade and expres-
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reborn music a soft, mellow beauty that
enriches the original creation — a rounded
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among other phonographs.

The inj
method
brain "
second

A near-by dealer will gladly demonstrate
the Dalion's perfection for you — test its tone-
beauty with every different type of record.

For the Dalion is the phono-
graph instrumentized. Xhe
skill that produces a rare
violin finds its highest expres-
sion in the Dalion's perfected
i:±-^^ ^ tonal development. Com-

bined vv^ith musical superiority are cabinets
of exquisite beauty and exclusive features that con-
tribute substantially to the owner's satisfaction.

^enious "Auto-File" in the Dalion is the simplest, most convenient

of keeping records — and in addition, its marvelous "automatic

keeps every record in the right compartment, refusing to eject a

record until the used record is returned — to its correct indexed space.

^lilwaukee sai Mfg. Co.. Milwaukee

WTien you write to advertisers please mention PHOTOPLAT MAGAZINE.

The

lU^Fated

African

Expedition

How William Stowell

met deatk while making

pictures in the Dark

Continent.

eft a snap shot of Mr. Stow ell £nd at
t. Dr. Armstrong, also killed. This
was taken before they left New York.

AC A B L E report which
reached New York the
first week of December
told of the accident which
resulted in the death of William Sto-
well, a leading man well-known to
all film goers, in the Congo, South
Africa, where he had gone to direct
the taking of pictures for the Smith-
sonian African Expedition. Dr.
Joseph Robert Armstrong, business
manager of the expedition, was also
killed.

Stowell, with Armstrong and sev-
eral others, was going to Victoria
Falls, then to the Belgian Congo and
down the Congo River to Stanford,
taking scenes along the route. They
were to go by way of Elizabethville
and that part of the journey they
were going by train. Out of Eliza-
bethville a wild tank car crashed into
their train, wrecking it. It was
twenty-four hours before a relief train
came and took them to a hospital in
Elizabethville. Both Stowell and
Armstrong were alive when they
reached there but were too weak to
survive. The other two men were
badly wounded.

Stowell, who was thirty-eight
years old, was not married. A di-
rector as well as an actor, he was
given charge, by Universal, of the
taking of motion pictures of native
life, which were to be presented in
an interesting and dramatic, as well
as instructive way. Stowell had
taken six thousand feet of film up
to the time of his death.

Photoplay Magazine — ^Advertising Skciion

,-^ry

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Norma TaLMADCE— "You may use

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P ROPER shampooing is what makes your hair
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wave and color, and makes it soft, fresh and luxuriant.
Your hair simply needs frequent and regular washing to
keep it beautiful, but it cannot stand the harsh effect of
ordinary soap. The free alkali, in ordinary soaps, soon
dries the scalp, makes the hair brittle and ruins it. This is
why leading motion picture stars, theatrical people and
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^"T*- V

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Two or three teaspoonfuls will cleanse the hair
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with water and rub it in. It makes an abundance
of rich, creamy lather, which rinses out easily,
removing every particle of dust, dirt, dandruff
and excess oil. The hair dries quickly and
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thiclcer and heavier tfian it is. It leaves the
scalp soft and the hair fine and silky, bright, fresli-
looking and fluffy, wavy and easy to manage.

You can get Mulsified Cocoanut Oil
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Wben you write to advertisers please mention PHOTOPLAY MAGAZINE.

' ''•■ /-r r • <

Jqainel

A.GNUTT

^^1^

IIIRTS are $30.00 each in Russia.

E are shorter when standing than when
lying, and taller in the morning than in
the evening. Dr. Marand. of the Royal Aca-
demy of France, made several experiments to
prove the theory. He found after a year's trial
that usually in the night he gained almost three-
eighths of an inch, and lost almost an inch dur-
ing, the day. The cause of this is to be found
in the different state or condition of the carti-
lages which go to make up the spine.

TT HEY knew how 10 handle profiteers in tha
'■ olden days.

Here are some of the penalties meted out
in the time of Edward 1. to "engrossers, fore-
slallers, and all sorts of frauds and imposi-
tions in the sale of provisions."

The chief offenders in those days were the
bakers and millers, who were experts at giving
under weight, and against these the_ law was
especially severe. For a first offense the fraud-
ulent baker had his stock confiscated, and for
a second he was imprisoned, for a third pil-
loried. As for a "thievish miller," he -was put
in a refuse cart and driven through the streets,
exposed to the derision — and missiles — of the
people.

DORIS: "I thought you were going to kiss me
when you puckered up your lips just now."
Jack: "No — er — it was only a piece of grit
in my mouth."

Doris: "Then for goodness' sake swallow !t
— you need some!"

FRANCE has suffered sev-erely through Amer-
ica, "going dry." It means that the wine
export trade to America — averaging $150,000,000
a year — is lost.

''11 OW do you like that cigar I gave you, old
*^ man? For two hundred bands otV that
brand they give you a gramophone."

"Vou don't say! If- I smoked two hundred
of those cigars I wouldn't want a gramophone;
I'd want a harp."

A STRANGE custom is practised among the
Eskimos. When a doctor is called in he
receives his fee as soon as he arrives. If the
patient recovers it is kept; if not, it is returned.

THE official Japanese board of film censors
has a strong objection to kissing scenes
on the screen, and in ten months 2, .350 such
scenes have been banned from imported films.

THE sergeant had been having a trying time
with Fome very raw recruits.
For a long time he kept calm, but at last, ex-
asperated, he shouted : —

"Hang it all! I know I'm not a Mary Pick-
ford, but you might have a look at me occa-
sionally!"

I_l E was a collector for an installment-system
** establishment, new at the business, and very
sersitive about performing his unpleasant task.
He was particularly .embarrassed, because the
lady upon whom he had called was so exceed-
ingly polite and beautiful. Still, the van wa's
at the door, the lady was in arrears in her pay-
ments, and he remembered his duty.

"Good morning!" said the lady. "It is a
beautiful day, is it not?"

"Beautiful i:ideed!" he agreed.

"Won't you take a chair?" she said.

"Er — no, thank you, not this morning," he
stammered. "I think I'll take the piano,"

'T'HE learned men in the Massachusetts Insti-
^ tute of Technology have employed- their
spare time in weigln'ng the earth, and now
announce that it weighs 6,000,000,000,000,000.-
000,000 tons, six sextillion tons, in short, six
and twenty-one ciphers, to put it in simplest
term.

LITTLE GIRL (to film actress): "My father
says he often saw you on the stage before
vou went into pictures."

Excited Actress: "What did he say he had
seen me in?"

Little Girl: "The 'Eighties!"

PATENT has been taken out for the manu-
facture of "pearls" from the crystalline
lenses of the eyes of fishes and sea animals,
wliich are said to be almost indistinguishable
from genuine pearls.

PROCRASTINATION has saved a lot of men
from getting famous, or going to jail.

AN amusing sidelight on the recent Peace
Conference at Versailles is thrown by one
of the American correspondents, who not only
reported the proceedings proper, but took notes
regarding the hair, moustaches, beards, and
whiskers of the peacemakers.

Two-thirds of fhe delegates were more or less
bald. Perhaps some of them made up for this
bv wearing moustaches. Out of sixty-five men
w-ho sat round the Peace table, all had mous-
taches but fourteen.

Whiskers, on the other hand, were not popu-
lar. Only three people wore them, and by a,
curious coincidence, the names of all ^ these
three people began with V. They were Venize-
los, of Greece, Vandervelde, of Belgium, and
Vassitch, of Serbia. The latter's whiskers were
particularly prominent.

In regard to dress, there was less formal at-
tire than one might 'have imagined. The Eng-
lish paid no special attention to dress. Bowler
hats and frock-coats, once a combination that
would never have been sanctioned, were riuite
popular; but there were some countries which
put all they knew into their attire. These were,
notably, the Japanese, and some of the South
American States.

"pROPINOUITY is what brings about mar-
^ riages," declared the father of three single
daughters.

"Yes?" murmured his wife.

"It works this way. From among the men
who call most frequently at a house the daugh-
ters of the house naturally select husbands."

"In that case," said the mother sadly. "I
fear our girls are doomed to marry bill-collec-
tors."

Dl'RING last year the gold output of tnc
Klondyke was some four hundred thousand
pounds. Since this goldfield was first worked
about forty million pounds of the precious metal
have been secured, and it is believed that there
is still an equal amount waiting to be worked
out.

AVERY grim joke caused a war on one occa-
sion. The ratification of a treaty was in
question, and the Turkish Grand \'izier asked
the Venetian Ambassador to swear in Moslem
fashion upon his beard and the beard* of the
Prophet. -,

The Ambassador would not. "Venetians wear
no beards." he said. "Neither do monkeys!"
replied the Turk, and that interchange of "com-
pliments" cost 150,000 lives.

JOHN and Mary had been sharing one chair
all the evening. John sat on the chair, and
Mary sat on John.

After about three hours of this, Mary sud-
denly exclaimied: —

"Oh, John, aren't you tired?"

John smiled a brave, patient smile.

"Not now," he said gently. "Not now. I
was about an hour ago, but now I'm only par-
alyzed!"

piRDS cannot open the foot when the leg
■'-' is bent; that is the reason they do not fall
off their perches when asleep. If you watch a
hen walking, you will notice tliat it rloses its
toes as it raises the foot, and opens them when
it touches the ground.

THE lighest w»od, in weight, that is known
is "Balsa." Cork is three times as heavy as
this wood. -It can easily be indented with the
finger nail. It is treated with paramn and used
in making floats of life preservers and in con-
structing life rafts.

VIOLINS made by Stradivari are rarely worth
less than $5,000. One recently realized $15,-
000 and a 'cello $20,000. Yet Antonio
Stradivari sold his fiddles for about $20 each!
An old Strad, like an old coin, always tires
our imagination. Sometimes theyi do represent
a fortune, but, unfortunately, there are so many
spurious instruments about that many a person
is doomed to disappointment.

THAT the age of bride and bridegroom need
no longer be inscribed on the marriage cer-
tificate is a new rule in regard to F'rench mar-
riages. It is sufficient if they are declared of
age, or over thirty, a statement of specific age
being unnecessary.

/~\N a snail's tongue, which resembles a long,
'-' narrow ribbon, as many as 30,000 teeth are
sometimes distributed.

'T'HE "earthquake" shock recently experienced
* by the Pacific battleship fleet off the Mexi-
can coast was so severe that the big flagship,
AVic Mexico, trembled from stem to stern and
"Collision quarters" was sounded.

"T'HE expression "once in a blue moon," mean-
*■ ing that occurrences are so widely separated
by time as to almost never recur, is not a figure
of speech. It has a basis of astronomical fact.
The phenomenon has been twice observed in
both Italy and Austria, and once in England.
There is no available record of it having been
noticed in America.

GRIEG, the musician, when about to ccni<
pose, would first memorize the words whose
meaning he wished to express by sounds.

"I require several days to heat my head,"
he once said: "then I lose my appetite, my
eyes become inflamed, and the imagination is
stimulated. Then I compose an opera in three
weeks." Most people will agree that work pro-
duced under such conditions deserves to succeed.

P DGAR ALLAN POE was in the habit of
'-' drinking brandy for the same purpose. \'ol-
taire went in for coffee, and de Musket for a
mixture of beer and absinthe. De Quincey is
said to have used opium, though he found it as
much a hindrance as a help; and Burns preferred
whisky.

There are odder methods still, however; Schil-
ler put his feet in ice while he sat in a room
filled with the odor of rotten apples. Miltoiu
buried his head in cushions and blankets. Rous-
seau preferred to have the sun beating on his
head, while Shelley wrote with his head close
to the fire.

Quite a number of people, other than men oi
genius, have discovered the advantages of think-
ing in bed; but of the intellectual giants who al-
ways preferred this method, Descartes and Leib-
nitz are noteworthy. Mark Twain wrote sitting
up in bed. Lecky, the historian, modified the
method: he used to kneel upon a specially-con-
structed sofa and write upon the head of it. so
that the line between head and heart was hori-
zontal and the blood flow therebj- aided. The
same result was secured more comfortably by
Swinburne, who used to write while lying on
the floor.

In contrast. to these, ^'ictor Hugo always stood
upright at his desk. Herbert Spencer used to
utilize physical exercise, perhaps the best method
of all. After rowing or playine with a ball for
a time, he would sit down and dictate. Later he
would try more exercise, and so on.

^^ Sweetest Story

Ever

MEN would love to whisper into her
ear the sweetest story ever told, for
her glorious and flashing beauty captivates
them all. You see, she knows the secret of
Instant Beauty — the use of the complete

Pompeian Beauty Toilette."

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adds the charm of delicate fragrance.

Now a touch of Pompeian BLOOM
for youthful color. Do you know that a
bit of color in the cheeks makes the e^'es
sparkle with a new beauty ?

Lastly, dust over again with the powder,
in order to subdue the BLOOM. Presto !
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Note: Don't use too much BLOOM.
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These preparations may be used separately or together (as

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Also Night Cream and Pompeian Fra-
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make many interesting beauty experi-
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THE POMPEIAN COMPANY

2131 Superior Ave., Cleveland, O.

j4^so Made in Catiada

Guarantee

The name Pompeian on any package
is your guarantee of qualityandijafety.
Should you not be completely satisfied,
the purchase price will be f^rladly re-
funded by The Pompeian Company,
at Cleveland, Ohio.

"Don't Env^ Beauty-
Vse Pompeian"

THE POMPEIAN COMPANY

2131 Superior Avenue, Cleveland. O.
Gentlemen: I enclose a dime for a 1920 Pompeian Beauty
Art Panel and Instant Beauty samples. Also samples of
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Name--- - -— - —

Address

Citv -^tatc

Flesh Beauty Powder sent unless another shade requested

$ioo

MINUS
LUMBER
WASTE

T 82

Save the Waste

Save the Waste and Reduce the Cost. The Aladdin System Scientifi-
cally Prepares the Materials and Conserves the Labor. You Can Save
iBVo on the Cost of the Lumber and 30% on the Qost of the Labor.

Certified records of thousands of Aladdin Homebuilders in every state
prove these statements. You can prove these statements for yourself,
for there is an Aladdin Home near you wherever you live.

The pictures at the left tell the story of scientific preparation and hand-
ling of materials and the efficient conservation and direction of the labor.

$100

MINUS
LABOR
WASTE

The lumber that's wasted costs just as muck as the lumber that's used.
The only possible way to reduce present high prices of lumber is to save
the usual waste. The Aladdin System prepares all the lumber in our
mills ready to be nailed in place. Waste of lumber is reduced to less
than 2%. Cost of labor is reduced 30%. One man will do in seven days
with Aladdin Materials, what it requires ten days to accomplish without
Aladdin's System. The book, " Aladdin Homes," sent free to prospect-
ive builders, explains this completely and thoroughly.

The System Greatest Lumber Distributing System in the World

ZOftof luTibfrfroma I6ft boart

"^^^^^^

Ripping. ,

Planing

and Resawing '!_,^s^

at One Operatlori'xN

^ Cutting Mitres

Angles dndBeveis

by Machine

The Result

Noon. Third Day

Seventh

Day

'WS''^

■~>k

f^^

l^^l

lt-<v~- ,f ^" 1;'

i-^r^^

Aladdin houses are manufactured and shipped direct from the Aladdin Co.'s own Mills in Michigan,
Mississippi, North Carolina and Oregon. Wherever you live, Aladdin Houses come to you in a otraight
hne from the nearest timber region. Aladdin's National Homebuilding Service means shorter routes,
quicker delivery and lower freight rates for builders in every part of the United States. Three days to

a week are saved in shipments reaching destination. Complete Sales
and Business offices are maintained in connection with each mill.

DOLLAR-A-KNOT QUALITY MATERIAL

Aladdin's DolIar-a-Knot Guaranty is Proof of High Quality, Knot-
less lumber, the purest and clearest that ever came out of the forest,
is the kind that Aladdin Houses are made of. This is evidenced by
our famous Dollar-a-Knot Guaranty which has now been in effect for
over four years. Better quality lumber does not grow. The highest
grade paints, hardware, doors, windows, millwork, etc., are all
included with every Aladdin House. The same grade, the best, is
furnished for the small as well as for the large houses.

An Ideal
Square Type

2^iL-

Four Mills
Four Offices

Dwellings, Bungalows, Gcu'ages

Heuiitiful Aladdin Homes shown in
the Aladdin 100 P&ne Book have a
charm for everyone desiring a home.
Bunijalows of 4 rooms to 10 and 12
rooms, in shinpled walls, heavy siding
or fitucco. are well represented in this
book. Dwellings of one and two
stories. Colonial types and cottages to
suit the desires of every builder.
Many illustrations in actual colors.
Exterior and Interior iilustrationa
made direct from actual photographs
of each Aladdin Home as it is now
built and occupied in many pjirts of
the country portray the modt popular
designs of home today.

Cut Out Lumber Waste

The Aladdin System of Home-
building has lieen practicing for 14
years the principle the world has
only learned during the war— the
eliminatioD of waste of lumber and
labor. The Aladdin Book explains
this system thoroughly, shows how
20 feet of lumberis cut from a 16 ft.
board. The threat Aladdin Organi-
zation, composed of ex[)erts in
eveiy branch of homebuilding,
stands ready to help you build your
home at a saving. Put this group
of experts to work on your problem,
Send for the interesting book,
"Aladdin Homes."

Price Includes All Material

The Aladdin Book of Hojnes
has a message for 'ijrou.
Amongst its pages, profusely
illustrated in colors, leading
home designs are represfnted
to you. Aladdin houses are
cut-to-fit as follows: Lumber,
millwork. flooring, outside
and inside finish, doors, win-
dows, shingles, lath and plas-
ter, hardware, locks, nails,
paint, varnishes. The ma-
terial is shipped to you in a
sealed box-car, complete.
Send for a copy of *' Aladdin
Homes" No. 1050.

I'. . '-i -Mm .

Very Popular

Story -and- a -Half

Type

Ihe Aladdin Co.

General Offices Bay City, Mich. ^

Branches

Wilmington, North Carolina Portland, Oregon
Hattiesburg, Mississippi Toronto, Ontario

Send for Book No. 1050

Write

Nearest
Offices

A Real
Bungalow'^^pc-
A Favorite-in
Every
State

Twentieth Day

"Mother"
Marjorie

A story every girl who lias a

brother — and every boy who

has a sister — should read.

DID you. when you were a httle girl, ever
wish to see your doll become an animated
being, that you might watch with satisfac-
tion the results of your teachings and scold-
ings? Do you remember occasions when, after you
had committed a mischief for which your own
mother had rebuked you, you tried in vain to impart
the same rebuke to your favorite wax idol? And
wasn't it irritating when the ossified figure failed
to respond to your outburst of childish temper?

If none of these things ever happened to you then
you were not human and because Alarjorie Daw
was human she experienced each of these feelings,
and what is more Destiny provided that before she
had hardly passed from the age of make-believe, her
wish to be an adopted mother should be a reality.

All this leads to a story of faith, courage, and love,
the three predominant qualities of the winsome lit-
tle seventeen-year-old screen star.

Not so many years ago Marjorie was the eldest
child of a family of three which consisted of her
father, her mother and herself. She was the per-
sonification of happiness and contentment and like
most other children her amusement and pleasure was
afforded by her dolls.

At the tender age of three she acquired from her
mother the knack of teaching the difference between
right and wrong, and she devoted a great deal of
her time to instructing her pets in the ways of right-
eousness. When the soulless figures failed to com-

Mar]orie Daw is a very little
big-sister, indeed. Belo'sv is a
visual cross-section of one of
their evenings together in the
little HoUy-svood bungalow
that Marjorie has made
"Home" for Chandler.

prehend, it did not discourage her,
because having faith she believed
her efforts would eventually be
rewarded.

And then a great event hap-
pened. That ever-welcome bird,
the stork, flew down one day and
deposited a baby brother on her
doorstep. This marked the begin-
ning of a new era in Marjorie's
life. Wild with delight she de-
serted her dolls for all time and
substituted the infant, who was
named Chandler, as her new com-
panion and playmate. Under the
watchful eye of her mother, Mar-
jorie became more than a big sis-
ter to the idol of her Httle heart.
She constantly attended to his
every want and when Chandler
grew into boyhood the deepest
kind of fraternal affection had
arisen between them and they
were inseparable companions.

Then, came the inevitable sad-
ness to mar the happiness of the
little household. Shortly after
Chandler's entrance into the big
world. Marjorie's father had
passed out of her life at a time
when she was too young to re-
member him. Death also called
her mother, twehe years later,
leaving Marjorie at fifteen, to
struggle alone through the world
and to provide for and watch over
the boy who was dearest to her
heart.

She set about her task with

Photoplay Magazine

courage rarely found in a girl of her age. She had previously
found odd bits of employment in the studios near her home
and now she was compelled to seek a permanent means of live-
lihood before the camera. At the very outset of her career
she realized that in order to make a success of her vocation
she must like her work, which she did, and what is more the
work liked her. Because she exemplified that purity and
wholesomeness typical of
young American girlhood, the
camera absorbed her very
personality. Her success was
assured but it did not carry'
with it any noticeable change
in the character, disposition or
ambition of the girl herself.
While she possessed an air of
refinement which made her
respected and admired by all
with whom she came in con-
tact, she was not in the slight-
est degree, to use the theatrical
slang, "upstage." Never did
she put Chandler, his welfare
or his future, out of her mind.

She prepared his breakfast
for him in the mornings and
helped him with his lessons at
night.

So that he would not acquire
any effeminate traits that some-
times come to boys who re-
ceive an overabundance of
sisterly attention, Marjorie
heartily approved of Chand-
ler's participation in all kinds
of athletic games and exer-
cises at school with the result
that he rapidly developed
physically as well as mentally.
Although he is now but four-
teen years of age he leads in
football, baseball and other
strenuous pastimes that come
natural to the red blooded
American boy. But when
Marjorie's studio day is done
and Chandler's school hours
are over, they can often be found in a frolic around the
garden.

With a world of knowledge gained from a variety of life stories
in which she has so many times enacted principal parts, Mar-

A snapshot taken when Marjorie was fourteen, shortly
after Geraldine Farrar evinced an interest in the young-
ster. Marjorie walked into the Lasky studios one day,
played a small part — and has been before the camera

ever since

jorie never fails to give her best advice for the betterment of
her brother's future. In a word she mothers Chandler as she
eagerly watches him grow into full bloom of American youth.
Always before retiring for the night, they go over Chandler's
plans for the future. After careful consideration in the selection
of a profession they have decided that architecture is his proper
calling and upon the completion of his present high school course

he will enter the best univer-
sity available where he will
study the most modern
methods of building construc-
tion.

Some day perhaps we will
see erected a monument or
building that will be the last
word in architecture. And if
on the cornerstone we read an
inscription that Chandler Daw
is responsible for its beauty,
let's not forget that to Mar-
jorie will belong a portion of
the credit. For is not this
pretty little blue eyed sister by
her devotion and affection
guiding him on to success?

Marjorie's real name is Mar-
garet House. She took the
name of the nursery rhyme her-
oine because it had always
been her favorite fairy-tale.
She came to the Lasky studio
one day, for a job. She had
played various small parts in
Universal pictures, one with
Cleo Madison; so she was not
without some filxn experience.
But the way of the small-part
actress is hard, particularly
when one is just a httle girl.
And it was not until Geraldine
Farrar called attention to her
talents that Marjorie was
finally given a real part, with
Chariotte Walker in "Out of
Darkness." Then she had her
first big chance: the part of
the little sister in "The Chorus
Lady," with Cleo Ridgely and Wallace Reid. After she was
with Farrar in "Joan the Woman," Douglas Fairbanks annexed
her as his leading woman and she played opposite Doug in
many pictures, the last one being "His Majesty the American."

^ The Indiana Cowpuncher

Used to producing authors,

Indiana slipped up and produced

a cowboy instead

BUCK JONES has put something over
on Indiana. He was born there —
in Vincennes — but instead of turning
to books he turned to horses. Montana knew
him when he was very young; he was "The
Kid" on the Triangle Bar Ranch at Red
Lodge. After he had convinced the other
cowpunchers that here was one tenderfoot
who would not knuckle down to them, Buck
enlisted in the U. S. Cavalry and saw hard
service in the Philippines. Later years saw
him in Oklahoma, with Miller's loi outfit.
About the time when it looked as though
Buck was riding squarely into a world's
championship, the war broke — and Buck
went to it. He broke horses; he flew a
'plane over the lines; but his greatest serv-
ice was as a rider. He rode for all the roy-
alty of the Allied countries. After the war
was over Buck Jones came back — and he's
still riding only this time he's headed
straight for the camera.

Photoplay Magazine — Advertising Section

Philipsborris Beautilul Book
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It is our ambition to add ONE MILLION NEW CUSTOMERS THIS
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GRAND OPENING

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This gala occasion — the grand opening of the new Philipsborn
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Anniversary Values in All Departments

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Girls' and

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Ladies' Muslin"

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PrioTOPLAY Magazine — Advertising Section

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Her friends never seem to see enough of Mary. So ■we made her sit down at her dressing-table and look in the

mirror; no'w -we can see her three times at once. Mary's dressing-room is, by the ■way, a little glimpse into

Miss Pickfords o'wn idea of things; it is severely plain in its furnishings and built for service, not show.

\Plays and T^/ayeTS

Real news and interesting comment about
motion pictures and motion picture people.

LAST month's rumor of a producing
combination to be formed by half a
dozen of the most successful directors in
the picture business has been confirmed
from the offices of Thomas H. Ince. A
statement from his publicity department
announces that the new association will
begin operations in the fall of 1920, when
the contracts of the directors involved ex-
pire. The men named are Ince, Maurice
Tourneur, Allan Dwan, Mack Sennett and
Marshall, Neilan. In the original report,
George Loane Tucker was included, but
he has refused to commit himself. The
reason none of the other directors has
made an announcement, it is said, is be-
cause in their contracts there is a clause
providing that so long as this contract is
in force they are not permitted to dis-
cuss their plans for the future. Ince is
not bound by any such consideration and
go, it seems, has been aopointed spokes-
man for the coalition. This arrangement
recalls the original organization of Tri-
angle, which was established to exploit
Griffith, Ince and Sennett. Griffith was
the first to secede, feeling that he did

B)/ Cal York

not need the moral or artistic support of
his associates.

AT the Christie studios a private from
the A. E. F. has his former superior
officer working for him. Director Jack Mc-
Dermott was a cadet aviator in Texas
toward the close of the war, and Capt.
Norman McLeod, formerly with the Brit-
ish Royal, Flying Corps, was captain in
charge of the squad. When they were
discharged from the army, Private Mc-
Dermott engaged Capt. McLeod as his
assistant. As Eddie Cantor sang, "I've
got my Captain working for me now."

IF you want to go into movies, and your
face doesn't photograph right — if it's
too fat or too thin or something — consult
a surgeon; his scalpel may do wonders
for you. At any rate, Eva Tanguay, the
Idon't-care girl of vaudeville, does care
about pictures; and when a director who
made a test of her told her unfeelingly
that her face was too fat and her chin —
well, there were too many of them — in
other words, that her chance for film suc-

cess was slight, Eva submitted to an op-
eration which drew the flesh tightly up-
ward and backward from the bones of
her face and cut off the superfluous
bulges. A pound of flesh was taken off
in two incisions. Eva's extra chins were
also trimmed. The scars are covered by
her wealth of hair. And now she is go-
ihg to stand up before the camera and
defy it to do its worst.

HARI is a good chauffeur. He drove
his young ladies — Misses Lillian and
Dorothy Gish — to the studio every morn-
ing; he would bowl Mae Gish, mother of
the Gishes, along the pleasant Hollywood
streets, sniffing in the aromatic air that
reminded him, somehow, of dear Japan.
He was a good chauffeur; and a depend-
able chauffeur — and a chauffeur like that
is hard to find. But, one day, he re-
ceived dire news. He must go to New
York; the Gishes were moving their home
to Manhattan, and Hari must come with
them. Hari had never lived in any but
a sunny climate; and he had heard bad
things about the east's frigid temperature.

101

IO'2

However, his devotion to his mistresses
is paramount: and he came. Now Mae
and Lillian and Dorothy are wondering
just how long he will stay. Never before
has a chauffeur received such continuous
and careful good treatment — he is as pam-
pered as a pet pomeranian.

AFTER a long absence spent in teach-
ing the young idea of JuUe Cruze to
shoot, Marguerite Snow came back to
pictures to play/.^'--J'auUne Frederick's
new vehicle, "Tlie WoVian in Room 13."
Jimmie Cruze, ner husband, who was the
hero of "The MJ«ioHr Dollar Mystery"
in which Thanhouser serial Marguerite — •
to hark back a little — played the villain-
ess — Jimmie is directing for Lasky now.

TAYLOR HOLMES, the '"Bunker
Bean" of the stage, and the chronic
reciter of "Boots" and "Gungha Din" in
the varieties, itaTTwmed a picture pro-
ducing compapy of hftv own. He has pur-
chased the Willie Collier stage hits,
"Nothing butSbe— Tfuth" and "Nothing
but Lies" and is already at work on the
first of these; while Ernest Truex's play

Plays and Players

(Continued)

" The Very Idea " hovers in the offing.
Supporting Mr. Holmes will be his wife,
Edna Phillips Holmes; Elsie Mackaye, a
young lady from the legitimate; and Mar-
celle Carroll, the Uttle French wife of
composer Earl Carroll.

FOR the leading rol.e in "Old Lady 31,"
Metro has secured Emma Dunn, the
young old-lady who created the title role
in the stage play. Miss Dunn is a woman
in her thirties who counterfeits old-age so
admirably that even her own little daugh-
ters can't recognize her when she gets
her make-up on. She has gone to Holly-
wood for the filming of the picture.

DAVE BUTLER, who hogs the camera
because he can't help it, being so
large that he crowds all the other players
out oL^rits^ltens-space — is going to have a
right fto do ijl;. That is to say, he will as-
sume\a stejfer position in his forthcoming
picture~f6r Universal. He began, if you
remember, with Griffith; played with Zasu
Pitts and recently opposite Mary Mac-
Laren.

JANE NOVAK will be one of the Mar-
shall Neilan players. So will Matt
Moore. Jane is one of the most popular
young women in the western studios —
everyone has a good time when she is
v.'orking. She started, long ago — about
six years, in faet — >ai the Vitagraph, and
since then/has placed with Bill Hart,
Charles R^y and ether st^ars. She is a
favorite of tlTe-feig^vesterner; she is, when
she plays opposite him, the subject of
much "kidding" from him about her small
stature. And off-screen just about her
chief interest is her tiny daughter.

A CURIOUS crowd was gathering.
Men, rather ashamed to have yielded
to their curiosity, pushed back the women
who struggled to get to the front. Small
boys wriggled in and stood, open-mouthed,
before the window of a fashionable shop
on Fifth Avenue. They stood there; the
line extended out to the street; traffic was
stopped; several policemen elbowed their
way through to find the cause of the com-
motion. They found it. Mary Pickford
was buying a hat.

(Continued on page 104)

— ^^

Everybody at the studio became tKorougbly Anglicized before Bob Leonard w^as tlirough sbooting bis English scenes for
a new Cosmopolitan production. Here are all the Pete Propses working to make a set look like the House of Parlia-
ment. Mr. Leonard is seated, looking ceiling-ward with the puzzled expression. A good technical staff follows suit.

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I04

Photoplay Magazine — Advertising Section

WeMostFlyTo-Night!

Out of a deep sleep he woke her. She
thought she knew him so well. Yet now,
at two in the morning, he burst on her
with this terror— thismystery—thiswhat?

It's the beginning of one of the best
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CRAIG KENNEDY

'fJheAmericmi SherlochWolmes

^ ^ ARTHUR BI<iEVE

Sme American Conan Doyle .^,^,y

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Harper & Brothers, 18 Franklin Square, New York City

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.VjfUE

ADDRESS

OCCUPATION Phuti. J-JO

Plays and Players

(Continued jrom page 102)

THE magazine of Denmark devoted
to the screen — "Filmen" — recently
held a contest to determine the popularity of
picture stars. Mary Pickford topped the
poll with i5Q,L99~'"^tes, and Marguerite
Clark came n^xt wira 138,852. Douglas
Fairbanks wai first arrtofcg the men, closely
followed by Bill Hart, IHarold Lockwood
and Wallace I^kI, Peary White and Anita
Stewart make upHtieeignt first. Languages
may differ, but it seems public taste is the
same no matter what the country. Note
that Charlie Chaplin is not mentioned; and
that only strictly American-bred and Amer-
ican-appeari'^'i and American-acting stars are
listed.

THE young Countess Du Barry, great-
granddaughter of the famous Du

carat in a French gambling resort. Bac-
carat is one of the fastest games in the
world, and I was showing the dozen men
seated at the table how to play it. They
were a little slow, as it was entirely differ-
ent from anything they ever had played. I
was called to the telephone, and asked them
to go ahead practicing the game until I
returned.

"Ten minutes later I came back and they
were playing poker. They'll always be ex-
tras."

BILL FARNLTM can probably draw a gun
as quickly as anybody in the world.
He practiced it for two months.

BHILIP GIBBS, one of the great
writers on the war, and the brother

Elliott Dexters re-appearance on the Lasky lot was the signal for congratula-
tions on his recovery and convalescence from the long illness livhich has kept him
from the screen for so long. Tom Meighan, who took Dexters place as a
deMille leading man, has been a good pal through the dark months when Dexter's
life -vas in the balance. The gentleman bet-ween them is Cecil deMille.

Barry, has come to our shores, to be a star
in pictures. She is said to be one of the
most beautiful women in Europe, her charms
rivalling the storied attractions of her great
ancestress. She is turning to films, frankly,
to earn money to prosecute a suit in the
Chancery Court of England, to recover on
5,000,000 francs' worth of jewelry belonging
to the first Du Barry, confiscated during
the French revolution and impounded with
the Lord Mayor of London.

SOMETIMES I have wondered why
it is you see the same people play-
ing year after year as extris, never getting
a small part even," says Charles Whittak-
er. "I discovered one answer the other
day.

"A scene in one of Miss Clara Kimball
Young's pictures called for a game of bac-

of Cosmo Hamilton, author of "Scandal
and very well-known indeed to American
theatre-and-cinema goers, wrote his impres-
sions of American life for a monthly maga-
zine. And the movies occupied a good many
of his paragraphs. He says that the picture-
show has become part of the life of the peo-
ple— "a democratic habit which few escape."
"It would be absurd as well as impossible,"
writes Gibbs, "to abolish the film-picture as
an influence in American life, and I dare say
that, balancing good with bad, the former'
tips the swing, because of an immense source
of relaxation and entertainment provided by
the picture-palace in small communities."
It is, he adds, a much more elaborately or-
ganized institution over here than in Eng-
land, although it has spread with mush-
room growth in English towns and villages.
(Continued on page io6)

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advektising Section

I OS

Miss Gloria Swanson

in "Male

and Female'

It's hard to understand how even
a villain could look that sour in
Gloria's company. Well, she reg-
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strike a good average for the trio.

Paramount- Artcra ft

Picture

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When you write to advertisers please mention PHOTOPLAY MAGAZIKB.

io6

Photoplay Magazine — Advertising Section

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Plays and Players

(Continued from page 104)

Fog-horns play beautiful music and run-down phonographs emit delightful

sounds in comparison with a ukelele in the hands of most people. But Charlca

Bill-Henry Ray can really play one.

AN English actress, Justina Wayne by
name, has announced a solution of the
problem of making Shakespeare's plays a
paying proposition. Inspired by the chang-
ing of Sir James Barrie's "The Admirable
Crichton" for film use to "Male and Fe-
male," she suggests changing "The Merchant
of Venice" to "The Call of Flesh." "Othello"
to "Strangled in Bed"; "How Could You,
Juliet?" for the immortal romance of the
Veronese lovers. Famous-Players-Lasky —
producers of the rechristened "Admirable
Crichton," contends that Miss Wayne's sug-
gestion is not as ridiculous as it might seem
on first thought. They claim that they
chose "Male and Female" for a title because
many people do not know how to pronounce
"Crichton." That "Admirable" so easily
suggests "Admiral," calling to mind a tale
of a weather-beaten old sea-captain, instead
of the romance of an interesting butler.
While "Male and Female" on the oilier
hand, suggests strength ; power ; primitive
passions; adventure.

It is said that Barrie, having heard the
gently-broken news of the change in title,
only remarked that he was sorry he had not
thought of "Male and Female" first I

CHARLIE CHAPLIN has a new find, a
brunette from Alabama, Miss Beulah
Bains. Miss Bains has had very little ex-
perience before the camera but she is a
college girl of twenty with a face, figure
and manner that are potentially promising.

SERGEANT GEORGE BURTON, of the
316th engineers, better known in the
moving picture world as George George, has
returned from the most serious thing in the
world to comedy at the Christie studios.
He was decorated in France by General
John J. Pershing, awarded the American
Distinguished Service Cross for his activity
in the Argonne drive and on his arrival in
Los Angeles received the French Croix de
Guerre, with a citation for bravery signed
by General Petain. ,

WHEN Bill Russell made his last trip
across the Santa Fe trail there was
a Boston man on the train, who never had
been west of the Mississfi^pi before. He
gazed in silent awe hour after hour, at the
wide plains and desolation of the desert
country, and finally spoke his mind:

"Why in h didn't they bring the war

over here?"

THE makeup man on a Los Angeles
moving picture publication puzzled
everyone by putting a paragraph descriptive
of a studio in San Francisco at the end of
a note about Irving Cummings. This is how
it read :

"Irving Cummings has sold his beautiful
Hollywood home and is preparing to leave
Los Angeles for the Big Town.

"This structure, approximately ten acres
under glass roof, consists of display rooms,
ball room, and numerous executive offices."

Every aiivertisemcnt in PHOTOPLAY M.\GAZIN'B is guaranteed.

PiroTOPi-AY Magazine — Advkhtising Section

107

Plays and Players

(Continued)

WHEN Metro made over part of
its west coast studio yard into a
Japanese garden, for "The Willow Tree,"
a biological blunder was made. In the gar-
den is a little stream, and just for atmos-
phere, several hundred gold lish were turned
loose in the water. Then, for more atmos-
phere, a flock of ducks was given the free-
dom of the stream. Pretty soon the ducks
were still there but nobody could find the
goldfish. Nobody looked inside the ducks.

ALL speculation as to Mabel Normand's
future plans were set at rest when, at
the expiration of her contract with Gold-
wyn, she signed a new one. She says she
never had any intention of going to any
other company. And Goldwyn says they
never had any intention of allowing her to
do so if they could help it.

HEDWIGA LEONIE KUSZEWSKL of
Odessa, more familiarly known as
Hedda Nova of Vitagraph, eloped to Santa
Ana and was there secretly married in No-
vember to Paul C. Hurst of the National
Film Corporation. Vitagraph has always
been opposed to any publicity concerning
the matrimonial status of any of its stars,
which may, or may not, account for the noc-
turnal nuptials. ^

WILLIAM S. HART has followed
his "Pinto" book with a boy's ad-
1 venture story "Injun and Whitey." This is
anounced as the first of a series of "Boys'
Golden West" stories, and is said to be based
upon boyhood experiences of Mr. Hart. The
second is already in type and is called "Injun
and Whitey Strike Out For Themselves."
The youthful redskin of the stories, known
as "Injun" was Hart's boyhood playmate.

ALBERT S. LeVINO of the Metro scen-
ario staff presented his youthful but
high-geared son with a red wheelbarrow.
That evening when he went to his heir's
room to say goodnight, he found the wheel-
barrow lying across two chairs at the side
of the bed. As he approached, the sleepy
boy pushed one eye open with a tired
forefinger and said, "You can't come that
way. The street isn't cut through yet.
I'll do that tomorrow," and promptly went
back to sleep. "Whole scenarios have been
constructed from less material," says Le-
^'ino, not without the familiar paternal
pride.

GENIUS," someone said to us last
month, apropros of some noted di-
rector, "is the capacity for giving infinite
pain." And now we can't remember for
the life of us by whom or of whom it was
said.

EDNA MAE COOPER was married to Karl
Brown in Hollywood, November 2,
Miss Cooper has been doing interesting roles
with Famous-Lasky for a considerable time,
and Mr. Brown is a cameraman of note who
conducted numerous experiments for D. W.
Griffith, and was one of the photographers
of "Broken Blossoms." This wedding was
not an elopement, or a married-on-a-bet
event, such as occur from time to time in
the California colony, but an honest -to-
goodness wedding with Lois Wilson as brides-
maid and Wanda Hawley as matron of hon-
or. Miss Cooper has announced that she is
going to stay away from the screen for
some time anyhow, if not longer.

ONE would think that William S. Hart
would know at a glance whether any ani-
mal of the horse tribe should be called Mr.,
Mrs., or Miss. Yet when he became fasci-

Food Up 85%

So statistics show at this writing, compared with pre-war cost. That's the
average on common foods. On this account, about 9 in 10 are underfed. So
states a Chicago Board of Health authority.

That is, most men don't get what men must have — 3,000 calories of nutri-
ment per day. So the facts here stated are of paramount importance.

One Cent Per Dish

Buys the Supreme Food — Quaker Oats

Quaker Oats is prepared from the
greatest food that grows.

It is almost a complete food —
nearly the ideal food. In energy units
it yields 1810 calories per pound, while
round steak yields 890.

Yet Quaker Oats costs one cent
per big dish. A whole dish costs you
no more than a bite of meat.

Saves You 88%

Foods are compared by calories,
the energy measure of food value. A
man must have at least 3,000 calories
per day, a boy at least 2,000.

At this writing, some necessary
foods cost as follows on this basis:

Cost Per 1000 Calories

Quaker Oats
Average Meats
Eggs, about
Average Fish
Vegetables

51/2

'2C

. 45c

. 70c

50c

Uc to 75c

So Quaker Oats, per 1,000 calories,
costs you 88 per cent less than meats,
eggs and fish on the average.

Let Quaker Oats cut down your
breakfast cost. Serve the costlier
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With That Matchless Flavor

When vou buy oat.s get Quaker Oats plump. flavor>' oats. We get but ten
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15c and 35c per Package

Except in the Far West and South
Packed in Sealed Round Packages with Removable Cover

(3289)

\Mien you write to advertisers please mention PHOT0PI..AY jrAOAZINE.

io8

Photoplay Magazine^^Advertising Section

JkhifierPins

MerTaith

toMusterele

In days gone by, mother
Inixed a mustard plaster
when father had bronchitis
or brother had the croup,
but nowshe usesMusterole.
It is better than a mustard
plaster.

She just rubs it on the
congested spot. Instantly
a peculiar penetrating heat
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The clean white ointment sets
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Made of oil of mustard and a
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takes the ache out of grandfather's
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It helps mother's neuralgia.

Mother pins her faith to it as a
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She is never without a jar of
Musterole in the house.

Many doctors and nurses recommend it.
30c and 60c jarsj hospital size $2.S0.

The Musterole Co. , Cleveland, Ohio

BETTER THdN A MUSTARD PLASTER

Plays and Players

Mr. Edison's

wonderful

New

Amberola

and After Ttial

Keep the .N<?w Edison Amberola — Edison's great phonograph
wiUi tliL- diamond stylus — and your choice of records, for only
SI. no. Pay balance at rate of only a few cents a day. Free
trial in your own home before ytm decide. Nothing down.
Write today, for our Nrw JCditton Book and pictures, /ree.

F. K. BABSON, EdUon Phooograph DisL 1252, Edisen BIk., Chicago

(Continued)

nated by the wisdom of a certain mule while
making a recent picture, and named the
creature Jupiter, he was informed a little
later by a cowpuncher in the outfit that Eliz-
abeth would be more appropriate.

AN actor has sued Douglas Fairbanks
for $100,000 damages because, he says,
Doug, manhandled him to make a Roman
holiday for sightseers at the studio, and
wrecked him to the extent of the sum men-
tioned. Mebbe so, mebbe so. And yet many
an actor we know would be glad of the
publicity he would get out of such a wreck-
ing. And buy his own new-skin.

COMEDIAN Ford Sterling is being sued
forulivoyce by Teddy Sampson.

DIRECTOR W. CHRISTIE CABANNE
is being sued for divorce.

AND Willard Mack is being sued for di-
vorck by i'aulme Frederick.

MRS. DONALD CRISP instituted divorce
proceedings against Director Donald
and later withdrew the suit.

AFTER a whirlwind courtship of six
weeks, Marie Walcamp became the
bride of Harland Tucker, her leading man,
in Tokyo, Japan. The Walcamp serial

family went to the far east to get proper
atmosphere for the new chapter thriller they
are making, under Henry McRae's direc-
tion. Tucker, making love to Marie before
the cold eye of the camera, decided to make
it the real thing. And so — see the next
episode at your favorite theatre.

VIRGINIA PEARSON is working again.
She will make a series of six produc-
tions in which she and her husband, Sheldon
Lewis, will co-star.

LOTTIE PICKFORD is coming back
"they say." after more than two years
absence froBitheVreen. She is to have her
own company, anq^her first picture will be
directed bA Martin] Justice. Subject and
affiliation no^yetynnounced.

AFTER the announcement that House
Peters would be starred by Harry
Carson, that elusive leading gentleman
completed "Silk Husbands and Calico
Wives" and the starring engagement ended.
There were rumors that the star's contract
was utterly wrecked in the course of an out-
burst of temperament on the part of Mr.
Peters. But the suppress agent of the Gar-
son studio reports that the contract called
for one picture with an option on another,
and as Mr. Peters had other plans the sec-
ond picture was not made. What those

The young man receiving the jackclempsey here is Lincoln Stedman. The un-
ladylike young lady. is Mary Miles Minter, as "Anne of Green Gables." And
■we -want to call your attention to the fact that Lincoln, ■who is the son of the
charming Myrtle Stedman, is not al-ways so calm under circumstances like this.

Evei7 advertisement in pnOTOPI.AY MAGAZINE is guaranteed.

Plays and Players

(Continued)

plans, if any, were has not yet been divulged.
Mr. Peters, it is understood, is not depend-
ent upon the screen or the stage for his
income, which may, or may not, explain why
his appearances are so intermittent.

LADY DIANA COOPER— better known
J to the world at large as Lady Diana
Manners, famous English beauty — will arrive
in California soon after Christmas. When
D. W. Griffith was in England taking scenes
for his propaganda picture "The Great
Love" he enlisted the services of many Eng-
lish notables — among them, Lady Diana. She
screened so well that Mr. Griffith secured
her agreement to come to America to act
in pictures. An accident which befell Lady
Diana has delayed her departure all this
time. She will be accompanied to this coun-
try by her husband.

Photoplay M.^gazim^ — Advertising Section

A go^vn like this can be worn by only
one ■wroman in the world — Petrova. Ab-
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The svelte figure you see here was partly
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I TO

Photoplay Magazine — Advertising Section

Plays and Players

(Continued)

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MARY PICKFORD will join the de-
cade-long nrocession of "Little Lord
Fauntleroys." /^wfr^v Pickford secured screen
rights to the franco Hodson Burnett story
which was sudi a^it on the stage; and
Mary will maKS^ajiJiarly production of it.
Curls again. And a costume, perhaps, rem-
iniscent of "Mistress Nell" of her Famous
Players days.

FRANCES MARION secured her re-
lease from the Hearst film organiza-
tion a few weeks after she signed her con-
tract, and returned immediately to her first
love, Mary Pickford. It is not said whether
it was because Miss Marion didn't like New
York, or wanted to go back to California,
or because she had just married Fred Thomp-
son, former champion athlete and chap-
Iain of the 143rd Field Artillery of which
Miss Pickford was godmother, it is not for
us to say. But as Miss Pickford has done
about her finest work in Miss Marion's scen-
arios and Miss Marion's best scenarios have
been for Miss Pickford, it is rejoicefu)
news.

Edna Mae Cooper was a November bride.

You have seen her many times in Lasky

plays.

WEDDINGS: Martin-Tree. Joe Mar-
tin, of Universal City, has a new
domestic co-star; her name is Topsy-Tree.
The Laemmle favorite will star in a new
series of comedies, and his bride will enact
the leading role. (Note: Joe is Universal's
chief chimpanzee.)

ALL good comedies end in weddings
and all good weddings end in com-
edies— as of course, distinguished from trag-
edies. So the association of ideas must be
credited for the fact that on the Christie
Comedy lot in November, four members of
the organization were married, two of them
to each other. James Clemmons, stage su-
perintendent started it, Pat Dowling. press
agent, followed, and then Miss Inez jane,
chief auditor, married Dallas McClish, tech-
nical director.

WALLACE REID, JUNIOR, made
his film bow in the Photoplay Mag-
azine Screen Supplement and he was so
good that his father gave him a part in his
new picture, "The Bear Trap." He will
play Toodles. He is only two and a half,
but his line of dramatic forbears is indeed
imposing; his great-aunt was Fanny Dav-
enport; his grandfather is Hal Reid. But
he still insists his name is just "Bill."

ELLIOTT DEXTER, who was about
to be starred by Famous-Lasky sev-
eral months ago, when he fell ill, is now
about again, and will begin work this month
on his first star production. The story for the
picture has not yet been definitely decided,
but it is expected that William DeMille
will direct. Meanwhile Mr. Dexter is con-
valescent at his home at Ocean Park.

MIRIAM MacDONALD, sister of Kath-
erine MacDonald and Mary MacLaren,
was married early in November to Capt.
Clyde Balsley, an aviator who distinguished
himself as a member of the Lafayette Esca-
drille, winning twenty-three citations in-
cluding the Croix de Guerre. They have
gone to Coronado for the winter and will
later go to Paris to live, which finishes Miss
MacDonald's picture career. She appeared
in several productions with her sisters.

WE should worry about the coal
strike," says Will Rogers. "There's
no room in our cellar for coal anyhow."

JAMES W. HORNE, directing Warner
Gland's new serial, "The Third Eye,"
made one hundred and ten scenes in one day
at the Astra Studio, Glendale. Is this a
record day's work?

WITH the expiration of his contract
with Thomas H. Ince, Charles Ray
will begin producing for himself. He expects
to begin work on his first production about
the middle of January, and has engaged Rob
Wagner as his scenario chief. Wagner's !
principal claim to a niche in the Hall of
Fame previously has been his articles in
The Saturday Evening Post poking fun at
moving picture production activities.

IT was a foggy morning (oh, very un-
usual weather for California) and Scott
Sidney, one of Al Christie's comedy directors,
with a squint at the sky, observed to Fay
Tincher: "Looks a little like rain so we'll
Lake it easy today. We'll get the hornet's
nest stuff. Fay rolling off the roof, sheriff ^
and Fay shooting each other, Helen Darl-
ing falling into the river. Fay attacking
Peevish Pete with a sulphur pot, and a few
little odds and ends like that."

Fay began a fervent prayer for fine weath-
er so she could get a day off.

GOLDWYN is preparing to issue a bur-
lesque on the "Timely Topics" style of
stuff. It will be made up of sayings by Will
Rogers, will be called "The Illiterate Di
gest," and will be decorated by rope stunts.

MARY PICKFORD won her case in
court^she was the defendant in the
suit instituted by Mrs. Cora Wilkenning,
an agent, who alleged that Mary owes her
$108,000 for managerial services rendered
while Mary was in the Famous Players
employ. Mrs. Wilkenning will appeal the
case. Mary took the stand in her own de-
fense, and thoroughly nonplussed the plain-
tiff's attorney when confronted by him, she
looked him squarely in the eye, pointed her
index finger at him, and said, "I'm scared of
you." The lawyer coughed and replied. "I'm
nothing to be afraid of" and Mary answered,
"Well, you frighten me just the same!"

Every aclvertisompiit ir PHOTOPLAY UfACAZTNE is guaranteed.

Photoplay Magazine — Advertising Section

III

Plays and Players

(Continued)

JEAN ACKER, who has been playing in
Metro productions, and Rudolph Val-
entino, a leading man, were principals in a
speedily arranged marriage last month at the
home of Joseph Engel in Hollywood. Val-
entino proposed one afternoon and was, ac-
cepted, told Klaxwell Karger, procured'\the
marriage-J^Cense ^"^ehome of th^ bounty
clerk, andvwerii-«laxfied^'at miffiight, the
witnesses being Mr. and Mrs. Karger, Mr.
and Mrs. RiVharHA Rowland. Mr. and Mrs.
Frpri Warrowr-M^Allison. Herbert Blache,
Frantr^ockiisS'&nd Lharles Brown. They
are living at the Hollywood Hotel.

GEORGE FAWCETT, who left Griffith
after a long artistic association with
that producer, has gone to Vitagraph, where
he will direct. Corinne Griffith is his first
star.

JOBYNA HOWLAND, the statuesque lady
you will remember in the Norma Tal-
madge picture "The Way of a Woman" has
found a way around her height — she's six
feet tall. But when anyone asks her, she
says, "I'm five feet, twelve."

Gareth Hughes has just entered upon a
three-year agreement which provides that
this young Welsh actor is to be starred.
After long stage experience he played, in
pictures, ■with Marguerite Clark, Norma
Talmadge, and recently acted the young
brother of Clara Young in "Eyes of
Youth."

WHEN Max Eastman — who is the editor
of the monthly known as "The
Liberator" and who is called a bolshevist
by most people — went to Los Angeles last
winter to gain support, it is said, for the
continuance of his magazine he met Char-
lie Chaplin. Now, it is said in some
circles that Charlie is what we might call
a "parlor bolshevist" — that is, he may not
air his views in public, but he entertains
strong beliefs all the same. However that
may be, Chaplin and Eastman met, and
professing mutual admiration, became friends.
Then the report got about that the come-
dian was backing "The Liberator," only to
meet with a positive denial from Charlie,
who said he had been interested in EastmaR
simply as a personality, and that he cher-
ished absolutely no socialist or bolshevist
tendencies.

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I 12

Photoplay Magazine — Advertising Section

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Plays and Players

(Concluded)

WHEN Taylor Holmes' picture, "Two-
Bit Seats'" was projected in the Eng-
lish cinema houses, the managers took care
to explain in advance to their patrons the
meaning of the slang term. "It is," they
announced, "an Americanism; the entire
picture is filled with American slang. To
begin with, 'Two-Bit Seats' means 'gallery
accommodations.' The 'two-bit' is the equiv-
alent of our shilling gallery at the theatre."

UNIVERSAL is doing over another one.
This time it is Peter B. Kyne's, "The
Ihree Godfathers." The new version will
be known as "The Gift of the Desert," and
Harry Carey will be the chief godfather.

MILTON E. HOFFMAN, for several
years general manager of the Holly-
wood studio of the Lasky Company, has
been chosen as chief of the new studio of
the big Zukor interests in London. Mr.
Hoffman is one of the most capable studio
managers in the business. His duties on the
Coast fall to Charles F. Eyton, who becomes
general studio representative in California
for the company and Fred Kley who is the
new studio manager. Mr. Eyton will divide
his time between the Lasky and Morosco
studios. Mr. Eyton is the husband of
Kathlyn Williams.

DW. GRItFITH'S first picture for the
. Big Four will be "Romance," the fa-
mous stage success of this country and Eng-
land. Doris Keane, creator of the role of the
opera-singer on the legitimate, will be the
star of the filmed version. The picture will
be made in Florida. Miss Keane's actor-
husband, Basil Sydney, will act opposite her
on the screen as he did on the stage.

DON'T be afraid. That's a wooden gun;
and it wooden shoot." That's
Mildred Davis' own pun and she admits it's
a bad one — the worst she could think of on
short notice. Harold Lloyd's new leading
lady was recently a visitor at the traps of
the Los Angeles Gun Club, and seemed in-
terested in the steady breaking of clay
pigeons by the shooters. "It seems such a
waste of time and ammunition," she said,
"how much easier it would be to take a
hammer!"

THE novels of Vicente Blasco Ibanez,
whose "The Four Horsemen of the
Apocalypse" was perhaps the most widely
read novel of the war, have been purchased
by Metro for screen adaptation. The works
include, besides the famous tale, "Mare Nos-
trum" (Our Sea), "Blood and Sand," and
"La Bondega." The Spanish author re-
cently paid a visit to America; and while
in Manhattan he was made much of by the-
atrical and film people. One company in-
duced him to visit their projection room for
the showing of one of their products. It
made a good publicity story, anyway.

ANN KROMAN was a little Danish
girl who came to California to seek
thought she could get in was because she
could ride, swim and dive — and she believed
these were all the qualifications necessary. She
played bits for a long while; finally she got
a part. Then her rise was rapid; and as Ann
Forrest she played with Houdini and, lately,
with Henrv Walthall in Allan Dwan's
"The Splendid Hazard." Her astonishment
upon learning that it was not her athletic
prowess but her blonde good looks which
won her success is unique. "I'm not much
to look at," she says naively and modestly,
"but look at these photographs. The camera
sure is good to me."

Erery advertisement in PBOTOPLiiY MAGAZINE is giiaraiitoed.

Photoplay Magazine — Advertising Section

113

The Shadow Stage

(Continued from page 74)

he has made them permit him to have his
princess, Mr. Cruze's effort is a rapid, free-
i.and succession of brisk sketches. Lila Lee,
as Princess Irma, is the old Lila Lee of much
attempt and small accomplishment, rather
than the infinitely quaint and charming —
the new Lila Lee discovered by Cecil DeMille
in "Male and Female." Such fine actors
as Tully Marshall, Edwin Stevens and Theo-
dore Roberts, and such an interesting young
person as Harrison Ford, are to be found
in the cast.

HEART OF THE HILLS—

First National

When he made the jigging scene in this
colorful drama of the midland mountains
director Franklin — perhaps quite uncon-
sciously— vouchsafed one of the best episodes
that the screen has seen in this or any other
year. Like most of the things that count,
this scene is simple, and is built upon the
simplest of subjects: the infectious, almost
orgiastic dancing of a group of mountainers
in a log cabin, rhyming their steps to
"Turkey in the Straw," wheezed out upon
a decrepit violin. The old man, the moun-
tain boy, the mountain girl, then the city
fellow, and then everyone mingle in this
mad ifestival of stepping competition. It
was interesting to watch the great audience
which saw this picture with me catch the
spirit of the uncouth dance; they too were
rvvept along on its jerking phrases like
Elhiop converts in a dusky camp-meeting.
And the finale! That moment in which
'"grandpap" flings his arms aloft and cries
a stentorian "Stop!" And why? "I done
lost my false teeth !" Here is a merry episode
perfectly rounded at the finish in a flash
of uproarious human farce. The photoplay
as a whole is quite the best of the many
stories of the Kentucky and Tennessee moun-
tains to come to moving vision in the past
year or two. It is a simple, generally un-
stable tale, but it is told with such convic-
tion, with such simplicity, and with so many
gentle little asides that it moves one in a
way than many a better piece, less skilfully
manipulated, is unable to do. Also it is
worth mentioning that it reflects the spirit
if not always the exact literary letter of
John Fox, Jr. Mary Pickford herself, as the
wild little Mavis Hawn, once more enters
into her physical descriptions with the fury
of a novice who has everything to gain and
nothing to lose — and the painstaking care
and cunning detail of the celebrated per-
former who has everything to lose and very
little to gain: altogether, an unbeatable com-
bination of talents. Superb characterizT-
tions are given by Sam De Grasse and
Claire MacDowell — the latter, especially,
convincing and even thrilling — as Martha
Hawn, a dull-eyed, slow-witted female, who,
in spite of her cruelty, her selfishness and her
cunning, still feels the remorse that inevitably
comes to a heartless mother and a treach^r-
cus wife. Let us mention, also, Fred W.
Huntley as the inimitable Grandpap Jason
Hawn — a sturdy old man who just must
have lived.

COUNTERFEIT— Artcraft

This story is fortunate in having so apt
a name. It is counterfeit. It is the poorest
piece in which we can remember seeing Elsie
Ferguson. It purports to be a yarn of
SDurious money-makers in Newport, R. I.,
the home of much counterfeit social worth.
It is so original that at the end we are
stunned, nay, amazed, to learn that counter-
feiter Ferguson has been a counterfeit coun-
terfeiter— in truth, a government agent — an
operative of the secret service ! After a

Watch the Luster

Come Back to Your Teeth

All Statements Approved by High Dental Authorities

The Cloud is Due to Film

When pearly teeth grow dingy
they are coated with a film.

There is on all teeth a slimy
film, ever present, ever-forming.
It clings to teeth, gets between
the teeth and stays.

Brushing in the usual way does
not end this film. That is why
so many teeth discolor and decay.
Most tooth troubles are now
traced to film.

That film is what discolors —
not the teeth. It is the basis of
tartar. It holds food substance
which ferments and forms acid.
It holds the acid in contact with
the teeth to cause decay.

Millions of germs breed in it.
They, with tartar, are the chief
cause of pyorrhea.

Now We Combat It

Dental science, after years of
searching, has found a way to
combat this film. Able authori-
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careful tests. Leading dentists
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its adoption.

For home use the method is
embodied in a dentifrice called
Pepsodent. And all who ask are
sent a ten-day test to show them
what it does.

Based on Pepsin

Pepsodent is based on pepsin, the
digestant of albumin. The film,is albu-
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A recent discovery makes this
method possible. Pepsin must be
activated, and the usual agent is an
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Pepsodent is now doing for millions
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When ynii write to advertisers please mention PHOTOPLAY MAGAZrCT:.

114

Photoplay Magazine — Advertising Section

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The Shadow Stage

(Continued)
weary evening the only kindly remembrances
are of George Fitzmaurice's generalh' good
direction and Miss Ferguson's splendid
gowns. I can hear George swearing when
he was handed this story.

EASTWARD HO!— Fox

We have, here, a rather weak vehicle of
most ordinary type, and an utterly con-
ventional story, featuring William Russell.
William McLeod Raine's novel apparently
had enough stuff in it for a photoplay but
the adaptors have taken everything out
except the fights and the motion- picture
plotting. The tale concerns one Buck Lind-
say, a typical cattleman, on whose whole-
some and breezy person devolves the
straightening out of a tangle arising in the
effete and generally wicked East. White
slavery and other what-nots are dragged in
for cheap thrills, and the result is only tire-
some.

THE BROKEN BUTTERFLY—

Robertson-Cole

Monsieur Cody, the elegant heart-breaker,
must needs be the eternal vamp, and ho
is here shown plying his wiles, his moustache,
his tight cuffs, his fancy shoes, his curiou;
waistcoat, his naughty eyes, his well-creased
trousers, his multitudinous jewelry, and
other devices, not forgetting his nonchalance
— never must we forget his nonchalance! —
upon one Marcene, a child of the Canadian
woods. He forgets Marcene, who ihrow.-i
herself and her child— also the child of the
tight cuffs, curious waistcoat, multitudinou.i
jewelry, etc., etc., etc. — into a pond. Come.i
regret to the gentleman of the various and
several assets, and he atones by marrying hev
sister. Afterward, we find that a dog pulled
her and her baby from the lake.

DAWN— Blackton-Pathe

Eleanor H. Porter's story of the supei-
sensitive young blind artist, Keith Burton,
and his sweetheart, Dorothy Parkmaii.
These parts are played, and well played, by
Robert Gordon and Sylvia B reamer. Miss
Porter's many readers need no synopsis, but
to others it may be said that the narrative
concerns young Burton's blindness, and his
sweetheart's faithful devotion, even though
she has to ply that devotion to the melan-
choly lad under an assumed name, when he
resolutely cast her from him, rather than
have her share his lightless life. The strong-
est and bravest part of the story is that
it works itself to its conclusion without the
usual magical restoring operation. Here, the
operation is a failure. The story is seriouii,
but is relieved by certain comedy touchcj.
In continuity it is rather uncertain, but the
direction atones for much of this.

A DAY OF PLEASURE-

First National

Not much can be said for le grand Chap-
lin's new instrument of merriment. It
wheezes along like the Ford car that carries
it its first few yards, has two or three really
funny episodes reminiscent of Charles in
his best moods, and a long, long footage
which is just patent vulgarity. It begiiiJ
with the family's departure, as the title
suggests, for "a day of pleasure." The
antics of the reliquary Henry, which, with its
engine running, rocks like a tug in a typhoon,
are not only laughable but reminiscent to
many a man who has dolled the wife and
kids up, fed the car water and gas and oil,
and, at the last minute, finds some unac-
countable ailment in its insides making him
a fixture instead of a roamer. This part

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1 1

The Shadow Stage

(Concluded)

of the piece is well managed indeed; Chap-
lin himself is the dignified paterfamilias even
in his usual make-up, and the exquisite
Purviance, plain but neat in a suit that fits
none too well, gives a serious face and a
heavy hand to the two young hopefuls who
occupy the back seat. It is when the family
gets on the boat that the pleasureable day
drags drearily, and at moments disgustingly,
for mal de vier, in its most dismal aspects,
is the principal pastime of the excursion.
Coming home, and again in the Detroit Pull-
man, the family has a very funny and well
managed scene in traffic at one of Los
Angeles' busiest corners — an episode, indeed,
which must have taken infinite pains and
patience to secure. But apart from its first
and last moments, the vehicle is not worth
anybody's talents, let alone Charlie Chap-
lin's. The Ford stuff seems to have been
a good idea-^a mere sketch, hastily exe-
cuted in a happy moment, to which this
labored supplement was heavily added long
afterward.

THE BEACHCOMBERS — Universal

This piece, a vivid story of the sea, will
probably not be released under this title.
Directed by Rex Ingram, it is the story of a
sea-captain who takes a cargo of spurious
pianos to . South America, and, en route,
politely befriends the much-abused wife of
the consignor. A request for a song, bring-
ing a piano to the deck, reveals that they
are not musical instruments, but gun-cases,
and that the cargo is consigned to an in-
cipient revolution. The captain dares not
speak for fear of mutiny, and, once in port,
he again refuses to speak because of the
miscreant's wife. Thrown into the seaside
penitentiary, he rather too quickly breaks
out, and flees inadvertently to the refuge
of a great band of outcasts farther down
the sand — the beachcombers. Engaged in
combat with the leader of this gang, a giant
mulatto, he bests him, and, in command of
his tatterdemalion force, upsets the revolu-
tion in spite of its good start. The wicked
gun-runner is killed, and, as one might not
have unreasonably suspected, the worthy
captain sails back to the States with his
widow. The weakness of the story is
most evident at the point in which the sea-
captain refuses to tell his own Consul of the
impending revolt — all because it would make
the lady unhappy. This is stretching things,
not only in patriotic probability, but be-
cause the very best way to protect the|
woman would have been to tell the truth.
However, it is an excellently made photo-
play. The captain, portrayed by Elmo Lin-
coln; the villain, by Harry Von Meter; the
giant mulatto, bv Noble Johnson, and the
wife, by Mabel Ballin, are all excellent and
believable likenesses.

IN BRIEF —

"The Isle of Conquest" (Select) The old
island romance, more prudently policed than
ever. Here Miss Norma Talmadge promises
the gentleman — Mr. Wyndham Standing —
that she will permit him to kiss her unless
her husband comes at the end of the month.
Of course hubby makes his appearance, thus
morally safeguarding the play. And after-
ward, hubby dies — and Wyndham gets his
kiss. I have seen nothing drearier or more
uninspired in many a month. Natalie Tal-
madge makes an appearance in the support
of her famous sister, and Charles Gerard is
an acceptable naughty husband. My sym-
pathies are extended the greatest emotional
actress of the screen on her lamentable loio
material. A happier and better New Year
to you, Mrs. Schneck !

"Sealed Hearts" (Selznick) A tiresome
play, of the old-husband-young-wife class.
Robert Edeson, cast as Marchbanks, Sr.,
withers and perishes while his son, per-
formed by Eugene O'Brien, properly chokes
back a youthful affection, amid many ac-
cusations by his parent.

"The Undercurrent" (Select) A story of
squelched Bolshevism, with a great deal of
action and physical punch. Arthur Guy
Empey wrote the story, and acts its prin-
cipal part. It is red-bloodedly American,
and this may commend it where its artistry
fails. As artistry it isn't there.

"The 'Mind-the-Paint' Girl" (First Na-
tional) Henry Arthur Jones' story, of very
mild appeal here, about a London Gaiety
girl. Only I believe they mask the Gaiety
as the "Pandora" theatre in this play. David
Kirkland, directing, did one of the ablest
works of his career in making this piece
really hold attention despite an inherent lack
of interest. Anita Stewart, Conway Tearle
and Victor Steele play the principal parts.

"What's Your Husband Doing?" (Ince-
Paramount) Douglas McLean and Doris
May, the redoubtable "Twenty-Three Hours'
Leave" pair, in a picture version of George
Hobart's farce. It is entertaining, but far
from approaching the standard of their for-
mer endeavor.

"Wings of the Morning'' (Fox) William
Farnum, as the militant Robinson Crusoe
of Louis Tracy's novel. He is supported by
Louise Lovely. It is entertaining; one of
many equally good, well-photographed, un-
subtle stories of adventure.

"His Divorced Wife" (L^niversal) A poor
picture, on a poorly-chosen subject. Too
bad for Monroe Salisbury, who, after a long
career in mediocre screen contraptions,
climbed resolutely back to real vehicles and
real acting, a little less than a year ago.

"Lasca" (Universal) The best part of this
picture lies in its discovery of Edith Roberts
as a genuinely interesting screen personality.
Miss Roberts has long been with us, but
heretofore has done nothing to warrant a
second look. Do you remember the old
poem of the fiery Mexican girl, who, shield-
ing her lover with her own body in a great
cattle stampede, dies trying to save him ?
Here it is, done into a wonderfully scenic
five-reel story by Percy Heath. And they
had courage enough to preserve the logical

idinj

Gun-Fighting Gentleman" (Univer-
vigorous Western, of usual type.
Harry Carey is both author and star.

'Poor Relations" (Robertson-Cole) If
King Vidor had depended for his deserved
and suddenly won repute on this slight
fabric he would still be in the great un-
known. However, no marksman can hit
the bull's-eye every time. The mild little
photoplay's best and only worthy quality is
its wistful touch of humanity. Florence
\"idor and Zasu Pitts are in the cast.

"A Fugitive From Matrimony" (Robert-
son-Cole) Perhaps you've forgotten that H.
B. Warner's best medium was once thought
to be light comedy. If so, this piece will
remind you, if reminding is necessary, that
he is a very finished comedian.. The beauti-
ful Seena Owen assists.

"The Illustrious Prince" (Robertson-Cole)
Sessue Hayakawa, breaking away from the
inevitable American sacrifice, to play a Nip-
ponese avenger of royal blood, plying his
vengeance in London society. A well-known
E. Phillips Oppenheim story, finely produced.

"The Tower of Jewels" (Vitagraph) Co-
rinne Griffith, in ^ woman-crook story of
average appeal. Maurice Costello, Vitagraph
veteran, is prominent in the personnel.

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Photopla,y Magazine — Advertising Section

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The Gentle Grafters-

Everytking the actresses use and

wear in the films is real — the dear sweet

things see to that

ND now the poor down-trodden
motion picture stars whose weekly
stipends range from five to twelve
thousand iron men a week, are
obliged to resort to the pettiest forms of
graft in order to look the H. C. L. gentleman
squarely in the face !

How can any self-respecting star keep up
an appearance if she does not stoop to the
methods employed by politicians, city con-
tractors, and reporters? It is the public's
own fault that she is obliged to sully her
soul in her desperate attempt to live up
to the reputation she had wished on her
of being extravagant, eccentric and exclu-
sive.

Even the department stores as well as the
little shops on Fifth Avenue recognize the
embarrassing position the star occupies, by
allowing a ten percent discount on all goods
she purchases. This helps some. Many of
the motion picture producers go so far as
to supply their stars with their wardrobes
for the productions, in order to help them
make ends meet. There is a certain star
whose contract calls for automobile tires as
well. In another contract, between a well
known star and a well known producer, a
stipulation for salaries for chauffeur and
maid, as well as upkeep of the star's hair is
included. Why should not the producer pay
these expenses? Is it not the chauffeur who
drives the star to the studio, and the maid
who dresses her for the production and the
hair that photographs like a million dollars
part of the finished photo play, like the fur-
niture and extra people? Then why should
the star dip into her $S,ooo a week when
really these things have nothing to do with
her Art?

The motion picture producer of to-day
does not dare to oppose a star in any way.
Whatever demand she makes must be
granted. If a star is opposed, she can im-
mediately take to her bed and register a
nervous headache. The result of several
days illness would cost a producer many
thousands of dollars, and he has discovered
after playing the game from every angle
that it is cheaper to accede to her whims.
If he should break her contract, he would
only meet with the same situation from an-
other star, because stars seem to be neces-
sary, and after having spent a small for-
tune on publicity and advertising, in order
to make a star popular, it would not be a
profitable move to release her and give some
other producer the benefit of the expenditure.
So the star has the producer in the hol-
low of her hand, and any time he doesn't
like it, she can move on to another pro-
ducer and at a bigger salary.

Of course all these concessions in the
contracts help, but they are not sufficient
to cover the necessary expenses of one who
lives in a rarefied atmosphere, and like the
little shop girl who sneaks a few spools
of sewing cotton from the counter now and
then, the star is obliged to contrive ways
and means for procuring things without
cost. One star — a clever little thing she was
— charged the producers for the use of her
pet dog in a production. Most dogs of
breeding and pulchritude receive ten dol-
lars a day for acting in the pictures and
it was indeed a worth while consideration
for the poor star to eke out a few honest
dollars.

Another star noted for her sinuous figure
lunched day after day in her dressing room

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Photoplay Magazine — Advertising Section

The Gentle Grafters

(Concluded)

on crackers and tea. She said she did not
dare to eat a more substantial meal be-
cause she feared the treacherous avoirdu-
pois, but the truth of the matter became
known when it was learned that she re-
ceived only $7,500 a week for a salary 1
While out on location one day she ate
ravenously and without regard for her fig-
ure of a luncheon provided by the produ-
cers.

One of the favorite methods employed
by stars who cannot live decently on their
salaries is to get their clothes at reduced
rates from modistes and milliners who sup-
ply the wardrobe for the production, paid
for by the producers. Of course any mo-
diste will consent to enter into a petty graft
deal in order to retain the star's patronage.

P. S. No disillusionment is meant. Re-
member you and I make the star what she
is.

117

Defiant Definitions

mental derangement ;
is, says somebody who

Upstage— Mostly
somebody who
isn't, is.

Temperament — What some actors think they
feel, but don't; a poor excuse not to work.

Close-U p—'Wha.t everybody wants. It is
given to many that don't deserve it, and
refused some who do.

SlUls—Funch and Judy snap-shots showing
what is not in the film ; actors' cocaine.

Camera — Life's ego-meter; the only magnet
that draws human beings. The driving
wheel of the industry.

Re-Take— The visible evidence of something
wrong somewhere, for which no one is
ever to blame.

Star— A commercial article requiring six
things: opportunity, talent, publicity,
salesmanship, exhibition, and — smooth rub-
bing.

Heavy — A rascal who is willing to act natur-
ally and get paid for it.

Extra — The studio floatsam and jetsam;
Kimberley ore; some know they can't act,
others think they can and — only a few
really do.

Cameraman — The raw stock broker who
thinks he bears one end of the film world's
axis. However, a necessary individual.

Director— The St. Peter at the gates of the
production. The Lord's bally-hooer. One
man you must say "yes" to.

Scenariost— The God Almighty of the screen
firmament whose scriptures are not always
obeyed. A modern Noah with a paper
ark. The man who is always misunder-
stood.

Properly Man — The living Christian from
Pilgrim's Progress; a giver of all things,
slowly — but sometime.

Ingenue— The embodiment of "Nobody
home." A female box of liquid pastel
shades and glucose adjectives.

Press Agent— The photoplay copy-cootie. A
heaver of hot air verbs, and puffed
salaries. His post is high, but he is under-
paid.

Setting— The only thmg that is always
wrong. Called beautiful, has a double
face, and is very much needed.

Props— WWl 0' the Wisp necessities. That
which we cuss when it isn't there, and cuss
when it is. The furniture renter's bonanza.

Cutter — The moloc who spoils your picture.
A sort of licensed goat-getter, on salary.

Cafe— The studio waiting room. A hot-bed
of gossip and hot dogs, but with a certain
attraction.

/?egis(er— Short-changing the public by not
ringing up the correct amount of emotion.

tade-Out—"Postomce" on the screen. The
final clinch. The director's last chance to
swear.

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Photoplay Magazine — Advertising Section

For Your
Photopl^ Plots

Scores of men and women today are
making big money in their spare time
by helping supply the enormous de-
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ducing companies are ready to pay for
good ideas. They must have them.

No doubt right at this minute you
have a good idea or plot in your head
that would make a good "movie."
Perhaps you are under the impression
that it needs special talent to write
scenarios. Dismiss that wrong idea
because it is costing you money—
possibly preventing you making big
money and a name for yourself.

The Secret of Selling
Scenarios

Just as the lawyer prepares his "briefs" in
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She
Hates
Broad

way!

Marguerite

Courtot Refuses

to Believe that

Bright Lights

Spell Success

By
AGNES
SMITH

T ISN'T strange when you consider

that I have always lived there. And

the view is lovely. You can look up

and down the Hudson river. And then,

you know, it is right opposite Broadway

and Forty-second street. I can see all the

lights from my window. That's near

enough for me — I don't care for Broadway."

Marguerite Courtot was trying to explain

why she lives in Weehawken, N. J., that

strange place that sounds like the cry of a

wild bird in distress. I politely accepted

the lady's apology. After all, when one

is free and independent, one is entitled to

live where one chooses. Only it seemed

strange to talk to a motion picture actress

who did not complain because God had

made Fort Lee, N. J., a film town.

Aside from the fact that she lives in Wee-
hawken^ Marguerite makes other claims to
your interest. Raised in the studio, — she
began with the old Kalem Company, — she
is nevertheless a studio exotic. Not to cast
slurs on other luminaries, she is the sort
of girl your mother vi^ould like to have you
go around with, even though she is an

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

actress. Never once in the course of three
cups of tea and two rounds of French pas-
try did Marguerite use slang, professional
lingo or "please don't print this" gossip.
Hers is a demure prettiness and, to be old-
fashioned, her manners are lady-like. She
carries herself with the air of a young per-
son who has just been told that she is not
exactly a strain on the eyes.

"I was fifteen years old when I began
to 'act,' if you could call it that," said
Marguerite. "Mother knew a man over
at the studio. He was always asking her
to let me appear in a picture. It didn't
make any difference to me one way or the
other. Mother was unwilling, — she didn't
want to take me out of school. Imagine
such a thing happening now! At the mere
chance of a film offer, a mother would snatch
her child from the cradle.

"Those Kalem days were very pleasant.
Like all the old companies, it was just a
family. You didn't hear much about sal-
aries and none of us had contracts. After
the series called 'The Adventures of Mar-
guerite' I got another offer. I gave the

Photoplay Magazine — Advertising Section

119

She Hates Broadway!

(Concluded)

company three weeks' notice. Really, it
was just as though I had left home. They
felt so hurt and grieved.

"I played in pictures with Tom Moore.
I am glad that he has done so well. I love
to see the real screen players make good.
To me it seems that the stage players caused
all this fever for high salaries, with limou-
sines and bungalows thrown in. Producers
engage 'Broadway' leading men at high sal-
aries when they ought to develop the talent
in their own studios. 'Broadway' names
don't mean much in the small towns. The
small town people are better acquainted
with the regular movie actors. And let me
tell you, small town popularity is the suc-
cess that counts."

You see, living in Weehawkan has made
Marguerite scornful of Broadway. Names
of individuals in electric lights are not vis-
ible from the Jersey shore. You only
glimpse a misty glare.

"After Kalem I went to Gaumont and
then to Famous Players. You may remem-
ber 'The Kiss' and 'Rolling Stones.' And
then this country went into the war. And
I did a little war work.

"You see, over in Weehawken there was
a recruiting office for the marines. I used
to help them out. Finally the sergeant
who did the desk work was ordered to
France. They needed someone to take his
place and I volunteered. It took all my
time so I had to drop my studio work.
Then I made tours and sold war savings
stamps. And I met some boys from the
middle west so I adopted them and wrote
to them all once a week while they • were
abroad. Altogether I was away from the
screen for a year. So it's very necessary
that I catch up now.

"I came back in 'The Perfect Lover,' with
Eugene O'Brien. And then I made 'The
Teeth of the Tiger' for Famous Players,
with David Powell."

Then she did "Bound and Gagged," a
Pathe serial.

"I wasn't very anxious to play in a serial,"
she said, "and before I signed the contract
I took good care to find out that I wasn't
the person to be bound and gagged. But I
haven't regretted it."

Besides living in Weehawken, Miss Cour-
tot can boast of two other departures from
type. She has never been to Los Angeles
and she doesn't use any make-up, except a
coating of powder when she is before the
camera.

By Request

THERE had been a movie ball and one
of the principal cafes of the city was
filled with fans and notables. A large male
person stepped upon the orchestra platform
and announced:

"By special request the orchestra will
now play 'The Maiden's Dream,' dedicated
to Miss Tottie Twinkle the famous Superba
Picture Corporation star, and based upon
her latest cinema triumph of the same name.
'The Maiden's Dream,' ladies and gents, by
special request."

"By whose request?" demanded a nearby
diner.

"By request of Miss Tottie Twinkle's press
agent," the imperturbable, though not es-
pecially sapient announcer replied.

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Photoplay Maoazixf — Advertising Section

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Filming Grain Dust
Explosions

TAKING close-up motion pictures of
experimental explosions so unexpect-
edly violent that they knocked down
spectators standing at supposedly safe
distances, and practically wrecking the steel
and concrete structure especially designed to
withstand blasts of this sort, was the recent
experience of a photographer sent by the
United States Department of Agriculture to
assist in preparing films for use in a cam-
paign against grain-dust explosions. This
campaign is being promoted by the depart-
ment in cooperation with the United States
Grain Corporation. The pictures taken at
such unusual hazard were staged at a sta-
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Bureau of Mines for the purpose of making
mine-explosion investigations. The plant
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investigators by the Bureau of Mines.

The special program devoted to work
against grain-dust explosion, in which the
films are to be featured, is being arranged
for in principal cities of the country. They
illustrate, more graphically than lectures or
statistics can possibly do, the need of tak-
ing thorough precautions against grain dust
in elevators and other grain-handling plants.
The apparatus used as a setting for the
movie views, the taking of which involved
so much unexpected adventure, consists of a
steel cylinder or gallery 225 feet in length,
set above ground, which serves as a counter-
part of a mine gallery. In the upper sur-
face of the cylinder, at stated intervals, are
ports, some of which are provided with lids.
The progress of an explosion from one end ;
of the cylinder to the other can be detected
by jets of smoke and flame that burst from
one after another of these vents. The mo-
tion pictures secured show this interesting
phenomenon clearly. Shelves arranged lat-
erally inside the tube were sprinkled with
flour for one of the demonstrations, and
with a starch dust for another.

During each of the experiments the mo-
tion-picture operator was housed in a port-
able telephone booth brought to the scene
to serve as a shelter and placed with the
solid board side of the booth turned toward
the mouth of the cylinder. This shelter was
set less than 100 feet from the cylinder, and
just enough to one side to be out of the
direct line of the blast, A hole was cut in
the wall of the booth through which the
camera was trained on the scene of the ex-
plosion.

During each of the first two blasts the
operator was somewhat shaken by the deto-
nation, but the shocks were relatively light :|
and their effects little more than temporary.
With the setting off of the starch charge,
however, the earth seemed to tremble, the
booth rocked on its foundation, and reports
received later showed that houses two and
three miles away were shaken. The concus-
sion shattered the glass in the walls of the
telephone booth. The operator was tempo
rarily blinded and almost stunned, but his
long training in his profession kept him
turning the crank of his camera even as it
swayed to and fro in its shelter. All of this
upheaval took but an instant of time.
Climbing out from the broken booth the
operator looked about and found that some
of the engineers, who had stood at a con-
siderable distance to witness the test, had
been thrown to the ground. -As soon as^
they recovered their sense and equilibrium;
they ran to the telephone booth, fearing that!
the operator had been killed. 1

The movie usher makes me smile—
For uselessness he can't be beat:

For though he leads us down the aisle

We always take some other seat.— Siren.

Kviry advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Secuon

I OURREADERSSAY:

= Letters from readers are invited by the editor. They should be not more than three

= hundred words in length, and must have attached the writers name and address.

llllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllllli^^

I 21

Editor Photoplay,
Dear Sir:

LETTERS-to-the-Editor are usually
concerned with a player's screen
work. May I say a word about an actor's
authorship? This is not a professional
book review, just a suggestion to some
of Mr. Hart's admirers who may not
know of his little book, "Pinto Ben and
Other Stories." It is the work of both
Mr. Hart and his sister Mary. The in-
troduction gives us a brief glimpse of the
actor's boyhood, and is followed by a
quaint little letter from his famous pinto
pony, who has almost as many friends
as his master.

"Pinto Ben'' is a narrative poem con-
cerning a beloved cow pony, killed while
saving his master's life. The poem is writ-
ten in dialect similar to that used in Hart
Production subtitles. Much of Mr.
Hart's gentleness and great-heartedness
crept into "Pinto Ben," and his love of
justice produced "The Savage,'' an In-
dian story sharply drawn from Mr.
Hart's own intimate knowledge of the
Indian character. In speaking of the In-
dian girl's lonely walks, he says: "In-
dian girls do not fear the opposite sex
of their own people. There are no beasts
among them. . ." Verily, a thought for

the American white man to chew upon.
"The Savage" reminds one of "Madam
Butterfly," but is more concise, more
startlingly vivid, more rich and colorful.

Miss Hart's contributioii is a dehght-
ful dog story, "The Last of His Blood."
In the opening paragraphs, Miss Hart has
cleverly introduced some interesting in-
formation about the English bulldog, the
narrative is then taken up by the dog,
himself. A bit of a love story and a
touch of mystery given to the character
of Copper John add interest and charm.
Unlike most dog stories, this one does
not assume human intelligence on the
part of the animal. "Socky" is always
a dog and interprets his surroundings
from a dog's point of view, even when the
author's fancy makes him say of the
stars: "the lights in the sky above
showin' through, just like the nail holes in
my box." Animals may or may not rea-
son, but Miss Hart wisely keeps clear of
this controversial ground.

Whether you are a Hart fan or not,
whether you like animals or not, if you
have the average amount of human sym-
pathy in your make up, you will find
this little book well worth the reading.

Very Sincerely,
Norma Cogley, New York City.

(From the Goldwyn "Studio Skeleton.")

SCENARIO READER'S REPORT

CHAPTER I. BOOK
Title T HE CREATIVE INSTINCT Author MOSES. From OF GENESIS

Type of story:
General locale
Suitable for
Synopsis:

Spectacle.

The Infinite Reaches of Space

Any Good Character Actor — Male

God finds Chaos — "waste and void." Darkness upon the face of the deep.
Apparently in a spirit of adventure, God sets out to reduce this to order. No
motive assigned. God says, "Let there be light." The separation of light from
darkness described as first day. God separates waters from waters by firmament
called Heaven — second day. For third day, God separates water from dry
land; calls the latter Earth and puts it into crops. Fourth day God orders
sun, moon and stars. Fifth day God stocks Earth and Seas. Continued into
sixth day. God makes image of Himself and calls it Man.

COMMENT: Perhaps this story offers chances for spectacle, though it
would need to be greatly strengthened. The author's descriptions are ama-
teurish, not clearly visualized. His representative would have to agree to
adequate modifications by skilled continuity writers, coupled with capable
direction.

Aside from its spectacular features, the story is very slender and draggy.
Moses' characterizations of God are vague. This part would require much
building up to make it convincing. There is no clear designation of motive for
any of God's acts.

Perhaps the story's greatest deficiency is the lack of any comedy relief.
In fact, there is nothing in the book as written to which a script writer or
director might turn when the main theme becomes slow; nor is the principal
theme really good tragedy. The narrative in reality is merely a series of epi-
sodes, jerky and unskillfully strung together. The story lets down badly at the
end; its conclusion is decidedly anticlimactic.

One point in favor of the story is the opportunity it offers for effective
sub-titling. The author has entirely overlooked this possibility. His lines are
dull, heavy. He has ignored the chance for improvement by putting God into
the heroic mood.

Well cast, the part of God might be sustained through a two-reel produc-
tion, if the episodes were jazzed up and some sort of relief injected into the
story.

Date read: AUGUST i, 1919.

Readers: WILLIAM R. and LOUIS DURYEA LIGHTON.

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122

Photoplay Magazine — Advertising Section

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Mary Jane and one of the lucky dags, visited by tke good bad man.

"Santa Glaus? — Sure"

Only out in Sunny California
he lets tke dog wear the whiskers.

!T WAS the day before Christmas — and
Santa Claus galloped up to the William
S. Hart studio in Hollywood, California,
— sans reindeer, sans sleigh, sans snow,
sans whiskers.

Instead of being a fat and jolly Santa
Claus with much embonpoint, he was tall
and straight and strong, and he rode his
prancing steed like a centaur. Instead of
reindeer his steed was a horse. Instead of
a fuzzy white beard and fur coat, he was
clean shaven and wore clothes just like
other men, only he had a broad-brimmed
Western hat. He drew his proud steed
up in hearty greeting of a little group wait-
ing expectantly at the Christmas tree which
grew fairy-like amid the fruit trees across
from the studio.

"Aw, that ain't Santa Claus," remarked
a small, freckle-faced, bare-footed boy to
his companion as they watched the party, —
"that's Bill Hart."

And the small boy was right. Bill Hart
was giving this Christmas tree party for
his best girl, — who happens to be little Mary
Jane Irving, age just five years. Mary
Jane plays with her big beau in the land
of make-believe, — motion pictures.

Just because the climate of Southern Cali-
fornia is too warm for reindeer and fur
coats, and there aren't any winter snows for
s'cighs and bells, is no reason why Santa
Claus is going to forget good little boys
and girls, or, even such deserving guests as
Mary Jane invited to hang up their "stock-
ings" on her Christmas tree.

What happy and enthusiastic guests they
were, too, — especially when they saw what
they got in their "stockings." Besides the
Pinto, it might be well to explain who Mary
Jane's other guests were. There were — ■
Cactus Kate, a reformed bronco who has
settled down; 'Lizabeth, a paradox of mules,
being of a sweet and gentle nature; Congo,
the handsomest bulldof that ever adorned
the front seat of an automobile; Wolf, a
wild Malemute from the home of Santa
Claus; and Lucky and Sooner — just dogs.

Each guest hung up his or her "stocking"
and maybe they weren't delighted with the
presents Santa Claus brought them. Cubes
of sugar and sweets, barley and oats for
the Pinto pony, Cactus Kate and 'Lizabeth;
boxes filled with toothsome shank bones for
Congo and Wolf, Lucky and Sooner. A
hand-made bridle for the Pinto; leather col-
lars for the dogs.

Mary Jane had such a happy time en-
tertaining and enjoying the expressions of
delight from her guests over their Christ-
mas presents, that she almost forgot herself.
But Bill didn't. There was a big doll al-
most as pretty as Mary Jane, herself, and
a doll carriage with the trimmings. And
besides, Mary Jane discovered on the tree
some exquisite clothes and things that little
girls like to wear, and a Teddy bear, some
funny toys and ev'rything.

What did Mary Jane give Santa Claus
Hart for Christmas? A kiss! Yes,— Mary
Jane gave Bill a lot of sweet kisses, — and
they weren't make-believe either.

Every advertiseraeni in PHOTOPLAT M>''*Z1NE Is guaranteed.

Photoplay Magazine — Advertising Section

The Copperhead

(Continued from page 70)

I argued and pleaded, but it was no use.
He had just decided to go through life with-
out an explanation and he would have, too,
only — but that jumps forty years.

Milt went away soon after the end of the
war and took his baby with him. At least
if he would not explain, he could bring up
the girl where no one knew about the pa^t.
Elsie grew up, married, had a little daugh-
ter, and again Milt, now an old man, but
still strong in mind and body, had a little
baby on his hands. Still he stayed away
from Milville for quite a long time, and
then one day came back. Didn't say any-
thing to anybody, nor didn't make any secret
of his movements. Just came back, opened
up the old place, and moved in. He was
all alone — his granddaughter, Madeline
King, was in school in Boston. She came a
few weeks later, a peach-blossom girl, pretty
and happy, with never a trace in her merry
features of the tragedy that had hung over
the family half a century. Nobody said
anything to her about it of course, though
she must have wondered why it was so many
of the neighbors only spoke to her father
with a curt nod as she passed them. She
could not know that when she was not by
his side they did not speak at all. There
were a few who were willing to admit that
the war was over, but even among these
there were not many who were cordial. And
among those who were sternest in refusing
to associate with Milt was Hardy, a Colone'
now and a distinguished figure at all the
G. A. R. reunions. Bye and bye Madeline
came to understand in a general way that
her grandfather had sympathized with the
South in the Civil War, but from the long
distance of the younger generation this was
no hanging matter, and even if the word
"Copperhead" h::d been spoken it would
have lost its sting.

Well, it just wouldn't have been natural
in the circumstances if Milt Shanks grand-
daughter and Colonel Hardy's grandson
hadn't fallen in love. There never were two
people better suited to each other. Tom was
a fine young chap, upstanding and manly,
taking after his grandfather, and with all the
old man's grit. He knew that the Colonel
and Milt weren't on speaking terms, but he
didn't know all of the reason, any more than
Madeline did. But the old folks in the town
wondered what would happen when the
Colonel found out the facts in the case con-
cerning his grandson's courting.

Madeline wouldn't listen to Tom at first
when he asked her to marry him. She said
her grandfather was getting so old and feeble
that she couldn't leave him, but Tom
brushed that aside by assuring her she didn't
have to leave him. And with that he hur-
ried off to see the Colonel. Hardy sputtered
and fumed, but Tom insisted. Hardy
wouldn't go into details — he was too big a
man to want to dig up all that past trouble.
So Tom flung away from him with a decla-
ration that he would marry Madeline any-
how, and the Colonel might as well make
up his mind to it. He hurried back to Milt's
house and told his story to the old man.

"I guess you know what the town thinks
about me," he said, looking Tom square in
the eyes. "Buttons here," and he patted his
dog, "and Madeline, is the only folks that
don't call me a damned old jail-bird. I've
kept as much of that away from her as I
could, son — "

"Mr. Shanks, I love her, and I don't care
what anybody thinks," Tom insisted.

They were interrupted by the arrival of
a visitor in the yard, a grizzled, shuffling
figure with an ill-fitting suit. His hair was
cropped short, and there was a week's
growth of beard on his face. It was Lem

123

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No "trick' music, no "numbers," no makeshifts of
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I call my method "new" — simply because it is so
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thoroughly time tried and proven. Over 225,000 suc-
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women of 70— are the proof. Lurgel.v throuKh the
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the largest school of music in the world.

To prove what f say, you can take any course on trial
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then it w(m't cost you a single penny. I guarantee satis-
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When learning to play or sing is so easy, why <'ontinue
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supplied when needed, cjishor c-redit.

For Beginners or Advanced Pupils
Piano Clarinet Ouitar
Organ llute Ukulele
Violin Saxophone Harp
Viola Cello Cornet
Banjo Harmony and Fiocolo
Mandolin Composition Trombone
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Hawaiian Steel fiuitar

V. S. School o» Music. 562 Brunswick Bldg., New York

Mr. David F. Kemp. President U. S. SCHOOL OF
MUSIC. 562 Brunewicli Building, New York City

Please send me yiurlfrt-e iiook. "Music Lessons in Your Own
Home," and particulars of your Special Offer.

Name

Address

City State.

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1466 High Street
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Address ........ .. •

^^Tien you writa to advertisers please mention PHOTOPLAY SIAGAZINB.

124-

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Name "Bayer" identifies genu-
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Phoioplay Magazine — Advertising Section

The Copperhead

(Concluded)

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Tollard, just out of prison. For thirty-five
years Milt had been working for his release,
and had only just succeeded. Milt went to
the door and called to him.
"Come on in, Lem. I been expectin' yer."
The young folks left them together and
they went into the house.

"Expectin' me, eh? That's yer dirty con-
science. Yoii didn't stay long in jail though,
Milt Shanks. I've figured it all out, that
you had the Yankee cavalry in the bushes
at the Ford — you sneakin' Judas!"
"Wait a minute, Lem — "
"Wait nuthin'. I'm here to hand you
what's comin' to you."

With that he drew a gun and fired. The
bullet hit Milt in the breast and he stag-
gered. Tom and Madeline came running in,
and Lem sneaked off.
"Get Dr. James, quickly," Madeline cried.
"Never mind the doctor, get Colonel
Hardy," Milt gasped. "Quick!"

Tom was off in a flash. Madeline did all
she could to make her grandfather comfort-
able. He didn't suffer much, but just lay
there with a look of set determination on
his face. Pretty soon Tom came back with
the doctor, Colonel Hardy and Newt Gilles-
pie. Newt and the Colonel held back a lit-
tle, as much as to say that the only reason
they were present was because a dying man
had sent for them, but they didn't want
anyone to think that this could change their
opinion of Milt. Dr. James made a quick
examination and assured them it was only
a flesh wound.

"It's deeper'n that," Milt said, and turned
to the others. "Colonel, your boy and my
girl's in love with each other. I've got some-
thing to say. Will you stay a spell?"

Hardy didn't say a word, but took a chair
not far from the bed, and Milt went on.

"When the war broke out, you took a vow
to support the Union. I opposed it. — Made-
line, hand me that pistol," and he pointed
to a gun on the bureau. He handed it to
Tom and said, "Get the corkscrew and pull
those loads out — two barrels are empty —
the rest just the way they was at the trial—
for murder. It's the gun I had at Tyler's
Ford.

"Us Knights of the Golden Circle," he
went on, while Tom was working at the
gun, "Copperheads, they called us — we
helped the South, we p'isoned cattle, and
twice I went to Richmond, Virginney.— The
day after Vicksburg— my boy Joev was kilt
there— yer Grandma died, Made'linc.— She
told me I was unclean.— They wouldn't even
let me see my boy in his coffin— remember
that Newt?"

Newt Gillespie shuffled uneasily. They all
wondered what was coming. Milt was the
last person they would have expected to re-
call the past willingly.

They were startled by an exclamation from

Tom, who brought over a paper upon which

he had poured out the charges from the gun.

"It was loaded only with powder ancl

wads— no bullets," Tom said, wonderingly.

Milt opened a little box he had by his
side, and took out a letter.

"Just one man in all the world wrote me
a letter," Milt went on, as if there had been
no mterruption. "Look at it Colonel, read
it out loud— and maybe you'll understand."
Hardy took the letter, now yellow with
age, and started at the words at the top. It
was dated from the Executive Mansion,
Washington, April ii, 1865. He read it in
a voice trembling with emotion.

"Mr. Milton Shanks, Milville— Dear Milt.
—Lee's surrender ends it all. I cannot think
of you without a sense of guilt, but it had
to be. I alone know what you did — and,
even more, what you endured. I cannot re-
ward you — man cannot reward anything
worth while. There is only One who can.

"I send you a small flag. It is not new,
but you will prize it all the more for that.
I hope to shake your hand some time.
Your friend,

A. Lincoln."
There was silence in the room. In an> in-
stant a new Milt Shanks had been revealed
to them. Then Milt began again.

"Right after Sumter, Lincoln c^led me to
Washington. He told me what he wairted
me to do. 'It means to be odious in every
eye,' he said, 'to eat your heart out alone,
for you can't tell your wife, nor child, nor
friend. I want you to join the Knights of
the Golden Circle — to become their leader if
you can. I need you, Milt— your country
needs you.' "

"But damn it," Hardy burst out, at last,
while Madeline clung pleadingly on his arm,
"in all these years we've despised you, why
haven't you told?"

"Who was there left to tell?" Milt replied
wearily. "Ma and Joey were gone— only
now,— when it's separatin' Elsie's girl from
the man she loves— I got to tell."

Milt sank back on his pillow, and Hardy
came up close.

"Milt," he said, "will you take the hand
of a man who only fought?"

And with that handclasp that meant the
betrothal of Madeline and Tom, the soul
of the bravest man I ever knew went to its
reward. Happiness for a new generation had
been born out of his tragic and heroic life.

Blue Monday

"\/0U hear about people going to their graves with words engraved on
X their hearts,' says Charles Whittaker, author of scenarios, "and I
know what mine will be— 'We start shooting Monday '

"I have never yet received an order for a scenario or continuity with-
out this phrase being hurled at me as a parting warning. Whether I get
the story Monday, Wednesday or Sunday the inevitable reminder accom-
panies tt. Don t forget we start shooting Monday '
"Don't they ever start shooting Tuesday or Thursday? I should
thmk just for the variety of the thing they would want to change the
day occasionally. But it seems not.

tbJ'^l*'""''^^ i*"'^ ^°^^ "^' '"*'^" ^^^^ they actually do begin making
the picture on that day. One producer brought me a story on a Satur-
day alternoon— a story I never had even read before. 'Can you fix up a
continuity on this?' he asked. 'We start shooting Monday.' I worked
night and day and gave him the first two reels Monday morning but
It was two weeks from the following Wednesdav afternoon that the
nrst scene was* 'shot.'

t.K?"i ."° T!^" ^°'J' °^^^" ^^^ producer has experienced these inevi-
table delays between the completion of the continuity and the beginning
of the picture the formula remains the same .when he orders the 'scrilrt-
We start shootmg Monday!'"

ETOiy advertisement in PTOTOPI.AT M.\OAZINE is guaranteed.

vvwujif. »,> -^j»B.< ---iSWd

Photoplay Magazine — Advertising Section

125

Their Little OV Pay

Check Now?

(Concluded from page j6)

same applies to the good character or heavy
woman. A notable instance is the rise of
Marcia Manon. When she played the
heavy in Mary Pickford's "Stella Maris,"
Miss Manon was drawing down the mu-
nificent stipend of $40 a week. Now her
salary is up in the hundreds.

It isn't so much the general upward
trend of wages and commodities that has
taken upward motion picture salaries — it
is the tremendously augmented business
since the end of the war — an indication of
the universal turning to the photoplay the-
ater as the chief recreation of the civilized
world. With the end of the great conflict,
the foreign market, long closed to the film
salesman has been thrown open, thus giv-
ing the greatest single stimulus to the busi-
ness of picture production. Then the the-
ater has so greatly improved in class, both
as to ecjuipment and performance that bet-
ter prices could be charged the public, thus
providing bigger rentals for the better grade
of pictures. As to the stars themselves,
their product is sold almost exclusively on
their popularity and the merits of the pic-
ture? themselves. With an open market,
it is a case of a survival of the best in a
general sense. The stars who can best sat-
isfy the public will continue to be well
paid — the others will be consigned to the
oblivion that awaits all those who, in the
vernacular, have "played out their string."
The public will not begrudge the success-
ful ones the million- they will take in ex-
change for the entertainment and the
happiness they have bestowed through the
medium of the screen.

Why Don't They?

HE girl on the Photoplay cover

Has c^sed many a masculine heart
To pau^ in its steady patter
When pierced by Cupid's keen dart.

Oh, man, as you sit in your armchair,
And gaze at the latest "mag" out.

You murmur: "That hair, oh those dimples!
Does she care if a fellow has gout?

"I'm sure that her name is Priscilla,
Or it might be Constance or Prue.

Now what in the name of creation
Is a fellow with gout goin' to do?"

Though the girl on the Photoplay cover
Wrecks the peace of the masculine mind,

The lad in the collar ad surely
For feminine hearts was designed.

Oh, girl, as you sit near the mirror
And gaze at the latest "mag" out,

You murmur: "His hair parts so nicely,
Now what is he thinking about?

"As he laughingly gazes straight at me,
With collar and tie on just right?

I know that his name must be Jimmie;
I wish I could see him to-night."

Oh girl on the Photoplay cover,

And lad in the collar ad there.
Why don't you both go and get married,

And end all the anguish that's here?

— Esther Franks.

Lore's light bum! undimmed in Beauty's realm
•while your fair charms entrance my ey'ry thought. "

— FROM AN OLD VALENTINE.

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126 Photoplay Magazine — Advertising Section

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7572 COLLEGE HILL, SPRINGFIELD. OHIO

Please send me your free book on Typewriting:. This
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Name—

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Blind Husbands

{^Continued from page 41)

The first thing that Dr. Armstrong noticed,-
after Margaret was resting quietly, was the
box that Von Steuben had brought in the
morning. He picked up the trinket curious-
ly and opened it — to look down on the
card of Erich Von Steuben.

Dr. Armstrong knew something about the
price of the old treasure. He also knew
from experience that one such as Von
Steuben would not have paid so much money
from his own pocket if he had not some
most definite rea-
son. For the first
time Armstrong
felt a. strange
questioning with-
in him. He sat
down beside Mar-
garet's bed. When
she began to stir
about he said,
"If you feel well
enough itomorrow
we will start for
Rome."

"But you have-
n't had your trip
to the pinnacle
yet," she replied,
thinking of the
chief desire that
had brought him
to Cortina. "I do
not want to take
you away until you have had it."

"Old Sepp isn't feeling up to climbing
to the peak just yet," Dr. Armstrong an-
swered. His glance fell upon the box — that
fatal box. An idea flashed to him. "But
perhaps Lieutenant Von Steuben will ac-
company me."

Dr. Armstrongs suggestion to Von
Steuben that they climb to the pinnacle of
Monte Cristallo together did nol please the
lieutenant, but in the face of his many boast-
ings of his prowess as a mountain climber
he did not dare refuse.

Dr. Armstrong agreed that Margaret and
Old Sepp with some of the other guests
about the hotel who wished should go as
far as the Zinnen-Hutte, the hut which
v/af at the base of the steepest part of the
climb, there to await the return from the
peak.

By afternoon Margaret had recovered
sufficiently from her indisposition of the
morning to make it possible for the party
to start. They planned to spend the night
at the hut, so that Dr. Armstrong and Von
Steuben could be on their way early the
next morning.

The surgeon, in order that Margaret
might not be disturbed by his early rising,
engaged separate rooms for them at the
hut. Margaret's room was across the hall
from that assigned to Von Steuben.

All evening, as he had done on the climb
from the hotel to the hut, Lieutenant Von
Steuben forced his attentions on Margaret.
And in order to avoid an unhappy situa-
tion, Margaret treated him outwardly with
the same casual friendliness that she had
always assumed. He mistook her pleasant-
ness for a sort of hidden encouragement,
and when they were alone for a moment,
he whispered, "I will see you when every-
thing is still."

Margaret had no chance to remonstrate,
with him before her husband came into the
room. It was a real sort of irritation that
Dr. Armstrong felt at seeing his wife in a
tete-a-tete with another man. And when,
as Margaret bid the party assembled in the
sitting room goodnight. Von Steuben kissed
her hand, Dr. Armstrong choked a swift
desire to throw the simpering soldier out of
the door.

Blind Husbands

NARRATED, by permission, from the
Universal photoplay of the same name,
from Erich von Stroheim's story, "The
Pinnacle," adaptation and scenario by the
author. Directed by Mr. Stroheim with
the following cast:

Dr. Armstrong Sam De Grasse

Mrs. Armstrong Francelia Billington

Lieut. Erich Von Steuben

Erich von Stroheim

Silent Sepp H. Gibson-Gowland

^, ,, , , ( Valerie Germonprez

The Newly weds | j^^j^ p^^^j^

The Dog, Bob By Himself

If Margaret had noticed her husband's
face she would have seen more violence of
feeling than she had for many a day. She
might have had the satisfaction of knowing
that he had at least been stirred out of his
lethargy.

But she kissed him dutifully on the fore-
head, without looking into his eyes, shook
hands with Sepp, and went to her room.
Dr. Armstrong and Von Steuben soon fol-
lowed her example, but it was not before

Margaret had
found time to
scribble a note
which she ad-
dressed to Von
Steuben and
pushed under his
door.

Later Sepp, sit-
ting alert, heard
Von Steuben's

door open very
gently and close
again. The old
man picked up his
lamp and opened
the door into the
hall. He held the
light, so that it
fell into the face
of the Austrian,
just as his hands
reached for the
handle of the door to Margaret Armstrong's
room.

The two men said nothing. Sepp looked
at the officer with piercing, accusing eyes.
With a half-smothered oath Von Steuben
turned to his own room again. Sepp went
back to the living room and called his faith-
ful old dog to his knee. He whispered a
few words into the animal's attentive ear.
Then he opened the door into the hall and
placed the intelligent beast at Margaret's
door where he curled himself up against it.
The pinnacle of the Monte Cristallo rises
sheer, a rocky surface almost bald of crev-
ices and ledges, hundreds of feet up from
the little hut where Dr. Armstrong and his
party had spent the night.

The sun was barely up when Dr. Arm-
strong and Von Steuben were on their way,
with Old Sepp watching the start. Von
Steuben had exchanged his uniform for a
natty Alpine suit, with cravat and hat to
match. The outfit was obviously new. He
handled his pick gingerly with his immac-
ulate yellow buckskin gloves. Sepp and
Armstrong exchanged amused glances, as
Sepp secured the rope which linked the men
together.

There was a distinct undercurrent of hos-
tility between the two men, which Dr.
Armstrong generously tried to overcome, but
which Von Steuben showed in an air of
surly superiority. Armstrong let him lead
the way and acted in the greatest humility
toward this self-professed expert climber.
But as Von Steuben became winded and
lagged the surgeon gradually took charge
of the expedition.

Von Steuben grew more and more tired
and disagreeable. The oftener he had to
be helped over the difficult places the more
unsportsmanlike he became. When at last,
they reached the top he threw himself down
on the rocks exhausted, tossing his hat,
coat and pick from him.

As the coat fell in a heap an envelope
fluttered out and dropped at Armstrong's
feet. The surgeon stooped to pick it up.
He saw that it was addressed to Von Steu-
ben in Margaret's handwriting.
Von Steuben leaped at him.
"Damn you — that letter is mine — mine —
don't touch it."

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Blind Husbands

(Continued)

"I had no intention of looking at it,"
Armstrong answered in cold calmness. "I
know no reason why my wife should not
write to you if she wishes — but, just be-
cause you have acted this way about it, I
am going to read it."

Dr. Armstrong seized the rope that lay
between them and drew Von Steuben
toward him. As he did this the letter flut-
tered loose from the Austrian's hand and
lodged in a dangerously located crevice fifty
feet below.

Armstrong rushed Von Steuben and forced
him to his knees on the very edge of the
precipice. He clutched the officer's throat
in his two strong capable hands.

"You force me into a strange position,
you low cur," the surgeon said in a tone
of quiet and deadly coldness. He choked
Von Steuben until he purpled in the face.

"You insinuate by your actions that I
have cause to distrust my wife. I am going
to give you one chance to tell me the
truth. If you lie to me — and I'll know it if
you do — down you go over the rock. Has
there been anything between you? Answer
now, with the truth — or you die!"

Von Steuben, cowering, could think only
of his immediate safety.

"You won't hurt me if I tell the truth?"
he gasped.

"I will not," replied Armstrong. "Answer
me."

Von Steuben faltered, h:;itated and then
exclaimed his repiy with ti.e energy of des-
peration— "Yes!"

A lie was nothing in Von Steuben's code,
when a lie could serve him.

Armstrong left go his grasp on the Aus-
trian's throat and sank down. He was
dazed. His whole world was upset. His
foundation had been taken away.

In this terrible moment Dr. Armstrong
felt that he had lost all that made life
worth while. It could mean nothing to him
without her.

The fierce blazing sun above the peak
beat down upon his bare head unnoticed.
Up on the tip of the pinnacle with nothing
between him and the blue of the Heavens
he was seeing his life in swift review as it
h-^d been through the past few years. In
nis heart there came a consciousness that
the fault of the tragedy was more than
partly his own.

So insensible was Dr. Armstrong of his
surroundings that he had forgotten Von
Steuben until he heard the scraping of the
Austrian's shoes in a stealthy movement
behind him.

He wheeled about just in time to ward
off a knife thrust.

Without a word he seized Von Steuben's
wrist and forced the knife from his grasp,
then cut the rope between them.

The knife in hand he started alone down
the face of the rock.

Von Steuben, terrified at the prospect of
the terrible climb down alone called after
him.

"I lied, I lied — take me with you. I lied
because I thought you'd kill me if I told
you something that you doubted."

Armstrong went on unheeding. He made
his way laboriously to the ledge where Mar-
garet's letter had lodged, fluttering there
ready to fly away in any sudden gust of
the wind that swept about the peak.

Chiselling out footholds Armstrong was at
last near enough. He reached and seized
the letter.

Slowly he opened the folded white sheet
and read:

"The promise I mad? you this morn-
ing when yon forced your way into my

room with the box was simply to save

myself at the time and to get rid of

you. I love my husband and my kus-

127

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Photoplay Magazine — Advertising Section

Blind Husbands

(Concluded)

GLORIA SWANSON

Cecil B. I)>:MilU Artcraft Player

WALLACE REID

Paramount Star

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Write for catalog mentioninif study desired to

A. T. IRWIN. Secretary
225 W. S7th St. New York City

Ask your exhibitor when he is
going to show the Photoplay
Magazine Screen Supplement

— Glimpses of the Players
in Real Life.

Print Yonr Own

caros, circulars, labels, tags, menus

jKiok. MipiT. Press S8. Tiirj-er S115. .lob

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band only. Please do not bother me

again. You will find the box at the

hotel office."

The letter was unsigned.

Dr. Armstrong trembled as he finished
reading the words. As he slipped the en-
velop into his pocket he lost his footing
and went hurtling down the face of the
rock. A hundred feet down he was caught
on a narrow ledge, padded with tiny moun-
tain plants. He lay there unconscious.

Down at the Zinnen-Hutte Margaret
Armstrong was seized with a foreboding
of disaster on the pinnacle.

"Sepp — something is wrong — I must go,"
she cried to the old guide.

Sepp tried to calm her fears, but to no
avail. A rescue party was organized, made
up of the men from the hotel and Austrian
Alpine soldiers who had arrived on a map-
ping expedition.

Margaret and two women who had come
up from Cortina with their husbands fol-

lowed behind the men at a slower pace.
The women stopped at the foot of the last
steep and all but impassable stretch.

Half way up this last ascent the party
came upon Dr. Armstrong, still unconscious.

The surgeon opened his eyes as Sepp
leaned over him. "Von Steuben is up
there — go get him," Armstrong whispered,
then lapsed again in unconsciousness.

They put a rope about Dr. Armstrong
and lowered him gently down to the level
where Margaret waited.

The soldiers went on up to rescue Lieu-
tenant Von Steuben. But they were too
late. The terror stricken coward had let
go of the rock.

When Dr. Armstrong again recovered con-
sciousness he found Margaret bending close
over him.

He reached out with his unhurt arm and
drew her face down close to his.

"Dearest, can you forgive me?" he whis-
pered. "I have been blind."

The Real Na2;imova

{^Concluded from page 56)

Hilda, from The Master Builder which most
nearly approximates Nazimova's ideal char-
acter.

In her own home she wears the costume
of a Chinese boy. She bends no knee to the
modistes who demand whalebone and stif-
fening in garments, and the corset is one
form of oppression to which her revolu-
tionary spirit never was tamed. Negligees
and lingerie are always in pale flesh color,
it is only in the outward and visible gar-
ments that she chooses the more vivid
hues. Seen in the studio with the grease
paint and pale Satsuma make up which the
camera finds so grateful, Nazimova's skin
is like softest ivory.

Off the stage, she abjures makeup of
any kind. Her skin is healthy and clear in
texture but always colorless. Her head and
face seem rather large, and the compkxion
is lacking in that miniature satiny finish
which more tepid beauties of the screen may
boast. She is planned on large lines, and

the intellect which has in a few short years
placed her at the apex of fame's ladder
has taught her to omit bother about details
and to strike only for the essentials of her
art. The short hair frequently clipped with
boyish brevity is slightly touched with grey,
the hands graceful and almost infantile in
their lissome contours, and the limbs long
in proportion to the height, which is but
a few inches more than five feet.

Is the artist a poseur?

Her friends say no.

Either she is always acting — or she never
acts. A fiend for hard work, she patiently
submits to "re-takes," watches the cutting of
her pictures and labors with every member
of the producing unit until the picture is
finished. Then away from sight and sound
of studio. Telephones muted, doorbells
muffled, visitors denied. She rests and re-
laxes in her own sweet way and woe be to
him who tries to invade these few days of
seclusion.

W^o^r-k— That^s All!

(Continued from page ji)

she got something good. That's what I call
pluck. And now she's doing leads with John
Barrymore for Famous.

You all know Mae Murray. She was the
Nell Brinkley girl in the Follies, you know;
and impersonated Mary Pickford in the
movie burlesque. She looked so good she
got a contract right away, with Lasky. And
she's been starring ever since.

Rubye deRemer went into pictures as
the heroine of "The Auction Block," the
Rex Beach story of New York night-life
and showgirl speed. Rubye is still in pic-
tures— acting, not just looking beautiful,
and she can do both.

Marion Davies, another former Follies girl
in pictures, works awfully hard. I'm glad
to see her coming along. She's pretty; and
she would slave away all day and many
days to get a scene just right.

Kay Laurell was in the Follies when I
was. In her first picture she played a dance-
hall girl— that was Rex Beach's "The
Brand." Seems Mrs. Beach likes the Fol-
lies type — she picked two blondes, Rubye
and Kay, for parts in her husband's stor-
ies. Kay, by the way, plays the part of
an Indian girl in her new picture — that
took nerve! As if I'd powdered my hair

and worn spectacles when I first went in.

Then there's Will— Will Rogers. The Fol-
lies don't seem the same without him.
He is a unique type in pictures just as he
was on the stage. That dry humor is really
his own — he's just the same in real life.
We all liked Will.

I have faith in the Follies girl. I am
sincere when I say that I consider a Fol-
lies training the very best possible prepara-
tion for any kind of dramatic career. It
gives a girl poise; it teaches her how to
walk gracefully ; to wear good clothes well ;
to meet all sorts of people and adapt her-
self to their moods and manners.

There's a popular name applied to show-
j;irls: gold-diggers. There's a popular plav
running in Manhattan now, with show-girh
as the principal characters, purporting to
quote their sayings and reflect their life.
I've been asked about this — whether or
not it is a true picture. It is exaggerated
of course; but —

All girls are grafters. They don't like
to admit it ; but they are. They can't help
it; it's born in them. From babyhood up,
their one idea is to get as much as they
can. I like women. I don't think they are
cats. I have always got along with them;

Every .ndvertiseinent in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

W-o-r^k — That's All

(Concluded)

T understand them and they understand me.
When I left the Follies I think every girl
in the company was my friend. They all
cried — and a girl doesn't spoil her make-
up like that without good and sufficient
reason.

1 think the Follies girl is more interested
in gold-digging than Mrs. Bill Smith of
Peoria or Susie Simpkins o f Asparagus
Center. Because the Follies girl goes in for
it on a larger scale. She wants diamonds,
and sables, and a town cai But believe
me — when Mrs. Smith wants a new hat she
grafts from her husband to get it, — she's just
as much of a gold-digger as a Follies show-
girl.

I don't blame the little, girl who comes
to New York to seek her fortune and
works hard, if she resents other women —
some not so pretty or clever as she — with
their cars and their jewels and their won-
derful furs. I do blame her if she's stand-
ing on the sidelines looking in and puck-
ering her face into envious wrinkles wish-
ing she could have all those things with-
out working for them. I've no patience
with lazy women. I work hard every day
of my life; I have a good time, too — but
I have more fun working than you'd
imagine.

Just this to any little girl up in the moun-
tains of Vermont or out in a small town of
the Middle West or down on a ranch in
Texas, who wants a career — that queer
intangible thing. Are you willing to work
hard? Work like — like the deviU Then
don't worry if you're not beautiful.

Winning Screen Success

(Concluded from Page 33)

language of the lot, "will not photograph."
That technical quality is something that can
only be discovered by an actual demonstra-
tion, and without it, there is no use in one's
beginning. Having it, the fortunate pos-
sessor of the "camera personality" is only
on the first rung of the ladder of success,
and there are many, many rungs before the
top is reached. We are no longer demand-
ing freak personalities or mere photographic
prettiness. We are demanding actresses, and
actors, because the public is demanding
actresses, and actors. The business is over-
crowded, but there is always room for talent
plus a determination to fight one's way to
success. The star system, condemned as it
is, will always prevail to a greater or less
extent because of the public demand for
idol, an acclaimable personality. More and
more we are discovering that the pieces
which succeed are the pieces in which all
parts are well played, rather than those
pieces in which some genius, or some great
favorite, is surrounded by a cast of sticks
and nonentities.

The way to motion picture success to-
day, more than ever, is through work, work,
and still more work. Playing many parts,
and every part assigned, in a stock organi-
zation under competent direction, is the only
training which gives finish and surety.
Photoplay acting needs elements which are
gifts of nature, but equally with there it
demands technique and the perfection of al-
most infinite practice. There will be stars
tomorrow, but they will come from the
ranks, in a longer or shorter time, as the
case may be. They cannot be stars by acci-
dent, by self-determination, or by anyone
else's determination. And in conclusion, let
me say that the public has erratic momen-
tary whims, but in the long run it never
makes a mistake; the star who endures from
year to year only does so because he or she
deserves to endure.

C7).

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'*-3^-

Photoplay Magazine — Advertisinu Section

Cutting Back

(Concluded from page 46

De^iraefe

Everif
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IF merely removing hair from the
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l/fi//VE

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Yom EVES

Reid played in a picture or two as a young-
ster in the Chicago studio and his father,
Hal Reid wrote and played also. Wallie
also did a little of everything else. There
have been some funny changes in the busi-
ness. Wallie "graduated" from actor to
cameraman and I can remember one picture
in which Alvin Wyckoff played the lead and
Wallie turned the crank. Wyckoff is now
Lasky's head photographer and laboratory
head and in later years often "turned" on
Wallie in the deMille productions.

In 1909, Hobart Bosworth quit the legi-
timate stage for the movies, joining Bogg's
company in Los Angeles. He was the first
of a long procession of really notable play-
ers to enter the film game as a sole means
of livelihood. Driven into outdoor work
by ill health, he became a sincere believer
in the future of the screen as a popular
means of entertainment as well as an art
expression and he proved to be one of the
new drama's greatest and most efficient mis-
sionaries among the stage players who then
looked with disdain on the silent drama.
It justified his belief and besides gave him
restored health, fame much greater perhaps
than he would have acquired on the stage
and a meed of fortune that probably never
would have come to him had his health per-
mitted him to remain with the spoken
drama. Bosworth's defection was a con-
tinuous source of gossip in the theatrical
colony of Los Angeles for no little period.
His first picture was "The Saltan's Power"
and his next "The Roman." Costume plays
were highly popular then.

Shortly after Bosworth joined us, we had
quite an influx of stage people. In Chicago
Milton and Dolly Nobles, forsook the stage
long enough to do "The Phoenix," while
the Los Angeles payroll was augmented by
the names of Sydney Ayres, Betty Harte,
Myrtle Stedman, Roscoe Arbuckle, Bob
Leonard, Eugenie Besserer and Kathlyn
Williams. Miss Williams became one of the
most popular figures on the screen largely
through "The Adventures of Kathlyn,"
filmdom's first serial, and abroad her pictures
are still the favorite screen plays of mul-
titudes.

Roscoe Arbuckle was playing in tabloid
musical comedy in a Los Angeles theater
at the time and when summer came and the
theaters closed he was glad to do a bit now
and then before the camera at five dollars
a day. I recall very well his first picture
"His Wife's Birthday" and "The Sani-
tarium." Of course none of us realized
then that he had the makings of a great
comedian. There were no great comedies
then and Charlie Chaplin hadn't as yet in-
vaded America.

Herbert Rawlinson was another of our
Edendale company — the studio had "been
erected there as a successor to the Los An-
geles down, town workshop, by Boggs, and
it was the first modern studio on the Coast.
Herbert had been playing in stock in Los
Angeles and for us he specialized in heavies.

There is another thing for which I wish to
claim credit in behalf of my company was
the discovery — cmematographically — of Cali-
fornia's chief beauty spots and points of
interest including the placid Pacific. Boggs
and his pioneer crew made the first invasion
of the beautiful Yosemite for picture pur-
poses; the magnificent Santa Barbara es-
tates now in such great demand were first
filmed by his cameraman and the buildings
and parks of Los Angeles made their pic-
ture debut in Selig photoplays.

Boggs also was the first to photograph
the famous California missions. He pro-
duced one picture which consisted largely
of scenes laid within the bounds of the

historic Santa Barbara mission and to the
best of my knowledge never since then has
the picture camera been allowed to profane
the sanctified precincts of the sacred garden
of that mission. We also used San Gabriel,
San Juan Capistrano, San Fernando and
other Southern California missions for vari-
ous photoplays. As a matter of fact their
restoration fund was started with the con-
tributions we made then.

Returning to the chronological resume of
our California activities, it is a pleasure to
recall our filming of "Cinderella" in 191 1
because it saw the birth of a real romance,
the meeting and courtship of Mabel Talia-
ferro, our "Cinderella" and Tom Carrigan
who played the "Prince." The famous
fairy story was done in four reels and now,
nearly ten years after, it is still playing
both at home and in foreign lands.

The next big milestone in our company's
career was the making of "The Spoilers" in
1913. It was released on April 14, 1914 in
nine and a half reels, the first big American
photoplay. We had our "Quo Vadis," an
Italian importation right before that but
nothing like Rex Beach's great Alaskan story
had ever been made in this country. I
believe that most film men will agree that
it still stands as one of the great American
plays of the screen. I believe it was the
first picture to contain a big fight scene,
that between William Famum and Tom
Santschi, and every once in a while you
will still see a fight scene advertised as
"as thrilling as the fight in 'The Spoilers.' "
The picture in abbreviated form is still
going the rounds of the theaters at home
and abroad. I'll never suffer poverty while
"The Spoilers" lives and it bids fair to live
forever. I believe that I also established a
record salary for that day in what I paid
William Famum for that picture. Picture
rentals were low then as compared (Wth
those today. Had they been anything like
what they are now "The Spoilers" wo'uld
Rave made a profit of millions.

Several years ago I abandoned the Eden-
dale studio, centralizing all of my picture
activities in the studio I built as a part of
the big Zoo adjoining Lincoln Park in Los
Angeles, which bears my name. In it 1
installed wild animals and birds which I
gathered from the four corners of the earth
and I have added to it until now I have
what is said to be one of the finest zoologi-
cal parks in the country.

There is just another bit of Selig history
of which I am proud, the early acquisition
of film rights to books and plays when
authors and playrights thought it a joke,
albeit a well paid one, to receive fifty dol-
lars for the screen rights of a novel or
stage play. I do not claim to be the first
to see the day coming when there would
be an overwhelming demand for the pub-
lished work but I was the first to go out
and pay real money — at least it was con-
sidered real then — for a commodity no
producer had any use for at that time.
Since then I have resold the rights to some
of these for many times what I paid for
them. I still hold the rights to hundreds
more which I expect to convert into photo-
plays.

Some day I hope to write a more de-
tailed history of my association with the
magic camera art. Photoplay's editor
asked me merely to touch upon the high
lights and I have endeavored to do so in
the foregoing, but there is a bigger, more
human story in the little tragedies and
comedies of real life which marked each
successive step of our progress in the ear'v
i days. That is the story I hope to be able
to tell at some future time.

Every advertisement in PHOTOPLAY JL^fiAZINB is guaranteed.

Photoplay Magazine — Advertising Section

Questions and Answers

{Continued from page S6)

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297S Michigan Avenue, Chicago.

N. M., Weaverville. — I am not a medium
but I often have felt the effect of the spirits.
Not now, though, not now. Pearl White,
Fox, New York ; Marguerite Clark, Famous
Players, New York; Wallace Reid, Lasky,
Hollywood. Reid appears, with his wife
Dorothy Daveilport and small son Bill, in a
forthcoming issue of the PHOTOPLAY
MAGAZINE SCREEN SUPPLEMENT.

The Mystery Girl, O. S. Ormi Hawley.
— is living in New York. She was with
Famous Players last, I believe. Tom For-
nian is with Lasky; he has been married.
Bert Lytell's wife is Evelyn Vaughn; she
isn't in pictures. Lillian and Dorothy Gish
are not married. What's so mysterious
about you?

Stella T., Brooklyn. — Anne Luther? I
have never met Anne but ah, I have seen
Anne. We once sat in the same restaurant,
not many tables from each other. She has
red-gold hair and dimpled pink cheeks — and
when I saw her she wore a gray suit trim-
med with squirrel. And — she was not alone.
She isn't, if I may make bold to judge from
appearance, very old; in fact not old at all.
She's in New -York now.

A. C. M., High Point. — Photoplay
Magazine does not send out pictures of
players. We only attempt to print pictures
in the magazine, and to give you, through
this department, an informative guide so
that you may write to the actors for their
likenesses. If you will give me some names
I'll be very glad to tell you where to ad-
dress them.

Albert C. Jackson, Fortress Monroe. —
I should advise you to write directly to the
players for their pictures. Some of them
mail them out free of charge. It is always
safer, however, to enclose a quarter. Bill
Farnum, Fox, New York; Douglas Fair-
banks, Hollywood; Tom Mix and Buck
Jones, both Fox; Harry Carey, Universal,
Roy Stewart, Jack Hoxie and Bill Hart are
some of the best-known westerners.

Alice M. M., Sloan, New York. — Doris
Kenyon is the leading woman in the comedy,
"The Girl in the Limousine" which is run-
ning in Manhattan at present. She is the
daughter of a professor; her age is twenty-
two, her eyes are gray and her hair is
brown. Five feet six inches she stands in
her Bursons. (Adv.) Her latest picture is
"The Bandbox."

M. G. AND D. F., Visalia. — I asked you,
sometime ago, if you knew why I didn't
answer all those absurd questions. You re-
plied, "We can't think." I may say, that is
the reason, precisely. Tony Moreno is Span-
ish, not Italian; but he's Americanized, now.
This is his last year in the serials ; Vitagraph
will give him features to do, next year.

St. Styphen B. Abbott, Waterville. — I
forwarded your letter. No, I do not be-
lieve in being flippant, but sometimes I can't
help it. L am really very serious-minded ;
I am particularly interested in legal argu-
ments—for instance, such as the question
presented in one of the bars up ahead en-
titled "You're the Judge!"

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132

Photoplay Magazine — Advertising

■' •' I

Section

Questions and Answers

(Continued)

Betty D., Pjsovidence — You think, after
chuckling over the Colyum untE Morpheus
begins to send vapors in your direction, that
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LiLLiE, Dell Rapids — Eliott Dexter is all
right now. Marie Doro is Mrs. Dexter.
June Caprice isn't married; she is pretty
young, which means that she is pretty and
about nineteen or twenty; and she is at pres-
ent in the Albert Capellani productions.
Charles Ray's story in the December issue
tells all you want to know about him, and
Mrs. Ray. Constance Talmadge was born
in Niagara Falls; now she won't have to
go there on her honeymoon. No, no — she
isn't contemplating matrimony. The Answer
Man is just enjoying his monthly bon (pro-
nounced bum) mot.

Evelyn G. H., South Dakota — You have
a hunch that Creighton Hale is married. I
have a hunch that you're right. He's with
World now; in "The Black Circle." I be-
lieve W. E. Lawrence's first name is Wil-
liam. Anyway that's a nice name.

Lillian, Sayville — So you would think
I'd lost all my illusions. That isn't true.
I keep them hidden away where I can't lose
them; few people know about them, and I
only trot them out on particular occasions.
Robert Harron played with both the Gish
sisters in "Hearts of the World." With Lil-
lian in "A Romance of Happy Valley," "The
Great Love," "True-Heart Susie." Harron
is with Miss Gish in another rural romance
of Griffith manufacture. He isn't married.
Neither is Dorothy or LUlian.

C. H., New York — The weather is always
such a safe thing to talk about, don't you
think ? I don't blame you for beginning with
"It's a nice day." If you'll notice it, some-
times when we're in real mental agony we
turn to the temperature with true relief.
Carlyle Blackwell has his own company, and
in his first picture Louise Lovely and Gloria
Hope are his leading women. Blackwell was
married to Ruth Hartman, sister of Gretchen
Hartman Hale.

Ella J. C, Kansas City — Please digress;
it's so pleasant when one has work to do.
If you think you're the greatest little pro-
crastinator in the world, you should meet
me. One man does, indeed, do all this work.
I am he. I do not regard it as work, how-
ever; I like you all too well. Now about
this devils-food cake you're going to make
me: do you think it will stand a trip from
Kansas to Chicago? Of course I'm willing
to run the risk if you are. Pack it well —
I do like devil's-food. NO— Richard Bar-
thelmess is not\

Lena, Tor^ence— Mrs. Sidney Drew is
making comedies for Pathe. She will con-
tinue as "Sister Polly." Theda Bara is no
longer with Fox. I haven't her personal
address at the present time, either, but if you
send your letter to Fox they will undoubtedly
forward it. Edith Roberts is with Universal.

S. J., Minnesota.— Don't call me a Turk.
I haven't any harem. Anyway, the Turks
gave us a pretty good bath. The reason
Elliott Dexter did not reply to your letters
is undoubtedly because he has been very
ill. He is only just now recovering enough
to be up and r.bout. His screen work has
had a considerable hiatus here, and naturally
his correspondence suffered also.

I -

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iiestions and Answers

(Continued)

C. H., KiLMicHAEL, Mississippi— Frank
Mayo is not dead; he is with World. 1
am not flippant nor facetious. Mary Pick-
ford has a very nice disposition; ask any-
one who knows her. I think she is one of
the most charming women 1 have ever met,
professional or non-professiond. Corinne
Griffith and Barthelmess questions answered
eisewhere.

Lillian, Arcadia — It is, indeed, arcadian
to be called charmmg names and listen while
you extol my virtues as a hard-working
young man. If you could only see me —
work, I mean. You want to know the namu
of John Barrymore's leading woman but i
neglect to name the play. His last motion
picture leading woman was Miss Binney, but
on the stage he is supported by Maude Han-
aford, who has never done any film work
that I know of.

Walter, Advance, Indiana — I never lieard
of that town before, but I love it. Do you
live up to its name, by any chance? Eugene
O'Brien with Marguerite Clark in "Little
Miss Hoover." She's in "Widow by Proxy'
now; and working in "Easy to Get" or some
such title. Shirley Mason did a serial for
Sherrill. Yes, Jack Sherrill's dad. Shirley
is with Fox now.

Miss H., St. Paul — I never get tired of
"you fans;" I'm one, myself. I certainly
do think Constance Talmadge is sweet but
I'd never dare to tell her so. I know her,
and she is always very nice to me in those
rare times when we meet. Please don't any
of you ask again if she is Mrs. Richard
Barthelmess. I may forget myself next time,
and lie a little just to be different.

T. Bern.^rd C, Crooksville — Many are,
but few admit it. Was the Crook a crook
who settled Crooksville? WUmette Kershaw
was Mrs. De Cartaret in Maurice Tour-
neur's "Sporting Life." She is a sister of
Mrs. Thomas H. Ince; and an actress of
prominence on the stage, where she appeared
in "The Crowded Hour," and other plays.
Marie Prevost in "Yankee Doodle in Ber-
lin."

Jeanette, Roseau — What can I tell you
about the Mack Sennett girls that you can-
not see for yourself? All I can say is, /
never miss a Sennett comedy. Now from the
sublime to the BUlie West comedies: that
>oung imitator of M. Chaplin has his own
company now, I believe.

Dr. Simon, New York City — T. Hayes
Hunter, the director, may be reached care
the Goldwyn studios, Culver City, California.
This is no trouble, and I hope you will write
again whenever you want to know anything
pertaining to pictures. Thanks for your kind
wishes.

Hazel, Ypsilanti, Mich. — You call me
Dear and beg my pardon as it's just a habit
with you. It isn't a habit for you to call
me dear. Don't be coy with yourself. Ken-
neth Harlan isn't in uniform; the well
known war has been over for some time
now. He plays with Mary Pickford in "The
Hoodlum" and he is now leading man for
Viola Dana. Not married. Write him care
Metro studios, Hollywood.

Dwan O'Dare, of Pennsylvania — For a
minute I thought I'd picked up a novel by
Harold Bell Wright by mistake; but then
I saw the "Pennsylvania" heading and T
knew it couldn't be. Lillian Gish is Ameri-
can. The family is, I think, Irish. The
story of Mary Pickford's life once ran in
Photoplay; but Mairy didn't write if. Ju-
lian Johnson did.

"AtLast-a/?ea/Job
and Real Money!''

"And if only I'd started earlier, I could
have had them five years ago. I didn't
realize at first what spare time study
would do for a man. Taking up that
I. C. S. course marked the real beginning
of my success. In three months I received
my first promotion. But I kept right on
studying and I've been climbing ever
since."

Every mail brings letters from some of
the two million students of the Interna-
tional Correspondence Schools telling of
advancements and increased salaries won
through spare time study. How much
longer are you going to wait before taking
the step that is bound to bring you more
money? Isn't it better to start now than
to wait five years and then realize what
the delay has cost you?

One hour after supper each night spent
with the I. C, S. in the quiet of your own
home will prepare you for the position
you want in the work you like best.

Yes, it will! Put it up to us to prove it. Withv>ut
cost, without obligation, just mark and mail this
coupon.
^^^—^—■—■"1 Te*n OUT HEnr — — .^— .p^^

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 6510, SCR ANTON, PA.

Explain, without obligating me, how I can qualify for VoB
position, or in the subject, before which I mark X.

EI.EOTRIOAI, ENQINEEK
BUotrle Mrhtint and ll;i.
Electric Wiring
Telegraph Engineer
Telephone Work
UEOIUNIOAL ENeiNEBll

EUoebKnloal Draftaman
Uaohlne Sbop Praotlea
Toolmaker
Gas Engine Operating
CIVIL ENGINEER
SiirTerlng and Happing
MINE FOllEMANorENU'll

BSJl'tlONAIlT ENGINEEIl
Marine £hglneer
Ship Draftsman
ARCHITECT
Gontraetor and Rnllder
Arehlteotnrsl Drartiman
Concrete Builder
Structural Engineer
PIiCUKING iNU HEiTINS
Sheet Metal Worker
1^ Textile Overiear or Snpl.
jmiKUIST
3 Navigation

Kaae

□ SALESMANSHIP
3 ADVERTISING
J Window Trimmer
"Show Card Writer
Sign Painter
Railroad Trainman
ILLUSTRATING
Cartooning

BUSINESS UlNAeEHERV
Private Secretary
BOOKKEEPER
Stenographer and Typlaft
Cert. Pub. Accountant
TRAFFIC MANAGEHt
Railway Accountant
Commercial \.v9f
GOOD ENGLISH
Teacher

Common Sehool Sabjeetc
Mathematics
CIVIL SERVICE
^Railway Mall Clerk

AUTOMOBir.B OPERATIia
,_,iato Itepalrint IQSpaaUfe
J AeillOUl.TlIHIi Inrreasb
n I'onltrT lUliInc iQItallaa

Present
Occupation—

Street

and No

City.

.State-

When you write to adverUsers please mention PHOTOPLAT MAG-iZIXE.

^34

M. H., Germantown, Pa.— If you really
want to use both sides of the paper as
badly as all that, go ahead. You'll prob-
ably ask. enough questions on one side to
keep me busy. Bebe Daniels is only nine-
teen; she left the Harold Lloyd comedy
company for DeMille-Lasky, and she has a
good part in "Why Change Your Wife?"
Betty Compson is leading woman of the
George Loane Tucker Company; she lives
and works in Hollywood.

Questions and Answers

( Concluded)
character man. He has played good

as a

parts very well for Lasky — and he is always
turning up to make a good bit better.
Oliver was an old Selig player.

M. W., New Y'ork. — I think you will find,
if you look hard enough, a story about House
Peters in this very issue. Having made you
happy, do I get that divine divinity?

E. U., Schenectady.— Is it actually a
relief to tell your troubles to me? Why,
because you think I am only a sort of
kindly paternal old safety-valve, and would-
n't understand anyway? People just love to
blow to me, if that's what you
mean. You want a story about
Bert Lytell? Mary MacLaren
isn't m-inied.

Miss Jimmie, Pasadena. — Yes, arguments
may be the spice of conversation, but we
sometimes want them settled. Carlyle
Blackwell was Mary Pickford's leading man
in "Such a Little Queen" one of her old
Famous Players pictures. Carlyle became a
film eminence when he was with Kalem,
opposite Sweet Alice Joyce — remember their
western pictures? He was with World and
latest report is that he has formed his own
company. Elsie Ferguson was "Such a Little
Queen" on the stage.

Z. P., Hollywood. — I'll listen to your
plaints with positive pleasure. But it's hard
to believe that a girl with a handwriting like
that would have to advertise in the matri-
monial news. Having heard that Dick Bar-
thelmess is not married, to Constance Tal-
madge, Clarine Seymour, Lillian or Dorothy
Gish, do you feel more spry?

Elsie C, Montana.— Quite,
quite true. Mary's real name is
Gladys Mary Moore. Her maiden
name was Smith. She married
Owen Moore when she was seven-
teen. Chicago's fine — how's Mon-
tana?

I. T., London. — I'm sure I
don't know why you put the
salutation "Gentlemen(?)" at the
top of your letter. I am singu-
lar, and I am no lady. Cleo
Madison is in a Universal serial
now, with Eileen Sedgwick, called
"The Great Radium Mystery."
For a long time it was the Great
Madison Mystery — I thought
Cleo never was coming back, didn't
you?

B. B., Bloomfield. — Enid Ben-
nett is an Austrialienne but it's
a safe bet that her knowledge of
bushmen and kangaroos conies
from the same source as ours —
school-books. She is married to Fred
Niblo; in her twenties somewhere.

Mildred G., Caieo.— A good
many of you people have written
in to ask me what became of
the girl who fell in the well in
Mary Pickford's "Daddy Long-
Legs." Don't worry about her;
she got a good many simolfon
bucks for it, as they say in bur-
lesque. However, it was a cruel
thing to do, to leave the young
lady in the old oaken bucket but
you'd better ask Mickey Neilan
about it.

Lena S., Stockton. — You hope
I'll like you sooner or later. Well,
Miss Washburn-Crosby, I'll an-
swer your questions now. O'Brien
and Miss Talmadge will not play
together again — at least it begins
to look that way. When a popu-
lar leading man is advanced to
stardom and gets along as well as Monsieur
Eugene, it isn't often that he returns to
supporting roles — unless, of course, he's mar-
ried. The gentleman in question isn't.

vA^/

The

P. A/s Revenge

J. Leopold Turenne, St. Pierre. — The
French know how to enjoy life. They sip
their joys slowly — and appreciate them.
Blanch Sweet may be addressed care
the Hampton studios, Hollywood,
California ; or in care of the Pathe
E.xchange, New York City.

NCE upon a time there was a Pressagent.

He was an honest hard working man. Night
after night he stood for hours with his arm
crooked over the soda counter thinking up yarns
to write about the Beautiful Star for whom he worked.
He had succeeded in bulling the Public into believing
that she was possessed of Royal blood and other
things and so often did he write yarns about her
early childhood in faraway Hungary that he began to
believe it himself. She did believe it and she displayed
a Royal crest on her motor car and stationery without
a qualm of conscience. But one day she developed a
streak of temperament and fired her Pressagent. He
was in desperate circumstances and his little children
were crying for Bread and Shoes. As a last resort he
threatened to expose her to the Public. He told her
he would tell the Public that she had once been a
Burlesque Queen. She did not believe he could do it
because she had forgotten the good old days, having
lived in the rarified atmosphere of Royalty for two
years. He searched around and found some Photo-
graphs of her when she wore — Tights. When she saw
the Photographs she begged him on her Knees to de-
stroy the Evidence. Now he is reinstated as her Press-
agent and she will never dare to fire him again.

Moral: No matter how lo'wly your position in life may
be, ne-ver -write a letter or be photograpbetl because
it may be used against you.

Elizabeth George, New York.
— No one has told me that Chap-
lin is leaving the screen and I
think I should be one of the first
to know. Francis X. Bushman
opened his play in the west — "The
Master Thief." I heard that Miss
Bayne was very good in her stage
debut. Flora Finch has a young
daughter — a grown-up young
daughter. Miss Finch is on the
stage now, I believe.

M. C, Frisco.— The stars have
to make-up for the screen whether
they are pretty or not. Make-up
is absolutely essential although of
course it varies according to com-
plexions. Some actresses use very
little. They don't put any rouge
on their cheeks; except for their
lips their face is very white.

Shirley H. P., Manhattan,
Kansas. — You say this is your
first letter to me, even though you
are a member of my family be-
cause your picture appears every
month with mine at the head of
the department. Ah — you are a
letter carrier, I presume? Flor-
ence Turner is making two-reel
comedies for Universal, out west.
Maurice Costello is playing heav-
ies for Vitagraph in Brooklyn;
ft'ith Corinne Griffith in "The
Tower of Jewels." Lottie Bris-
coe hasn't been playing for ages.

Mary Barbara, Fredericton, N. B. — You
may request me to publish you as Dolly
Dimples but I'd much rather not. Your
own name is much prettier. Nice, charming
placid girls almost always wish to be hoy-
dens. Mahlon Hamilton with Mary in
"Daddy Long-Legs."

M. E. S., Cleveland. — For inconsistency
you remind me of the director who in the
deathbed scene yelled to the actor, "Come
on — put more life in your dying!" "The
Mender of Nets" was an old Biograph with
Mary Pickford.

M. K. U., Louisville. — Your
letter was a real inspiration. The
white paper rested my weary op-
tics and your soothing style eased
my seething brain. In otner words
you may write often and never
hear serious complaints from me.
Mildred Harris Chaplin has never
played in her husband's pictures.
Owen Moore's new ptctnre is "Pic-
cadilly Jim." Edna Purviance is
Chaplin's leading woman. Thank

still Mr

you for your interest.

G. G., Buffalo. — I
would be classified in

think Guy Oliver
a studio directory

J. Y., Detroit. — I like most film men.
But I'll be hornswaggled if I'll ever go to
see Jack Kerrigan again after reading your
bilious panegyric on him. Of course he's
good-looking; yes, he can act — and he's nice
to his motjier; but I know lots of book-
keepers who keep dogs and don't stay out
nights. Kerrigan's new one is "The Lord
Loves the Irish."

Roberta C, Mass. — It certainly is awful
the way prices and things stay up. But, my
dear Bobbette, men are not such fools as you,
and women like you — for there are some
women like you — seem to think. You say
my smattering of intelligence is just enough
to hifle my lack of brains. But it does hide
—And oh yes, Bobbette ! You make me feel
like a raarfied man. Men are all idiots —
but a ^'ngJy blessed one such as I is not re-
minded of the fact so often. I knew you|d
desert Monte Blue and come back to Bill
Hart and Me.

Photoplay Magazine — Advertising Section

135

All Musical

Instruments

With Complete Outfits

Triad

A New Plan. Wurlitzer will send you any mu9»
ical instrument you wish for, of the finest
quality, with a complete outfit of everything
you need, for a full week's trial in y ^ur own
home. No obligation to buy. If you decide to
keep it pay in small monthly sums Wurlitzer
makes complete outfits cost little more than in-
strument alone. You get factory price on
everything.

Outfits include handsome carrying case, vel-
vet and plush lined; self instructor, in-
struction aids; all attachments and extra
parts, books of musical selections, etc.

Wurlitzer plan gives you everything you
need at once, on free trial and on easy pay-
ments, and at a tremendous saving, Wur-
litzer is the largest musical firm in the world
today. Wurlitzer musical instruments are
standard of the world. Buy the Wurlitzer
way. Send for the instrument you wish on
trial and judge for yourself.

Convenient Monthly Payments

A few cents a day will pay for your instru-
ment. Have it now and enjoy it while you
make the easy monthly payments. These
Complete Outfits are ready. Send for youra
on free trial.

Violin

Clarionet

Cornet

Piccolo

Saxophone

Plate

Trombone

Bugle

Mellophone

Fife

Trap Drum

Guitar

Mandolin
Tenor-Banjo
Banjo-
Mandolin
Banjo-Ukelele
Banjo

Banjo-Goltar
Ukelele
H iwaiian-

Guitar
Viola
Cello

Beautiful New Catalog Free

Write For It Today

Full details of all instruments and outfits and details
of free trial and easy payment offer. Illustrated in
color. More pictures and more information about
musical instruments than in any other book published.
A veritable musical encyclopedia. Free, no obliga-
tion. Send for catalog today.

The Rudolph Wurlitzer Co., Dept. 1532

1 1 7 E. 4th Street 329 S. Wabash Avenue

CINCINNATI CHICAGO

The Rudolph Wurlitzer Co., Dept. 1532

117 E. 4tbSt., Cincinnati, 0.— 329 S. WabuhATc, Chicago, 111,

Send me your new catalog with illustrations in color and
full description of the Wurlitzer Complete Outfits and de-
tails of the free trial and easy payment offer.

32 j

Nam*.

Address .

IMutical inBtrum»nt in which I am tBp*eiaUy inUrested)

When you write to advertisers please mentloa PHOTOPLAY MAGAZINE.

136

Photoplay Magazine — Advertising Section

The Letter that Saved Me 43%

on Typewriters

Received by a Business Man from a Buyer Friend

Chicago, Nov. 2, 1919.
Dear Henry :

I hear that you are down in New
York, to open a branch office for
your firm. You'll be buying a lot
of things for the office, not the least
important of which will be type-
writers.

And that's what I want to talk
to you about — typewriters. I want
to give you the benefit of an ex-
perience I had some time ago, and
thereby, I hope, save you some real
money.

About a year ago I decided to
buy a typewriter for home use. My
first thought was to purchase one
of the makes we were using in the
office, which had been put in before
I became a buyer for the house. But
when it came to digging up a hundred
dollars for the machine — I just couldn't.
Somehow or other it looked like too
much money to me.

Then I thought about picking up
a second-hand machine, but the price
was about as high, and I had no assur-
ance of service.

I was undecided as to what to
do, when one evening at home I ran
across an Oliver Typewriter ad in a
magazine. I remembered then having
read the advertising before and being
impressed with the story.

Was $100

Now $57

"Why pay $100 for Any Typewriter"
— "When You Can Buy a New Oliver
tor $S7?" read the ad — then it went
on to explain how The Oliver Type-
writer Company had cut the price by
selling direct and eliminating costly
selling methods. It was clear to me
as an experienced buyer how they could
well afford to top off $43 of the
."iaco by their new economical selling
plan.

The ad brought out the fact, too,
that I didn't have to pay the $57 hi
a lump sum. I could settle at the
easy rate of $3 a month. Naturally
that appealed to me, for it was as easy
as rental terms.

But the thing that decided me
was their free trial offer Without
my sending or depositing a penny,
they would ship me an Oliver for five
days free trial. I could use the type-
writer for five days just as if it were
my own, and if I wasn't satisfied, all
I had to do was to ship it back at the
Oliver Company's expense. Well, I
mailed in the coupon and got an Oli-
ver for free trial. To make a short
story shorter, I was more than pleased
with the Oliver. I fully agreed with
The Oliver Typewriter
Company that if any type-

J Finer

Typewriter at a

Fair Price

^'%%%i

writer was worth $100 it was this splen-
did Oliver.

Well, later when we found it nec-
essary to replace some of the typewrit-
ers at the office, you may be sure I put
in Olivers, saving the company a nice
$43 on each. At first the girls were
reluctant about changing machines, but
after a week or two with the Oliver, they
wouldn't have any other.

Naturally now we are all Oliver en-
thusiasts^— that's why I write this letter
to you.

"^ou just give the Oliver a trial
and you'll be more than willing to buy
me a good dinner when I arrive in New
York next month.

Yours, J. B.

That is the letter that saved me
S43 on each of my typewriters. I not
only equipped the office with the Oliver,
but like my friend I also bought one
for home use. Yes, I am more than
willing to buy my friend a good dinner
for his valuable advice.

.'^ny reader may order an Oliver di-
rect from this ad by mailing the cou-
pon. No money in advance. No de-
posit. No obligation to buy.
Return or keep the Oliver as
you decide after five days free
trial. If you decide to keep the
typewriter, you make take a
year and a half to pay at the
easy rate of $3 a month. Mail
the coupon today — NOW.

Canadian Price, $72

The OliverTy pewriter Co.

1472 Oliver Typewriter Bldg.

CHICAGO, ILL.

i^^^SS

$43

■'"«'^««neai,„'

THE OLIVER TYPEWRITER COMPANY ^|

1472 Oliver Typewriter Building, Chicago, 111. ^^k

□ Ship nie a new Oliver Nine for five days free inspection. ^H

If r keep it. 1 will pay $57 at the rate of $3 per month. The ^H

title to remain in you until fully paid for. ^H

My shipping' point is ^H

This does ni>t place me under any obligation to buy. If I choose to ^Hi

return the Ohver, I will ship it bac-k at your expense at the end
of 5 days.

□ Do not send a machine until I order It. Mail me your book —
"The High Cost of Typewriters— The Reason and the Rem-
edy." your de luxe catalog and further information

Name

Street Address ,-

City.... State

Occupation or Business ,

180.02

Every advertisement In PHOTOPUAT MAGAZINE is guaranteed.

KRUMBLED
BRAN

w Better
^Health

TO KEEP REGULAR-EAT

■•^-.ur TO SE.HVE

iff' y^

^=^.-

'">'•;

93^ '*Ac^^i£aHy*'
^/nA<yu tt&, tcLAtiL O/nci
4y, trvu, .dio,ttatlvut,.

You never tasted bran so (^ood
You never saw bran so

erent I

Look at the actual picture of Kellogg's
Krumbled Bran. See what a real cereal food
Kellogg's have made of bran.

You may have been disappointed in ordi-
nary bran — you may not have liked its
looks or its lack of taste.

Now you have a real surprise and a real
treat, if you will buy a package of Kellogg's
Krumbled Bran from your grocer and try it.

It doesn't look like bran — it is shredded and
toasted, like Kellogg's Krumbles.

It doesn't taste like bran — it has an appe-
tizing, tempting flavor, like Kellogg's
Toasted Com Flakes.

It doesn't get stale and tasteless — it is pro-
tected by Kellogg's "Waxtite" package —
like all Kellogg products.

Don't let your system fill with poisons, be-
cause of imperfect elimination. Kellogg's
Krumbled Bran helps to overcome this con-
dition easily and naturally, because it is
nature's laxative food.

It is a pleasure to overcome and avoid the
evils of imperfect elimination by eating
Kellogg's Krumbled Bran. You don't have
to wait until baking day to get its bene-
fits.

It is ready to eat with milk or cream at
breakfast — just as you do any cereal; for it
is a cereal food. Children love it.

Or you can add it to any cereal you eat. The im-
portant thing is to eat some of it every day — and to
be sure that you get Kellogg's Krumbled Bran.

You will know it by the familiar red and green "Wax-
tite" package, similar to that of Kellogg's Toasted
Corn Flakes, bearing the signature of W. K. Kellogg.

Try Kellogg's Krumbled Bran now. Buy a package from your grocer. ,
Eat it at breakfast as a cereal. Make muffins, bread, pancakes, etc., with ]
it., Recipes on each package. You will find them most delicious, too.

Kello^^ Toasted Com Flake Co.
Battle CieeK, Mien. Toronto.Can.

onspicuous

Nose Pores

How to reduce them

COMPLEXIONS otherwise flawless
are often ruined by conspicuous nose
pores. The pores of the face are
not as fine as on other parts of the body.
On the nose especially^ there are more fat
glands than elsewhere and there is more
activity of the pores. These pores, if not
properly stimulated and kept free from dirt,
clog up and become enlarged.

To reduce them: wring a soft cloth from very hot
water, lather it with Woodbury's Facial Soap, then
hold it to your face. When the heat has expanded
the pores, rub in •ver'^ g">tly a fresh lather of Wood-
bury's. Repeat this hot water and lather application
several times, stripping at once if ynur nose feels sensi-
tive. Then finish by rubbing the nose for thirty
seconds with a piece of ice.

Notice the improvement the very first treat-
ment makes — a promise of what the steady
use of Woodbury's Facial Soap will do. But
do not expect to change completely in a week
a condition resulting from long-continued
exposure and neglect. Use this treatment
persistently. It will gradually reduce the
enlarged pores and make them inconspicuous.

Begin tonight the treatment
your skin needs

Get a cake of Woodbury's Facial Soap and
begin tonight the treatment your skin needs.
You will find Woodbury's on sale at any
drug store or toilet goods counter in the
United States or Canada. A 25c cake will
last a month or six weeks.

Send for sample cake of soap and booklet of famous treatments

For 6c we will send you a trial size cake (enough for a week or ten
days of any Woodbury facial treatment j together with the booklet of
famous skin treatments, "A Skin You Love to Touch."

Write today to I'he Andrew Jergens Company, 502 Spring Grove
Avenue, Cincinnati, Ohio.

If you live in Canada, address The Andrew Jergens Company,
Limited, 502 Sherbrooke Street, Perth, Ontario.

vx/tc rr v/'iu* Xrfcwuift^v— - 'ii.'* "I'T) ^ tctu/cv^^ -iu^u^-, I'lt

ejf^TTfra

^^•««w^*^.

aAazine

CAlice Joyce

FOR eOiLir^G PA5TC0LORS

'RIT'S Silk.Colton.

Wool or Mixed Qoods

All W9;^ht materials

including heavy wo<>ldns

May Allison Knows —

'VE found so many things I can 'Rit.' This little dress, the
ribbons, my slippers and stockings, all were 'Rit'-ed to
harmonize. The draperies, too, the chair covers, the

silk on the pillows and lamp shade all fit my color scheme.

It was such fun! And, of course, everything 'Rit'-ed I keep

fresh and clean with SUN FLAKE Baths."

FLAKED RIT and RIT CAKE, in fashionable colors, are
used on light and heavier materials — Silk — Cotton — Wool.
They wash and "Rit" in one operation and cannot injure
finest fabrics. POWDERED RIT for BOILING — dark
colors only;"Rit-s" woolens, clothing and all heavy materials.

SUN FLAKES — airy, snowy flakes of pure soap for laun-
dering your nicest belongings — won't shrink woolens^
keep white goods white. Also recommend for toilet uses,
shampooing, manicuring, etc.

If your dealer can't supply you, send his name
and address, enclosing 10c in stamps, plus 2c '
postage, for full size rit CAKE, FLAKED
RIT, POWDERED RIT FOR BOILING, any
color, or a full size box of SUN FLAKES.
Address Miss Rit, Dept. 100, Sunbeam Chem-
ical Co., 2436-62 West 15th Street, Chicago.

SUNBEAM CHEMICAL COMPANY

(A Corporation)

Chicago Los Angeles Cable, Wis. New York Paris London

Makers of 020L— the Superior Antiseptic, Disinfectant and Qermicide

Never say "dye"- say "RIT

'■'■>■" ■' iu.^ >^ TRADE MAgR-R&GJSTeRgn IT R PATFNT DFFirP __^

Photoplay Magazine — Adnertising Section

Yoti hear
real Cam

'O hear the real Caruso — to hear all the
greatest artists of the world in your own
home just as they want you to hear them,
it is as necessary that you should have a Victrola
as that you should have their Victor Records.
The Victrola and Victor Records are scien-
tifically coordinated and synchronized in the
processes of manufacture, making it necessary to
use them together to achieve a perfect result. The
greatest singers and instrumentalists are Victor
artists not only because their interpretations are
so faithfully recorded on Victor Records, but
because the Victrola is the one instrument that
plays them with the degree of perfection and
beauty of tone that meets the approval of the
artists themselves.

When you play Victor Records on the Victrola —
and only on the Victrola — you really hear these
great artists exactly as they themselves heard and
approved their own work.

Any Victor dealer will gladly play any music you wish
to hear. Victrolas ^25 to ^1500. New Victor Records
demonstrated at all dealers on the ist of each month.

Victor Talking Machine Co.
Camden, N. J.

^ ^

r \

"HIS MASTERS VOICE"

ReO. U.S. PAT. OFF.

PROCLAIMS FIRST QUALITY AND
TDENTTFIES ALL PRODUCTS OF THE

\viCrOR TALKING MACHINE CO^
\ Camden. N.J

Every aciverUocm

i'UOTOPLAY MAG.\ZINE ii euaiautced.

Photoplay Magazine — Advertising Section

ft ,

t f ■

t
1

'Td like to see it
right over again

O make you say that it's got
to be a pretty good picture.
But these pictures are not
so rare as they used to be.
You've noticed that.

More and more often you
run across them. Genuine
portrayals of human virtues and ventures
and follies and perils that are all the more
fascinating and thrilling because so clipped-
from'life, as it were.

The kind of motion picture that carries

you off like an aeroplane — and you've no dc
sire to get back to earth till the journey's end.

The kind — as you've probably noticed also
— that bears the brand name Paramount.

In every Paramount Artcraft Feature,
Famous Players - Lasky Corporation recog'
nizes no limits on the scenes but the earth.
No hmits on the machinery but machinery.
No limits on the cost but money. No limits
on the cast but artists. No limits on the
plot but clean, new and thrilling.

And that's what brings the encores from you !

Cparamouni pictures

-M^pm^^^^m^^mmM^mm.

Latest Paramount Artcraft Features

Billie Burke i<i
Irene Castle tn
Marguerite Clark iti
Elhel Clayton m
"The Copperhead"

"Wanted— A Husband"

"The Amateur Wife"

'All OF A SLUDEN Peggy"

"VOUNG MKS. WlNTHROP"
With Lionel Barrymore
Cosmopolitan Production "Th e Cin em a Murder' '
"The Cost" With Violet Heming

Cecil B. De Mille's Production

"Male and Female"
Cecil B. De Mille's Production

"Why Change Vour Wife ?"
"Everywoman" With All Star Cast

Elsie Ferguson ut 'His House in Order"

George Fitzmaurice's Production

"i)N With the Dance"

Dorothy Gish in "MARY liLLEN COMES TO Town"
D. W. Griffith's Production "SCARLET Days '

Wm. S Hart ui "SAND"

Houdini I'l "TERROR ISLAND"

Released to March 1st
William D. Taylor's Production

"HUCKLEBHRKV FINN"
Vivian Martin tn "HIS OFFICIAL FIANCEE "

Wallace Reid /y; "Double SPEED"

"The leeth of the Tiger" With Dav;d Powell

Maurice Tourneur's Production

"TREASURE ISLAND"
Miurice Tourneur's Production "\'ICTORY"

George H. Melford Prouuction "THE SEA WoLF'
George Loane Tucker's Production

""The Miracle Man"
Robert Warwick i« "Jack Straw "

Bryant Washburn in "THE Six BEST CELLARS"

^: FAMOUS PLAYERS-lASrar CORPORATION

L ■ tw totu e^iitt-Ciwii

n JESSSLLASmu

THOMAS H. INCE PRODUCTIONS

Enid Bennett /^' "THli M OMAN IN THE SUITCASE"
Dorothy Dalton iii "Hlack is White"

Ince Supervised Special "Behind the Door"

Douglas MacLean and Doris May ui

"Mary's Ankle"
Charles Ray ui "Alarm Clock Andy"

PARAMOUNT COMEDIES

Paramount-Arbuckle Comedies
Faramount-Mack Sennett Comedies
Paramounl-AI St. John Comt-dies

PARAMOUNT SHORT SUBJECTS

Paramount Magazine
Paramount-Burton Holmes
Travel Pictures

iss!,t\f ~u:c£kly

Every advertisement In PHOTOPLAY MAGAZINE is ^aranteed.

'THE NATIONAL MOVIE PUBLICATION'

Reeistered U. S. Patent Office.

PHOTOPLAY MAGAZINE

JAMES R. QUIRK, Editor

Vol. XVII

Contents

March, 1920 .

No. 4

Cover Design

From the Pastel Portrait by Rolf Armstrong.

Rotogravure

Mme. Petrova, Dagmar Godowsky, Anna Q Nilsson,
John Barrymore, Taylor Holmes, Blanche Sweet,
Conway Tearle, and Jane McAlpin.

Alice Joyce

"Of the People— By the People— For the People" Editorial 27
Another Conjunction of the Stars f Photographs) 28

Anita Stewart, at Home on a Mountain-Top.

If Christ Went to the Movies Rev. Percy Stickney Grant 29

A Churchman's Approval of the Silent Stage.

Beauty Spots of Filmafornia

Surroundings That Inspire Photodramas.

Jubilo (Fiction)

The Story of Will Rogers' New Film

The Technique of Lovers

A Screen Juliet Classifies Her Romeos.

Enemies of the Screen

Answering the Brick-throwers.

(Photographs) 31

Terry Ramsaye 34

Clara Kimball Young 39

Randolph Bartlett 42

Who Has a Kangaroo? Gene Copeland 44

Enid Bennett Longs for Some Antipodean Beefsteak.
(Contents continued on next page)

Executive and Editorial Offices, 25 W. 45th St., New York City
Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, III.

R. M. Eastman, Sec.-Treas.

Edwin M. Colvin, Pres.

James R. Quirk, Vice Pres.
W. M. Hart, Adv. Mgr.

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba;
$2.50 Canada; $3.00 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 Apr. 24. 1912, at the Postoffice at Chicaio, 111., under the Act of March 3, 1879.

Pictures Reviewed

in the Shadow Stage

This Issue

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

Page 64

The Greatest Question ...First Nationa
The Copperhead Paramount

Page 65

Red Hot Dollars . . . .Ince-Paramount

Huckleberry Finn Paramount

The Cup of Fury Goldwyn

Page 66

Should a Woman Tell? Metro

"Water, Water, Everywhere!"

Goldwyn

Page 67

When the Clouds Roll By

United Artists
Every woman. .Famous Players-Laskv
"Pinto" Goldwvn

.Metro

Page 110

The Willow Tree

Page 111

Behind the Door Ince

Mary's Ankle Inct

The Best of Luck Metro

His Wife's Friend Ince-Artcraft

Page 112

Beckoning Roads

Barriscale-Hodkinson
More Deadly than the Male...Lasky

Heartstrings Fox

The Speak Easy . .Sennett-Paramount
Fighting Crcssey Pathe

Page 113

Breath of the Gods. .Universal-Jewel
Roaring Lions and Tender Hearts..

Fox-Sunshine

The Lincoln Highwayman Fox

The Hayseed. .. .Paramount Comedies

Copvrieht. 1°20. by the PHOTOPLAY PUBLISHING COMPANY. Chicaeo.

Contents — Continued

Superstitions in the Movies Henry E. Dougherty

Even the Big Stars are "Skittish."

The Discrepancy Hound

He's a Wise Guy!

John Arbuthnott

What Do

Photoplay's "Beauty and Brains" Girl— Now

Lucille Zintheo Has Joined the Laugh-makers.

Close-Ups Editorial Comment

48
49

Motion

Photoplays We Don't Care to See

Drawn by Norman Anthony.

Pictures

Taking Advantage of a Villain Gene Copeland

Charles Gerrard is Trapped Into His First Interview.

Monkey Business Mrs. Joe Martin

All About Filmland's Monkey Wedding.

52
53

Mean to Ton?

The Prince and the Pictures

Edward of Wales as a Film Subject.

Betty Shannon

Clothes and Good Taste

An Authority Speaks.

Elsie Ferguson

"\7'0U are not like any one
X else in all the world. You

Rotogravure

Elsie Ferguson, Harry Carey, Irving Cummings,
Bryant Washburn, George Walsh, Natalie, the
youngest Talmadge and Mae Marsh's daughter,
Mary Marsh Arms.

The Shadow Stage Burns Mantle

Reviews of New Pictures.

Photoplay Magazine's Letter Contest

How You May Win a Cash Prize.

63
67

may dwell under the same
roof, with other people;

You may read the same books,
look out on the same towering
skyscrapers, hear the same
robins sing;

But for no two do the robins

Director Gish

Lillian Bosses Her Sister— for "D. W."

sing the same song; to no two
does a book carry the same

In Search of a Sinner (Fiction) Jerome Shorey

Told from Constance Talmadge's New Picture.

message;

THE

MOTION
PICTURES

Mae Marsh Is Back

With a Daughter For a Critic.

Moving Pictures and Big Business

Read— Before You Invest in Cinema Stock.

74
76

The Squirrel Cage

Laugh, Gasp and Wonder.

A. Gnutt

mean something to you that

Questions and Answers
The Lady of Vast Silences

A Word Photograph of Alice Joyce.

Why Do They Do It?

The Movie-Goers' Own Page.

More Beautiful Than the Elephants

A Visit With Maeterlinck.

Mary Pickford— Director

Aided by Chocolates and Puppies.

The Answer Man
Ada Patterson

Betty Shannon

81
85

tney ao not mean to any one
else in the world. No one but
yourself has seen life through
your eyes, has heard it through
your ears, has breathed it
through your nostrils.

Photoplay Magazine

Plays and Players

News From the Studio.

Cal York

will pay for the five

"Whiskers"— King of Charles Ray's Kennel

A Lucky Dog, Eh?

The Extra Girl Snickers Helen Smith

And Can You Blame Her?

106
107

best letters telling

"What the Motion
Pictures Mean to Me."

Our Readers Say:

Jump in With Your Own Letters.

A Department

109

You may read all about it
on page 6 7, this issue.

(Addresses of the Leading Moving Picture P

roduccrs appear on page

^-?)

Photoplay Magazine — Advertising Section

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Photoplay Magazine — Advertising Section

Ttie Most Astounding Drdffld ever
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Photoplay Magazine — Advertising Section

N such absorbing plays
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THE SHAKK, SHOD WITH
FIRE. THE LAST STRAW,
THE HELL SHIP and others
equally entertaining these
supreme stars will be seen
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Your special attention
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?0X PILM CORPORATION

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Photoplay Magazine — Advertising Section

OTION PICTURE PATRONS have so many varied likes
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Photoplay Magazine — Adnertising Section

PICT

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SAMVEL GOLDWYN President

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Photoplay Magazine — Advertising Section

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Studi

Directory

AMEHICAN FILM MFC CO.. 6227 Broadway,
Chicago; Santa Barbara, Cal. (s).

ARTCKAFT PICTURES CORP., 485 Fifth Avenue.
New York City; 516 W. 54tli St., New York
aty (8) ; FoTt Lee, N. J. (s) ; Hollywood,
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ROBERT BRUNTON STUDIOS, 5300 Melrose
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CHIARLES CHAPLIN STUDIOS, La Brea and De
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CHR1.STIE FILM CORP., Sunset Blvd. and Gower
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THE FROH.MAN AMUSEMENT CORP., 310 Times
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(KM.DWYN FILM CORP., 469 Fifth Avenue, New
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THOMAS INCE STUDIO, Culver Qty, Cal.

I»ASKY FEATURE PLAY CO., 485 Fifth Aye.,
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METRO PICTURES CORP.. 1476 Broadway, New
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PATHE EXCHANGE. IND., 23 W. 45th St., New
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PARALTA STUDIO, 530 0 Melrose Ave.. Los Ange-
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tINIVBRS.\L FILM MFG. CO.. 1600 Broadway.
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N. J. (8).

\ITAGRAPH COMPANY OF AMERICA, B. 15th
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WHARTON, INC., Ithaca, N. T. (•).

WORLD FILM CORP.. 130 W. 46th St., New
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Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advehtising Section

Marshall
Neilan's

First Personally

Produced
Photoplay from

HIS OWN
STUDIO

Ask the Manager of
your favorite theatre
WHEN he will
present this splendid

First National
Attraction

The First National Exhibitors
Circuit, Inc., is a nation-wide
organization of theatre owners,
banded together to encourage ;
the production of better pictures

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine^ — Advertising Section

CLASSIFIED ADVERTISING

HlliliSCMOdL

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PHOIDRbWr

This Section Pays.

85T- of the advertisers
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the past year have re-
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■,■ V!.'^'

1I.U;U UvU-ULTUll U U U.UUU-U'UPTJiP

FORMS FOR MAY ISSUE CLOSE MARCH FIRST

HELP WANTED

TKAINING-THE KEY TO SUCCESS

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Accessnties Co . CMicninati Ohin. Dept. 129.

MANUSCRIPTS TYPEWRITTEN

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punctuated. $1.00 per thonsaiui words. Two carljon?.
Ralph Zj. Myers, 7 25 Montrose Street, Vineland, New
.Terscv .

IMOTION PICTURE BUSINESS

$33.00 PROFIT NIGHTI>Y. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by government Institutions. Catalog
free. Atlas Moving Picture Company. 438 Morton
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OLD COINS WANTED

GENUINE OLD COIN AND LARGE 42 PAGE LL-

lusUMetl Coin Catalog for ten cents, .lust a "get ac-
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Dealer. Mehl Hldg.. Deiit. P. Fort Worth. Texas.

WATCH YOUR CHANGE. MANT COINS WORTH
double and more their face value are in circulation.
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PATENTS

PATE.NTS. WRITE FOR FRED GUIDE BOOK

and Eviilence of Conception Blank. Send model or
sketi'h for opinion of its patentable nature. Highest
References. Prompt Attention, Reasonable Terms.
Victor .r. F.Tans & Co.. 763 Ninth. Wa.shiiig<on. T> . C.

SHEET MUSIC
AX. PIANTADOSI CO., JIl'SIC I'tnSLISHEKS. 240
W. 46th St.. N. Y. C for popularizing purposes,
offer their latest Waltz Song "Egyptian Nights," 30c
seller, and eleven other choice song hits, post paid
for $1.00.

SS yCA/fS THC STHNDHRD TK/IIMNO
SCHOOL FOR TMEATrf£ AFITS

AUVTEV^ SCHOOIy
I3R/LMAX1C ARTS

FaUI? SCHOOLS IN ONE. PRACTICAL STAGE
TRAIt<ING. THE SCHOOt'S STUDENT'S STOC«"«I>
THEATRtAffCRD PUBUC STAGE APPEARflNCES'
Write for catalog raentioning study desired lo

A. T. IRWIN, Secretary
225 W. 57th St. New York City

Learn Piano

This Interesting Free Book

ehows how you can become a skilled
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Dr. Quinn's famous Written Method
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„„ ..„.., .u your noma the great advantages of conservatory

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Write Today for Free Book
Qninn Couservatorv, Studio PC, Social I nion Bldg-,. Boston Uafis.

DOYOU LIKE TO DRAW?

CARTOONISTS ARE WELL PAID

We will not give yen any grand prize if yoo

answer this ad. Nor will we claim

to make you rich in a week. But if

you are anxious to develop youi

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so you can make money, send a copy

of this picture, with 6c in stamps for

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plate, and let us explain.

The W. L. Evans School of Cartooning

850 Leader Bldg., Cleveland, O.

FACTORY-TO- RIDER

SAVES YOU MONEY

Buy direct and save $10 to $20 on a
bicycle. RANGER BICYCLES novr
come in 44 styles, colors and sizes.
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Army Auction Bargains

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Saddles 4.65 up
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trmy Gun slings .30 up
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. 1 6 acr.s A?my Good.. Large iUustrated cyclo-
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1920 mailed .'lO cents. New Circular lO conM

FRANCIS BAHNERMANSONS, 501 Broadway, New York

"Don't Shout"

"I hear you. 1 can hear
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THE MORLEY CO..Dept.789.26S.15th St..Phila.

B^S ^^^B B

Every advertisement In PHOTOPLAY MAGAZINE Is guaranteed.

Photoplay Magazine — Advertising Section

'Craining joi- /Tuthorsliip

HoW to Write, ■Whallo Write,

and Where to sell.

Cultivate your mind. DeVelop
youv literary gifts. Master tke
ort of sclf"-G?tpression.Make
your spare time profitable.
Turn youv ideas into dollai-s.

Dr.EsenWcin.

Courses in Short-Story Writ-
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Play Writing, Photoplay
Writing, etc., taught person-
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for many years editor of Lippincott's Magazine, and
a staff of literary experts. Constructive criticism.
Frank, honest, helpful advice. Real teaching.
One pupil has received over $5,000 for atone* and
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calls it. Another pupil received over $1,000 before
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and mother, is averaging over $75 6 Week from
photoplay writing alone.

There is no other institution or agency 'doing so much
for writers, young or old. The universities recognize
this, for over one hundred members of the English
faculties of higher institutions are studying in our
Literary Department The editors recognize it, for
they are constantly recommending our courses.

We publish Tht WriUr'M Library, 13 volumes; descriptive
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subscription $2.00. Besides our leachiog service,,, we offer a
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150-Page illustrated catalogue free. Please Address

"Cfie Home Cbrrespondcnce School ^P^^

Dep't. 95, Springfield, Mass. M^^

eSTABLlSHEO leST

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Motion Picture — Commercial — Portraiture

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Practical instruction; modem equipment. Day or
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N. Y. INSTITUTE of PHOTOGRAPHY

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LEARN PIANQIUFNG

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NILES BRYANT SCHOOL OF PIANO TUNING

40t fine Arts Institute BATTLE CREEK, MICHIGAN

Be a "Movie"
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Earn $50 to $200 Weekly

Fascinating work taking you to
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E. BRUNEI COLLEGE
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• /No connection with\

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Ns»^ 1269Broadway,N.Y.

Day or nipht classes, 3 nnonths' course complete Instruction In
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Have you seen the Photoplay Magazine
Screen Supplement ? Ask your ex-
hibitor when he is going to show it.

Become an Artist

Get into this fascinating business NOW!
Enjoy the freedom of an artist's life. Let the
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Never before has there been such an urgent
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azines— newspapers — advertising agencies
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hundreds of pictures in it! And there are
48,868 periodicals in tke United States alone!
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Do you wonder that there is such a great
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No Talent Needed, Anyone
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Our wonderful NEW METHOD of teach-
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It's just like playing a fascinating game!

mercial art, and is considered one of the
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Our course covers every possible angle of
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Free Book and Artist's Outfit

Mail coupon noiv for this valuable book
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ARTIST'S OUTFIT. Fill out coupon NOW!
Mail it TODAY!

The Washington School of Art, Inc.,
1123 H Street, N. W. Washington, D. C.

r " "".

The Washington School of Art, Inc.
I 1123 H Street, N. W., Washington, D. C.

I Please send me, without cost or obligation on
my part, your free book "How to Become an
I Artist "

Beginners Earn $50 a Week ' •

I J^nnip. ■

Every drawing you make while taking the
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I Name.

■ Address.

o S"!®^)^^^^^

Mp!3^

mf//ii triV^ wi

The Key
To Success

The secret of busi-
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The result of 20 years' experience de- I
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WrifikTnflav ^°^ f^^® booklet /'How to
nnie lOaay Remember" and Copy-l
rfehted Memory T«str also how to obtain my 1
FREE book, "How To Speak In Public.'^ I

DicksoD School of Memory, 1741 Ueirst Bids., Chicago, IS.

gi^sAi2isH*N

a Uig Salai-y —

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clock , working

long hours, drawing small

pay oin the most independent, highest paid profes-
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Easy home-study method prepares you in a few
months for interesting traveling or city job.

POSITIONS WAITING-TRAINED MEN SCARCE

Our Free Employment Service will help you to a good
position before you finish course. Can't find enough,
capable men. Age and occupation do barrier.
This FREE Book Thousands have suc-

v^aa^ !/.».. cj.»... r ceeded through our
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NATIONAL SALESMEN'S TRAININfi ASS*N
Dept. 83-C Chicago, III.

'>(?//)

When you write to adTertlsers pl?ase mention PHOTOPIiAY MAGAZINE.

Photoplay Magazine — Advertising Section

MARCH 9n

Last Day ^ V

todet

JackLondon

Finish These
Stories for
Yourself

The girl K'.
J6 a week, anc
was lonely.

'*Pig&y"yoii
can imagi ne
his kind, — was
waiting down-
stairs. He knew where cham*
pagne and music could be had.
But that night she didn't go.
That was Lord Kitchener's
doing. But another nik^lit —

When the
Gorilla Sang!

Fluttering — poised an In-
stant—then back and forth
with light and easy steps she
sprang, while he leaped out
at her side mimicking the un-
couth, hideous bounds oi a
gorilla — she in her wood-
nymph dress of leaves and he
in the clothes oi Broadway.

There in that dingy night
court— in the pale flare oi the
gas jets — they did a dance
which held the destiny oi two
lives — and yet, so strange it
was that only one ol all who
saw it dared guess—

THE sets of Jack London which
have been given FREE with O.
Henry are handsome sets of books and
we cannot under present conditions give
such books away. We have the choice of
discontinuing the offer or giving you flim-
sier books. We prefer to stop the offer.
Before doing so we wish to make this one
announcement. As long as the present edition
lasts you can get the O. Henry at its regular
price and the Jack London FREE. This, how-
ever, is your last chance. Send the coupon
without money at once and get your O. Henry
for examination and Jack London FREE.

mmm

Two Against
Two Hundred

They were waiting tor him
to collapse, before they killed
him. He was alone with two
hundred man-eating blacks.
He hrid tended them in their
misery — but they had no grat-
itude.

And then she — this girl-
had appeared, out o* nowhere
—like some mysterious god-
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alone, they two fought ofi the
two hundred.

That is the beginning of the
Story — and in it is all the heat
—the weird terror — the dread-
ful mystery of the South Sea
Islands. To you they have
been but a few dots on the
map.

JACK LONDON

made them blaze into terrible
reality.

O. Henry has made another record. More
volumes of his works have been sold thaa any
other short stories in the history of the world.
Up to the day this page goes to press 3,784,000
volumes have been sold— in England and Aus-
tralia, France and Germany — thioughout the
world — over two million in the United States
alone. So many editions have been printed that
the old plates were entirely worn out and we
had to make brand new plates for this edition.
So you will get the very best impression from
these new plates — clear, clean print.

Only a Few Days Left

Tomorrow may be too late — Today — No^w
is your last chance to get a FREE SET of
JACK LONDON. Don't miss it. Delay
will cost you money. Don't be left out of
this last chance offer. There are comparatively
few sets left. _ There will be no next time.
Your chance is here now — while you've got
the coupon before you — send it — ^save money.
DO IT NOW !

Send the Coupon Now /

Get Jack London free — and join the /''sflo
millions who have wept and laughed /
and felt better for the reading of / , Review
O.Henry's warm, kindly, joy- / 30 irvi'nTpf!
ous, tragic bits of life. • New York City

Remember that the end
of the sale is at hand. A 4
day lost will cost you
money

Send me on approval

^ charges paid I'V you,

y O. Henry's works in 12

/ volun>es, gold Icp. Also

the 5-voliime set of Londor»

> bound in cloth. If I keep the

o J .i* * books I will remit %\ 50 in 5 days

send toe coupon DOVy^ and tlien {2.00 a month for lO months

— todav— at ftlirp .• forlhe O Henrv set only and retain the

.uunj ciiu>i«.c .r London set without charee. Otherwise 1

Review oi Re ■ > will, within ten days, return both sets at your

viewsCo., 30 >' ,

living PI. X ^"""e

N. Y. ^ Addrtss .

expense.

Occupation.

* The special Ji Keratol binding of O. Henry costs only a few

/cents more a volume and has proved a favorite. For this
more luxurious binding change above to $1.00 in five days and
theDS3.00 a month for 9 months.

LEARN
DRAFTING

at home in spare time as you would in
actual practice. Men and women in great
demand for permanent positions as me-
clianical draftsmen. Our comprehensive
Home Study Course qualifies you to
secure and hold one of these desirable positions.
No previous training is necessary lo become a
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method of home instruction . We have hundreds of
successful graduates now holding feood positions.

Earn$35to$100aWeek

Many of our graduates have reached high salaries
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secure excellent salaries at the start— as high as
$2600 the first year. Usual pay of draftsmen is
$35.00 lo $100a week. Advancement is rapid.

Drawing Outfit Furnished

We supply every student with a Drawing Outfit
for use throughout the course. There is no extra
charge for this and it becomes your personal
property when you have completed the course.

Help You Secure Position

We are frequently able to place our Students in
good positions sometimes before they complete
the course. Many concerns write us offering
positions to our graduates. The demand for
trained draftsmen is greater than the supply. The
training we give enables students lo secure posi-
tions, without trouble, on completing the course.
Write to-day for Free Book of particulars.

COLUMBIA SCHOOL OF DRAFTING

Dept. 1089
14th and T Sts. Washington, D. C.

Copy this Sketch

and let me see what you can
do with it. Many newspaper
artists earning $30.00 to
$125.00or more perweekwere
trained by my course ol per-
sonal individual lessons by
mail. PICTURE CHARTS
make original drawing easy
to leara. Send sketch of J j\
Uncle Sam with 6c in stamps f^" ^jja
for sample Picture Chart, list ''"—S'^HH
of successful students, ex- -«iSM

amples of their work and evidence of what YOU
can accomplish. Please state your age.

^Ae Landon ScKool

of CARTOONING and ILLUSTPtATING
1207 Schofield Bldg. Cleveland, Ohio

CASH FOR TRASH

We pay the highest prices for old or broken jewelry,
diamonds, watches, old gold, silver, platinum, magneto
points, old false teeth, War Bonds and Stamps— anything
valuable. Mail them to us today. Cash by return mail.
Goods returned in 10 days if you're not satisfied.

THE OHIO SMELTING & REFINING CO.
204 Lennox Bldg. Cleveland, Ohio

VETERINARY COURSE AT HOME

Taught in simplest English durloe
sparetime. Diploma eranted-
Cost within reach oS all. Satisfac-
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ing by correspondence twenty
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stock should take it- Wgte. for
catalogue and full Ef Kg F F
particulars • • ^ ■* *• *•

London Veterinary Corres.
School

Dept. 5 London, OnUrio, Can

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

K^ld

Photoplay Magazine— Adnertising Section

A Wife Too Many

Into the hotel lobby walked a beautiful
woman and a distinguished Jman. Little
indeed did the gay and gallant crowd know
that around these heads there flew stories
of terror — of murder — and treason — that
on their entrance half a dozen detectives
sprang up from different parts of the place.

Because of them the lights of the War
Department in Washington blazed far into
the night. With their fate was wound the
tragedy of a broken marriage, of a fortune
lost, of a nation betrayed.

It is a wonderful story with the kind of
mystery that you will sit up nights trying to
fathom. It is just one of the stories fash-
ioned by that master of mystery

CRAIG KENlifiOY

'RwAmerican Sheriocfe Holmes if, i;,! 'J''

ARTHUR BR®^£

^s American ConanVoyle %:^#^

He is the detective genius of ouf age.
He has taken science — science that stands
(or this age — and allied it lo the mystery
and romance of detective fiction. Even to
the smallest detail, every bit of the plot is
worked out scientifically. For nearly ten
years America has been watching this Craig
Kennedy — marveling at the strange, new,
startling things that detective hero would
unfold. Such plots — such suspense — with
real, vivid people moving through themacl-
stromoflife! Frenchmen havemastered (he
art of terror stories. English writers have
thtilled whole nationsby their artful heroes.
Russian ingenuityhas fashioned wild tales
of mystery. But all these seem old-fash-
ioned— out-of-date — beside the infinite
variety — the weird excitement of Arthur
B. Reeve*s tales.

FREE

POE

1 0 Volumes

To those who send the coupon promptly,
we will give FREE a set of Edgar Allan
Poe's masterpieces in 10 volumes.

When the police of New York failed
to solve one of the most fearful murder
mysteries of (he time, Edgar Allan Poe —
far off there in Paris — found the solution.
The story is in these volumes.

This is a wonderful combination. Here
are two of the greatest writers of mystery
and scientific detective stories. You can
get the Reeve at a remarkably low price
and the Poe FREE for a short time only.
Two Shelves of Books

HARPER & BROTHERS

Established 1817 NEW YORK

Sign and mail the coupon now — Send no money

Harper & Brothers, 18 Franklin Square, New York

Send me, all charges orepaid, set of Arthur B. Reeve — in 12
volumes. Also send me, absolutely free, the set of Edgar Allan Poe
—in 10 volumes. It the books are not satisfactory I will return botk
leia withm 10 days at your expense. Otherwise I will send you $1
vithln 6 days and $2 a month for 14 months.

NAME

OCCUPATION Ph6to3.20

Send for Special Canadian Offer.

^«>

r<:

i-\

) ! miiw.

>/.,

:^J^

■^

*^YouVe Gone Way

Past Me, Jim!

'^ Today good old Wright came to my office. All day
the boys had been dropping in to congratulate me on my
promotion. But with Wright it was different.

" When I had to give up school to go to work I came to the plant
seeking any kind of a job — I was just a young fellow without much
thought about responsibility. They put me on the pay-roll and turned me
over to Wright, an assistant foreman then as now. He took a kindly in-
terest in me from the first. 'Do- well the job that's given to you, lad,' he
said, 'and in time you'll win out.'

"Well, I did my best at my routine work, but I soon realized that if
ever I was going to get ahead I must not only do my work well, but pre-
pare for something better. So I wrote to Scranton and found I could get
exactly the course I needed to learn our business. I took it up and began
studying an hour or two each evening.

" Why, in just a little while my work took on a whole new meaning. Wright
began giving me the most particular jobs — and asking my advice. And there came,
also, an increase in pay. Next thing I knew I was made assistant foreman of a new
department. I kept right on studying because I could see results and each day I
was applying what I learned. Then there was a change and I was promoted to fore-
man— at good money, too.

"And now the first big goal is reached — I am superintendent, with an income
that means independence, comforts and enjoyments at home — all those things that
make life worth living.

"Wright is still at the same job, an example of the tragedy of lack of training.
What a truth he spoke when he said today, ' You've gone 'way past me, Jim, — and
you deserve to. Heads win— every time ! '"

Yes, it's simply a question of training.
Your hands can't earn the money you
need, but your head can if you'll give it
a chance.

The International Correspondence I

Schools have helped more than two mil- I

lion men and women to win promotion, f

to earn more money, to know the joy of |

getting ahead in business and in life. i

Isn't it about time to find out what ■

they can do for you .■■ |

You, too, can have the position you |

want in the work of your choice, witli an i

income that will make possible money in I

the bank, a home of your own, the com- I

forts and luxuries you would like to pro- .

vide your family. No matter what your |
age, your occupation, your education or gN^vfJatlon

your means — you can do it ! '

nNTERNATIONAL^CORRESPONDENCE SCHOOLS

I BOX 6511, SCRANTON. PA.

I Explain, without obligating me, how I can qualify fo»
the position, or in the subject, before which I marl( X.
nSALESMANSHIP
D ADVERTISING
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DShow Card Writer

EI.EOTItlOll. ENGINEEK
Eleotrle Litbtine And ICyi.
Electric Wiring
n Telegraph Engineer
Telephone Work
UEdlUNIOAL ENeiNEEII
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Toolmaker
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Photoplay Magazine — Advertising Section

AT NIGHT-

a thorough bath
for your face

If you want a skin that

is clear, brilliant with

color — let it breathe at night

INY, invisible dust partic-
les— always, always falling
on your unprotected face !

In crowds — in shops — in theatres
— all day long, while you are going
unconsciously about your occupa-
tions— the delicate skin of your
face is exposed to millions of unseen
enemies.

That is why a thorough bath for
your face at night is so important.

During your eight hours of sleep
the skin of your face should be
allowed to rest — to breathe. The
delicate pores should be freed from
the dirt and dust that have accumu-
lated during the day.

For remember — authorities on
the skin now agree that most of the
commoner skin troubles come, not
from the blood — but from bacteria
and parasites that are carried into
the pores from outside, through
dust and small particles in the air.

If, from neglect or the wrong
method of cleansing, your skin has
lost the flawless clearness it should
have — if it is marred by blackheads
—by disfiguring little blemishes —
begin tonight to change this con-
dition. You can make your skin
just what it should be. For every
day it is changing — old skin dies
and new skin takes its place. By
giving the new skin, as it forms, the
special treatment its need demands,
you can make it as soft, as clear

and smooth as you would like to
have it.

The famous treatment for
blackheads

Perhaps, in your case, failure
to use the right method of cleans-
ing for your type of skin has
resulted in disfiguring little black-
heads. This condition can be
overcome — and your skin can be
smooth and clear in future.

To keep your skin free from this
trouble, try using every night this
famous treatment :

Apply hot cloths to the face until
the skin is reddened. Then, with
a rough washcloth, work up a
heavy lather of Woodbury's Facial
Soap and rub it into the pores
thoroughly, always with an upward
and outward motion. Rinse with
clear, hot water, then with cold —
the colder the better. If possible,
rub your face for thirty seconds
with a piece of ice. Dry carefully.
To remove the blackheads already
formed, substitute a flesh brush for
the washcloth in the treatment above.
Then protect the fingers with a
handkerchief and press out the
blackheads.

In the little booklet that is
wrapped around every cake of Wood-
bury's Facial Soap you will find the
treatment for blemishes — for con-
spicuous nose pores — for each one of

the commoner skin troubles. Find
the treatment that your particular
type of skin demands — then use it
regularly each night before retir-
ing. You will be surprised to see
how quickly your skin will gain
in attractiveness — how smooth, clear
and colorful you can keep it by this
care.

Woodbury's Facial Soap is on
sale at any drug store or toilet goods
counter in the United States or
Canada. Get a cake today — begin
using it tonight. A 25 cent cake
lasts a month or six weeks.

We shall be glad to send you
a trial size cake

For 6 cents we will send you a
trial size cake of Woodbury's Facial
Soap (enough for a week or ten days
of any Woodbury facial treatment),
together with the booklet of treat-
ments, "A Skin Yob Love To
Touch." Or for 15 cents we will
send you the treatment booklet and
samples of Woodbury's Facial Soap,
Facial Powder, Facial Cream and
Cold Cream. Address The Andrew
Jergens Co., 503 Spring Grove
Ave., Cincinnati, Ohio.

If •jou live in Canada, address
The Andrew Jergens Co., Limited,
503 Sherbrooke St., Perth, Ontarit,

Every advertisememt in PHOTOPLAY MAGAZINE is guaranteed.

^ jt i i '

^..

KUKMell

PETROVA was a newspaper woman before she was an actress. She created
"Panthea" on the stage. Whatever may be the differences of opinion over
Madame's dramatic efforts, few deny her unique charm. She is in vaudeville now.

T^HE davighters of celebrated men need not necessarily be obscure. Dagmar
-■■ Godowsky's father is Leopold, the pianist; but, not content to bask in his re-
flected glory, Dagmar sought her own career. She is with Universal now.

Saronv

SWEDEN gave us Anna Nilssoii, whose fancy middle name is Querentia. We &te
indebted to Sweden, She started as an artist's model, like so many of our
present-day film celebrities; and old Kalom s^aw her picture beginnings.

Alfred Cheney JohnHton

IF you saw him on the stage in '"Justice"' or '"The Jest"'; if you followed his
funny films and his later serious essays — then there's nothing more that we can
tell you ahout John, youngest of the Barrymores, that premier acting family.

2:mi,

latBRail-WiHilHiHBi-ffhl-ii-

mmmimm

',7;:;^^;' y; .''.^^ j>>'-

Strauss-l^eyton

TAYLOR HOLMES h a gonial soul, on the screen and off. As "Bunker Bean"
on the stage or as father of three, he is real. He has his own company now, and
recently completed "Nothing but the Truth," from the legitimate success.

WE can't see Blanche Sweet witliout recalling her as the luscious "Judith of
Bethulia" in the old Griffith pic^ture. Her performances since then have been
many and varied, and we have her owji promise not to leave us any more.

CainpbPK '

ANY feminine screen star will liladly "oil her jewels, trade in her town ear, dismiss
her second maid and economize all the year round, if she can only have tl)e
snave and subtle Convay Tearle for her high-priced leading man.

Apsda

WHEN Jane McAlpiiic came to this ooxuitry from her native Bohemia she
couldn't speak a word of English. But she studied until she could and then,
to he contrary, went into the silent drama. You saw her in "Checkers."

<^7ie World's Leading CyVLovin^ ^i6ture C^a^azine

PHOTOPLAY

Vol. XVII

March, 1920

No. 4

''Of the People — By the People
For the People"

rr(>p

OHJ^ ? V/hy, he's lived here all his life. He's no actor; he's only
in the movies I "

"Henry ma\es a thousand a wee\ as a director — and he hasn't
even been to vNJeit; Tor^.'"

"I don't see how Bill got famous .... he just writes photoplays \"

7^0 art represents a nation or an era which is not a common appreciation
of common people. Sha\espeare's plays were not written for the highbrows
in the Stratford Fortnightly Club, but for unimaginative persons willing to
pay money for real entertainment at the ^lobe theatre. When Verdi
composed "Kigoletto" he suppressed "La Donna e mobile" until the dress'
rehearsal, lest every gamin in Italy should be humming it before the first
performance. Rodin, herculean moulder of men in marble, was of primitive
stoc\, and chose primitive models and primitive subjects to become the
greatest sculptor of modern times.

An art of the people is still so new in America that it is incredible-
"Art " used to be syyionymous with long hair and anemia, and an inability
to do anything in business. Tet in the living celluloids we find an art
which in itself is one of the greatest and most golden of businesses !

We have tal\ed enough about the motion picture as an art for the
people. Let us realize that it is such because it is essentially an art of the
people, and by the people. It doesn't deal in frea\ propositions. It deals
in life. • Real life. Common life. Everyday life.

So isn't it fitting that Bill should write the play, while Henry directs
John in its principal part ?

The old-fashioned, earlyPullman notion of an artist— -a jester, a curios'
ity, an odd piece, a fascinating fellow of no morals — would fit the art of the
photoplay li\e a Ford engine in a Rolls chassis.

To paraphrase the immortal summary of Abraham Lincoln, the Motion
Picture has come to us that art of the people, by the people, for the people
shall not perish from the earth.

Another

Conjunction

of Stars —

in the

West.

Anita Stewart rests
afar from the movies,

higk up in her new

mountain~top

d w^elling-place .

ANITA STEWART
chose a mountain
top for her home
in California. An old-
world home, up and away
from everybody. Not be-
cause la Stewart is par-
ticularly exclusive, but she
likes to breathe an air and
absorb an atmosphere
which have nothing to do
with motion pictures, after
her day's work at the stu-
dio is done. She lives here
with her husband, who is
also her manager, Rudolph
Cameron; her mother, and
her young brother George.
You may see her at the
above left with her mother
and the police-dog who
guards her gate. Above, a
siesta on her own front
porch ; and below, a long
shot of her home, which
is in Laughlin Park, Los
Feliz Road.

"I am called broad-minded, or a 'Broad Churchman." I take my stand for
anything that makes for human happiness and the betterment of mankind."

Ch.inipl.iiii Sill

If Christ Went to
the Movies

By REV. DR. PERCY STICKNEY GRANT

(Rector Church of the Ascension, Fifth Avenue, New York)

IF Christ went to the "movies" — He would approve.
Christ said "Come unto me all ye that labor and are
heavy laden and I will give you rest."

Could the Divine Master who lightens our heavy
burdens and refreshes our weary minds give any but entire
approval to an agency like moving pictures that makes for
the happiness of His people?

If you were to ask me what Jesus would say at the sight of
fourteen thousand churches in America, most of which were

built in honor .of His name but which are closed except for a
few hours every week, I would reply that He would cry out,
"Open the doors of these churches and let my people enter;
let my churches be put to the uses that pertain to the happi-
ness, best interests and development of my people!"

Christ approves of anything that makes for the happiness
of mankind; anything that lifts the minds of His people to a
higher plane; to anything that refreshes and interests them
after a day's hard grind.

Photoplay Magazine

Our churches are most excellent auditoriums. The major-
ity of them are furnished with good organs, and skilled
organists are engaged. These churches are a natural meeting
place for establishing advantageous gatherings of people who
are concerned with the betterment of their positions, education-
ally, pohticaily and in the terms of human culture. Motion
pictures combine amusement, entertainment and education.
Pictorial education is of extreme value. It establishes a
quickening of the imagination. These pictures put us in con-
tact with new scenes, give us new ideas, make us better
acquainted with new personalities and belong in God's church
as well as in the theatre.

MY friend Cleveland
Moffet, a brilliant-
minded author, suggested
some years ago that the
New York churches pro-
vide free moving picture
entertainments. Money
was subscribed to carry
out this plan, several
picture producers became
philanthropically interest-
ed and evenings were de-
voted to delightful pro-
grams in many churches,
the picturcjg being care-
fully selected.

There is yet a wide
difference of opinion as to
the use of churches for
anything other than re-
ligious services. Many
believe that only solemn
services should be con-
ducted in our churches
which they hold to be
hallowed by years of
sacred use. This closes
to the public more than
three billion dollars worth "
of taxable property, save
for throe or four hours
e\ery week.

Coming from a rector
of an Episcopal church
this may seem somewhat
startling, but there is in
that church a broad com-
prehensiveness which,

even here in New York, contains two such extremes as the
Church of St. Mary the Virgin and Dr. Heber Newton's
church. I am called broad-minded or a "Broad Churchman,"
I take my stand for anything that makes for human happiness
and the betterment of mankind.

EVEN in the matter of news, which we all ought to have
in as complete and comprehensive a form as possible, the
movies can give the big essentials, unencumbered by the mass
of reading matter and advertisements on which the commercial
success of the press depends. The movies present no such
dreadful looking abortions as are exploited in the newspapers
on their cartoon pages. I will not call the cartoons by name,
but in the movies one sees no such disgusting, unnatural dis-
tortions of human form and human nature.

I believe that there is a difficult line between admiration for
the human form and pruriency. A certain magazine of physical
culture in its effort to show the public high ideals of physical
strength and perfection has encountered this difficulty, i be-
lieve that just as the picture of Ebert and Noske recently
published in the pictorial section of a great newspaper, almost
naked, in bathing dress, disgusts the obser\-er with the un-
covered forms and unathletic masculine flesh and bones, and
has made this picture servicable to the enemies of the Ger-
man reoublic, so, on the other hand, the repi-esentation to the
eye of beautiful human beings can encourage more ideal ca^e
and development of the body as well as giving legitimate
pleasure. A pathetic side of human nature presents itself in
the "bald head row" in our theatres. There is ro suggestion
of salacity or pruriency in the beautiful pictures of types like

OVER 2000 churches in the United States now utilize
the motion picture.
Broad-minded clergymen everywhere recognize
that a force that can build and operate 14,000 the-
atres, and attract a daily attendance of 12,500,000 should be
an ally in the work of carrying religion to the people.

Every great denomination is considering ways and means
of applying the influence of the screen to religion. The
Methodist church committed itself quite avowedly to a mo-
tion picture program at its centennial celebration at Co-
lumbus, Ohio, last Summer.

The motion pictures were criticized, despised, and buf-
feted by clergymen generally five years ago. The attitude
of the church has changed with the gradual but certain
improvement in the standards of entertainment and
decency.

The church was absolutely right in it's first position. It
is right today. But there is still much to be done, for there
are still producers who believe that questionable pictures
are sure-fire successes. And the church can, by encourag-
ing exhibitors who believe in clean pictures, and discourag-
ing the others, make itself felt.

The Better Photoplay League of America, which was
sponsored by this publication, has shown the way. An un-
organized majority is helpless. Photoplay carried on the
work of organizing the patrons of motion pictures against
exhibitors who showed salacious pictures, and the results
were felt immediately in the box-office, the most vulnera-
ble part of the exhibitors' and producers' anatomy.

If picture conditions are not right in your town, organize
your community and your exhibitor will listen attentively.
if he does not, hit him in the box-office. He will hear you
then. THE EDITOR.

Annette Kellermann. They present the glory and beauty of
physical perfection, the strongly developed human body bat-
tling against the waves or exhibited among beautiful natural
surroundings. There is no trace of sex emotion here. The
movies of today are our cleanest form of amusement. They
are well censored; morality and right prevail.

THERE are thousands of people who come to New York for
a good time. Perhaps they select a Broadway theatre
performance, a popular show. There is a snappy plot, catchy
music and beautiful girls, but it is no part of culture, there is no
uplift, no better ideas fill the mind. Georg Brandes said of

William August Slaegel,
the translator of Shake-
speare, that he made
Shakespeare part of Ger-
man Culture. The Ger-
mans embraced Shake-
speare to a far greater ex-
tent than Shakespeare's
own fellow-countrymen.
Not the theatre but the
dramatic art occupies an
important place in our
development. The movies
are in that class. Nothing
sticks in the memory like
visible images. I remem-
ber as a boy I had to
practise my piano lessons
over and over, p'aying
the same piece of music
again and again. Now, I
am told great soloists vis-
ualize their notes. When
they sing or play they are
reading from the mind
modern psychology stress-
es this point.

In a Boston church
which I used to frequent
as a boy there was a most
eloquent preacher, the
Rev. Wayland Hoyt. He
employed the old fash-
ioned oratorical method
of word-painting. I free-
ly confess that the only
sermon I remember was a
description by Dr. Hoyt
of his visit to Salisbury
cathedral. Pen and word pictures are going out. The movies
are supplanting them. Pictures are the supreme thing that
the mind can see. Education by means of visual impressions
is of the first importance.

There is much that bears closely upon religion and social
uplift in the Freudian psychoanalytic psychology. Most people
spend much time in fantasy, day-dreaming, wool-gathering.
The coward paints himself in heroic scenes, the shop girl
pictures herself in a beautiful dress seated in the parterre of
the opera. This is the stuff that "dreams are made of." Ideas
fall into the mind not regulated by will or checked up by
reality. People not only sit in dreams, but act in dreams.

Our motion pictures are of the sort that the individual
craves. First and foremost they possess whatever reality is to
be had in story, drama, or educational films. The movies clear
out the cobwebs of the mind, putting in carefully prepared
facts. They are a tonic, a regulator, a clarifier of the inner
life, of the imagination. We must think of the movies as that
wonderful clean sweep that is clearing out the unhealthful
fantasies of the brain.

There is the problem of our adolescents. If our boys and
sirls do not stay at home, what place have they where they
may seek amusement? The street and the dance halls. 'What
happens if they stay at home' I should rather have boys
rnd girls go to the movies than to sit at home twirling their
thumbs in a corner, imagining discordant, unruly, abnormal
thoughts and brooding over budding and badly understood sex
ideas. The movies furnish a clarification of youthful home-
brewed fancies.

(Continued on page 121)

The Thomas H. Ince Studio at Culver City, Calif. It is said
that a certain fluffy star ■with more money than brains, drove
up to the front of this beautiful Colonial mansion one day, and
asked a man •who happened to be standing on the front verandah:
"Where s the o^vner ? I want to buy it for a bome. The

man said quietly, "I am the owner, Madame." "That so ?
What's your name?" "Thomas H. Ince," the man informed
her. "Drive away like h ," the star snapped at hsr chauffeur.

Beauty

Spots

Filmafornia

IT doesn't cost much more to make a
beautiful thing than it does to make
an ugly one. So the men who have
designed the moving picture studios
in California have taken advantage of the
fact that gardens can be grown overnight
and have made their establishments, in
many instances, real show places in both
senses. The effect of this charming en-
vironment upon writers, directors and
players, should be of great importance.
Surely the creative artist can find inspira-
tion in visual beauty that will be of mate-
rial aid in evolving masterpieces for the
screen. So far has this matter of studio
architecture advanced in five years that
there is hardly a sign remaining of the
ramshackle makeshifts of half a decade
ago.

This beautiful bit of Mission architecture is the entrance gate to
the Garson Studios, on Alessandro Street, Los Angeles. The
studio -was one of the first permanent picture plants in Califor-
nia and was built by Col. \Villiam N. Selig, early in the pres-
ent decade. It is now the scene of Clara Kimball Youngs ac-
tivities, and the outer wall is about all that remains of the
original plant.

The Goldwyn Studio at Culver City is after
the Grecian style of architecture in front but
the yard is pure prairie. It is spacious enough
for Will Rogers to fling a nasty rope, but the
stars are objecting because there is no jitney ser-
vice from the boulevard, where they have to
park their cars, to their dressing rooms.

This might be a quiet village street in France,
or the stables and garages of a multimillionaire's
home, or something else, but the fact is it is Di-
rectors Ro-w at the Brunton Studios, Melrose
Avenue, Hollywood.

The Metro Studio in Hollywood is, as you
may be able to decipher from the street sign
post, at the corner of Cahuenga Ave. and Ro-
maine St. The sign half way down the block
warns you not to park your car on that side of
the street. This is to permit Maxwell Karger
plenty of room for outbursts of temperament.
Nvhich he employs to counterbalance those of
the stars.

I
tJ

•^ v»

This is not a row of bungalows patterned on the Old English style, but the
La Brea Street front of the Charles Chaplin studio in Hollywood. Except
for the glass top of the stage which rises three stories high in the rear, (the
frame-work visible at the right in this photograph) it would be impossible to
detect any sign of a studio on this block, except a very small brass plate on

the entrance door.

Universal City was the first moving picture studio to be built on an elabor-
ate scale, and is still one of the largest plants in the world. The main build-
ings are in Mission style, surrounded by attractive gardens and shaded
nooks. Evening clothes at midday is Filmafornias prerogative.

THE first slanting rays of dawn shot across the valley
of the Little Laramie in the lush verdure of full sum-
mer. Searching through the foliage of the woodland
bordering the river the dancing sunbeams cast a softly
brilliant pattern of light and shade under the trees. Another
perfect Wyoming day was born.

Just a ripple of breeze swept up the river and stirred the
grove. A • flickering ray of sunshine piercing deep into the
woods lighted up the face of a sleeping man. He stirred un-
easily under the irritation of the light. His head was pillowed
on a crushed hat. His cfiat was drawn up close about his
neck, as if for warmth. Turning laboriously in his sleep, seek-
ing a more comfortable position, the unwelcome light fell
strong upon him and brought his blinking, heavy-lidded eyes
open to face the morning.

Wearily the sleeper pulled himself up sitting. Stretching
his aching body with a long yawn, he looked about. The glint
of a bottle caught his eye. He glanced familiarly at it and
picked it up hopefully to peer through it at the light. It was
empty.

"Shucks!" He tossed it away, making a wry face as he
felt about with his swollen, furry tongue. It seemed to him
at least two sizes too big for his mouth. In his exclamation
there was a tone that might have meant either disappointment
at the emptiness of the bottle or disgust at the bottle's be-
trayal of him the night before, or both.

Painfully he made his way to the river's brink for scant and
brief ablutions. With a casual stroke or two he straightened
out his crumpled hat, shook a wrinkle out of his coat and
was on his way through the woods toward the road. There was
the easy air about him which some call vagabondage and
others call freedom.

At the roadside he paused and looked up and down its dusty
way, cheerfully as one with a fair open mind and no prejudices.
As do many who are much alone, he talked to himself in a
cordial monotone.

"That road leads to town — that town has a marshal and that
marshal keeps a jail — lets go the other way."

He went swinging up the road with leisurely stride. His
only destination was breakfast and the whereabouts of that
were unknown. Our rambling adventurer had been on his way
but a few scant rods when a turn of the road brought to view
a scene that fetched him up short, then sent him with swift
caution to the concealing shade of an overhanging tree.

A hundred yards away a railway train stood on the prairie
and men with guns stood alongside. The engine and express
car were being detached. They ran down the track a short
distance and then stopped. A masked man clambered over the
tender and dropped into the cab.

Rose studied liim witli a gaze
that was not all curiosity.
Jubilo frankly returned Her
inspection.

B I

mmmmt

Wherein a singing vagabond stumbles

into the dark lives of two, sets their

melodrama to music, and provides a

flawlessly happy ending.

A puff of smoke followed by an explosion came from the
express car as a door shattered and fell in.

The observer under the tree watched with tense curiosity
the drama spread out before him in the morning light.

A man on horseback dashed up to the express car, shouting
orders and directing his band. The rider's back was turned
to the tree retreat of the wanderer, but the marking of the
horse, a big bay splashed heavily with white on the rump, was
conspicuously visible.

"The train robber who'd ride a horse marked like that is
sure one dare-devil," reflected the observer under his tree,
where he stood nervously chewing a twig in his silent excite-
ment.

The hold-up was swiftly executed. The robbers ran from
(he train, mounted their horses and galloped out of sight across
the prairie. Presently the trainmen appeared and then the
passengers swarmed out of the coaches, talking excitedly. A
hrakeman started climbing a pole to reach the telegraph line.

"Show's over," our cheerful wanderer under the tree an-
nounced to himself. "And if the sheriff's posse finds me here
they're going to get considerable inquisitive. Let's go!"

Down the dusty road again, with the same swinging gait,
but quickened a trifle. He had no place to go, but he had
some place to leave. The warmth of the advancing day brought
cheer. Pushing his hat jauntilv back he broke into a droning
song:

"De massa run? Ha! Ha!
De darky stay? Ho! Ho!
. ft must be now de Kingdom comin'
And de Year ob Jubilo!"

With a hitch at his belt and a warm
boyish smile on his face he sang on.

"De train's been robbed?

Ha ! Ha !
I saw the job — Ho! Ho!
The sheriff will pinch

some one soon,
So move on — Jubilo!"

The day had worn
well on and the impulse
to song had faded when
the road-faring stranger
slackened his pace with
weariness and looked
about him. He had not
yet arrived at breakfast.
The mouth of a lane
down the road bore
promise.

Up at the other end
of that lane Jim Hardy,
stern, strong, grey and
fifty, was in his barn-
yard, watering his stock,
'^•usy with her kitchen
tasks his daughter, Rose,
looked from the window
and discovered the

L O

TERRY

RAMSAYE

approach of the pedestrian.
She hurried to the door and
called sharply to her father.

"There's a man coming —
could it be — "

Hardy did not answer the
unfinished question. He
sprang to the porch and
gazed down the lane in-
tently.

"Rose, run in and get my
revolver."

From down the lane came
a snatch of hopeful song:

"It mus' be now the King-
dom comin'
An' de Year ob Jubilo!"

Jim Hardy strapped on his
Jiolstered revolver and
slipped his coat on over it,
keeping his eyes fixed on the
approaching visitor. He
spoke to his daughter with-
out turning.

"No — it's not him. He
wouldn't come singing."
Hardly paused again for a
moment of close attention,
then reassuringly spoke to
his daughter. "You go in
the house; I'll meet him."

The vagrant approached
Hardy with his best smile
widely radiant, answering the
•older man's inquiring look.

"I am a candidate for something to eat. Elected?"

The tramp looked Hardy squarely in the eye — squarely but
hopefully and ingratiatingly. Hardy with the stern air of a
judge confronting a prisoner bored into him with his eyes.

"When did you sober up?"

There was silence and an exchange of sharp, unwavering
glances.

"This morning. I woke up cold, sober and thirsty."

He stood waiting expectantly.

Inside the kitchen door Rose stood listening and peering
out at their caller. Her e.xpression was not one of displeasure
as she surveyed the debonair vagabond. Hardy continued to
size up the stranger.

"What is your name?"

There was just a flicker of hesitation, then the reply, intoned
as an impressive introduction.

"John Lawrence Alfred Tadema."

"That sounds like a lie," snapped Hardy.

But this struck no fire. The rejoinder came, unabashed and
cheerful.

"Still it's a good one. I always wanted to be called 'Tadema'
— but my friends call me 'Year ob Jubilo' — just 'Jubilo' for
short."

Hardy seized Jubilo's hands and turned them palms up.
They were soft and unealloused, innocent of work.

"Yep. Plain and fancy hobo, loafing a specialty, eating a
fine art — May I den:onstra*e?"

"You can eat, but you will first have to work to earn it."

"My profound thanks, sir — but work? — May I not decline?
— I consider work the only great drawback to eating."

Jubilo with a saddened sigh turned and started away. Rose
ran from her doorway to her father, whispering to him.

"Don't send him away — I think — I think, I like the way
he smiles."

Jubilo'?. alertness caught the note of intercession. He
paused and took his hat in his hand, clearing his throat to
get attention.

"I don't want to get into the habit of working, but I also
do not want to get entirely out of the habit of eating. I
might try it, till, say about meal time."

"All right,"' replied Hardy, still stern, drawing his daughter
aside and leading her into the doorway to speak to her in a
low tone.

"I think he's a plain tramp — but if he should have been sent
here by him. I want him where I can watch him."

Hardy picked up a pair of m.ilk buckets and steeping into
the yard xalled on Jubilo to join him at the barn. The rancher
walked rapidly down the long stable to the cows' stall. He
turned about quickly to find Jubilo standing open mouthed
staring at a big bay horse, heavily splashed with white on

3^ • Photoplay Magazine

the rump. The tramp looked from the horse to Hardy with a "See the morning train stop by the bridge?"

curious, haif-alarmed stare. "Nope. It woke me up comin" into Muskoka, and I hit out

That strangely and conspicuously marked horse had brought this way — Why?"
back to Jubilo's mind in a flash the exciting picture of the "See anything of men on horses?"

train robbery in the morning. Was Hardy the train robber? Jubilo stood as though puzzling and trying to remember.

What sort of a place had he blundered into? His eyes took in Hardy and Rose. Hardy was obviously nerv-

Hardy handed Jubilo a milking stool and bucket, then him- ous and trying to control his feelings,
self went into the next stall and rapidly set about milking a "Nope. Didn't see a soul till I got here."

cow. Jubilo with much trepidation and misgiving set out to The sheriff stood puzzled. Hardy appeared anxious to get

fathom the mysteries of milking, then the thing talked out.

he peered around the end of the stall to "What's so heavy on your mind,

observe Hardy. Hardy was busy at his Jubilo Sheriff?" he asked.

task when the revolver under his coat "Where was your big bay horse be-

slipped from its holster and fell to the XJARRATED by permission, from tween six and eight yesterday morning,
stable floor. Jubilo's eyes opened wide i> the Goldw'yn production, adapted Jim?" was the sheriff's response. Hardy
as he saw the big gun, and the dextrously by Robert F. Hill from the Saturday paused before replying,
handy movement by which Hardy re- Evening Post story by Ben Ames Wil- "Between six and eight? Why, I was

stored it to his holster. hams. Directed by Clarence Badger, cultivating with him."

The wanderer sat looking half-dazed at ^^^^ ^^^ following cast: There was another awkward silence,

the empty milk bucket between his ^ ... ^.,, ^ ^ , Then the sheriff hitched at his belt and

knees. He shuddered and swayed with ' ' " ^ ogers allowed they would be going. He turned

a sense of weakness. He reached for a ^'^^^ Hardy Josie Sedgwick back to Hardy and spoke decisively.

beam to steady himself and fell, fainting. Jim Hardy Charles French "Jim— don't take any trips and don't

He came to his senses with Hardy shak- Pnnt Willard Louis let this new man of yours take any

ing him. Bert Rooker .: James Mason neither ! "

"When did you eat last?"

Jubilo wavered and looked blankly
about him. One hand went to his head and the other to his stomach.

"I — I — I don't exactly remember."

"Here, drink some of this." Hardy raised his bucket of warm
steaming milk. Jubilo drank it down with long gulps. lO^^^^^^^^mf'r

"Now sit down — I'll milk this cow," Hardy ordered. ^^iffl^^^^B^^K *

But before Hardy could act on his word Jubilo had set his milk-
ing stool in place and started awkwardly at the milking. He looked WS^^^^^^^^^^^M' .S
up at Hardy with a glint of determination in his face. «9^^^^^^^^^^^^b'A!

"I'll do my work before I eat." ,^^^^^^^^^^^^^m "

Hardy watched a moment, then went about his work. The supper f^^^^^^^^^^^^^K \

that followed was marked mainly by its silences and Jubilo's devotion 1^^^^^^^^^^^^^^ \

to the food. Rose studied him with a gaze that was not all curiosity. ^^^^^^^^^Bi^^ Xl

And as his hunger subsided Jubilo frankly returned her inspection, ^^^^^^^^^^4iL. %

with honest admiration.

Jubilo had left the house a few moments, walking with thoughtful K^^^^ ^'^^ JL"'^*

step, when he paused. The big bay horse with the white splashed ^^^v ^^^ -^ i' -'*

rump. Hardy, the gun and Rose were in his mind. Deliberately he s^^m p

turned about and started toward the house. J^^T I r^^

"I'd like to get acquainted with a train robber — if he's one." Jubilo ^^m / ^^ *

murmured to himself. ^Hl i '

A few moments later he presented himself at Hardy's door.

"If you need a hand I'd like to tarry with you a while.'' ^^— . ,. ^.

Hardy looked at Jubilo in silence, under obvious tension, for a minute
at least.

• "We have no room in the house— you can sleep in the bam, up in
the mow — don't smoke there. You'll find a lantern on the back porch.'' ^

"Thanks for the job," returned Jubilo. f

Jubilo was awakened in his hay-mow retreat the next morning by a ; ^s

murmur of voices in the stall below. He peered through a crack Jf"^'/--

into the stable below to discover a group of men whom his practised '""'''^ ^

eye readily identified as a sheriff, a town narshal and a couple of
deputies.

The sheriff was standing with his hand on the white splashed rump
of the big bay horse.

"There ain't another boss like him in these parts."

The rest of the group nodded in sage agreement. ^^^^B '^^i^^^^^i^^^^HI. "-Ml

"Boys, I reckon we'd better have a talk with Hardy," the sheriff
announced and led his staff from the barn.

Jubilo bestirred himself with energy and caution, that he might

not miss any move in the unfolding drama. With studied sauntering .I^^^V '"^ ^^^^^■r^B^Hf]

step he emerged from the barn, washed himself at the watering trough

and strolled casually into the group of visitors who stood about Hardy,

who, half-dressed, had come out on his porch. Jubilo came up just in

time to hear Hardy reply to a question from the sheriff: ^^^^m-f

"I have seen no one — no one except Jubilo, there,- -he came along
last night." l^fc - ' n^^i^ a

The officers looked at Jubilo and the marshal nodded recognition. ^^K^'

The sheriff caught the nod and he gave Jubilo his critical attention. ^^^ '
from head to foot. He sharply addressed Jubilo in crisp official tone.

"Where'd you come from?"

"The marshal told me to leave Muskoka, and I le^."

"Where did you sleep last night?" ^imimaiiiimmim^^^^^Bmm.. **

Jubilo, by gift of experience, was able to lie with rapid facility.

"Under a haystack just outside of Muskoka."

Photoplay Magazine

Jubilo and Hardy stood together watching the horsemen ride
away. As they disappeared Hardy turned to Jubilo with an
air of severity.

"What do you know of this robbery?"
"What do you?" Jubilo rejoined.

"Nothing, absolutely," replied Hardy with great firmness.
"Well, if you know nothing at a;l, 1 know less," Jubilo
answered, his mind made up that Hardy was taking this way
out of the situation by carefully thought out design.

Hardy and Jubilo stood looking at each other each searching
the others' eyes for the truth, when Rose appeared at the
door calling them to breakfast. The interruption bridged the
moment of doubts.

Days of farm routine followed, with Jubilo performing only
the outward motions of work. Labor was not natural to him.
His first days of zeal cooled rapidly and he did less and less.
The day came when Rose sought to put Jubilo to shame by

going into the cornfield where he
dawdled at his work. She set to the
hoeing with capable efficient hands,
casting an occasional meaning glance
at the fence corner where he idled
smoking.

" Remember, Rose —
he admits lie savv^ one of
those train - robbers.

Meanwhile Hardy, passing through the barnyard with a pail
of water, made a discovery as the thirsty stock followed him
to the gate. He abandoned his errand and hurried into the
field to find Jubilo.

"Did you water the stock this morning?"
Jubilo evaded Hardy's sharp look and answered, "Yes."'
"I have made allowances for you're being a shirker," ob-
served Hardy, his voice smooth and hard like a judge deliver-
ing sentence, "but there are two things I won't stand for on
this ranch — one of them is abusing animals and the other is
lying. I am now going to give you the thrashing that you
need."

As Hardy stepped forward Jubilo lightly stepped aside and
struck the older man. Hardy stumbled under the blow and
Jubilo set himself for an onslaught. It came.

Rose came running up, and then in silence stood her distance,
horrified. She knew her father too well to interfere.

Hardy bored in. Jubilo blocked his blows and uppercut back.
He missed. Hardy's brawny right shot into the opening and
Jubilo went down, sprawling with a cut lip. As he came up
Hardy downed him again, this time to stay.

Hardy walked over to Jubilo to pick him up. Rose bent
over the injured man in an attitude of curious solicitude.
Hardy dragged Jubilo to his feet. He staggered a moment,
then shook himself and got his feet firm under him. He
looked at Hardy and grinned, then looked at Rose and

blushed. Hardy

pointed to the stock.
"Now you can wa-
ter them and get out."
Jubilo moved off
and as he left ear-
shot Rose upbraided
her father.

"You didn't need
to half kill the poor
fellow because he
lied to you," she
cried out. "I am
ashamed of you."

''Never mind.
Rose," the father
answered. "If he's
a bum he'll go. If
he's a man the lick-
ing will do him good
and he'll stay."

Jubilo watered the
stock and washed
his Jiurts at the
well, grinning the
while with the
sportsmanship of
having enjoyed
even a fight he
had lost.

He met Rose in
the lane.

"Give me that
hoe."

The girl stepped
back with a min-
gling of pity and
alarm on h'?r face,
clutching the hoe
she carried.

"Please give me
that hoe. I'm
sorry I lied — but
if you're willing
to keep me I'd
like to stick
around — "

Jubilo paused
and blushed up to
the roots of his
hair.

"And — you're
not going to do
any more man's
work — not on my
account."

Photoplay Magazine

Jubilo finished the day in the cornfield, hard at work.

It was the hour of after supper smokes in the ranch house.
Hardy on the porch in the shadow, pipe in hand, suddenly
startled, leaned forward in an attitude of tense listening. Ju-
bilo seated on the porch steps watched him intently. There
was a look of sympathy in his eyes as he took note of Hardy's
anxiety.

An automobile came rattling up the lane.

Hardy stepped quickly into the house and strapped on his
revolver. As he started out again Rose came forward.

"Do you think it is him, this time?"

Jubilo overheard with a vast perplexity. What could it be?
And was it connected with the train robbery?

Rose called to him.

"Jubilo, come out of the light 1"

"I'm comfortable," he replied carelessly, but not without
inwardly noting and appreciating her interest.

Hardy emerged to the porch as the automobile swung into
the yard. He was nervously
fumbling at his shirt collar,
keeping his hand close to the
bolstered revolver under his
coat.

The two occupants
of the machine tum-
bled out and came
into the light — the
sheriff and a stranger.

"Jim, can we take
a look at that splashed
horse of yours — my
friend here was on
the train."

Before Hardy could
reply Jubilo volun-
teered to go to the
barn to bring down
the horse. As he
moved off he heard
the sheriff address
Hardy again. Only
by the closest listen-
ing could he make
out the undertones of
a cautious conversa-
tion.

"Jim — you ain't
changed your mind
none about not seein'
any of them train
robbers?"

"I have not," Hardy snapped.

Jubilo rode the big bay up to the porch. The stranger with
the sheriff walked over to the horse and laid his hand on the
splashed spot.

"Yep — that's the critter I saw at the train robbery."

Hardy looked bitterly at the sheriff.

"Do you want me to pile in and go to jail with you?"

The sheriff hesitated, started to speak, stuttered and gulped.

"No, Jim," he said at last. "I'm a big man and you'd
crowd the car. Just stick around, Jim, that's all." The sheriff
and his companion drove away.

Within an hour there was the clatter of a fast riding horse-
man in the lane and again a tense anxiety ran through the
Hardy household. Jubilo was alert, now. Hardy's cause was
his cause, no matter the merits of the issue or what it might
be about. But the horseman proved to be a neighbor, who
having gone to town for medicine brought along Hardy's
mail.

"Town's all het up about the train robbery — they got some
of the robbers and they'll soon get the rest of them, I hear."

"Hope so," mumbled Hardy, fingering his mail.

Reading a letter under the light a cloud of displeasure swept
across Hardy's face. Jubilo watched intently.

"I will have to go to St. Louis at once," Hardy said to
Rose, in a low voice. Jubilo sat wondering.

Presently Hardy called to him.

"Got to go to St. Louis — can I trust you to take care of the
place?"

"Yes sir."

"Think you can drive me to town in the flivver?"

Jubilos eyes opened -wide as He saw the dextrously handy
movement by ■which Hardy returned the gun to its holster.

"I'll drive you to St. Louis if you say so," rejoin^sd Jubilo.
When Jubilo and Hardy trundled into the streets of Mus-
koka they were not long in encountering the sheriff.

"I was just looking for you," said Hardy. "I have to leave
town for a few days."

The sheriff started to shake his head, but Hardy ignored the
impending refusal.

"I've got to settle up an estate down there."
"Well, Jim," said the sheriff, perplexed and hesitating, "give
me your word you are coming back."
"You have my word."

"Thanks — drop in on me when you get back, Jim."
When Hardy swung onto his train his face was knit with a
black frown. His last glimpse of Muskoka had seen Jubilo
and the marshal in conversation together on the walk. Just
what that might mean between them Hardy could not fathom.
Together Jubilo and the marshal strolled slowly across
the street chatting idly.

"Have dinner with me," Jubilo
suggested. "It's my turn; you know,
you threatened to entertain me once
not long ago."

"You're on," the marshal
replied, and so together
they turned into Muskoka's
pool-hall-lunch-room.

The place was agog with
the shoutings of a noisy
two-handed pool game, with
most o'f the noise
emanating from a
husky, loud, arro-
gant chap with a
haircut strangely
reminiscent of pri-
son barbering.

Rich with his first
month's pay in his
pocket, and in fact
the first money he
had ever earned in
all his restful life,
Jubilo ordered an
elaborate meal,
elaborate according
to the standards of
Muskoka, and then
turned about on his
stool to survey the
pool game.
The vociferous player was shouting for a bet on a shot.
His opponent seemed reluctant.

"Well, if you must have action, here's a five spot you can't

make it," Jubilo cut in, tossing a five dollar bill on the table.

The noisy man covered the bet, shot and missed.

"Waiter," shouted Jubilo, "cancel that ham-and for me and

the marshal and make it a porterhouse for two, on the pool

shark!"

This sally brought a laugh from the crowd and a flood of
hate into the eyes of the pool player.

Jubilo turned his back on the game and addressed his
guest.

"Who is this conquering hero, anyway, marshal?" he asked,
nodding back at the discomforted pool expert.

"Name's Bert Rooker," the marshal answered casually.
"He's the cheerful idiot that ran through the train at the time
of the robbery tellin' everybody to hide their truck — an' there
was a hold up man in each car watching where they hid it."
The marshal laughed, but Jubilo was looking thoughtfully at
Rooker.

"Helpful of him, wasn't it?" Jubilo suggested at last.
"Never thought of it that way," the marshal answered,
dismissing the idea as impossible. "But he claims he saved
their lives. He's been living off the story ever since."

Jubilo's drive back to the ranch was destined to eventful
developments. Starting from Muskoka late in the afternoon
he found himself on the road after dark with engine trouble
and a flat tire. ' '1

Going to the river brink to immerse his punctured tire in
search of leaks, Jubilo's attention was arrested by a tiny camp-
( Continued on page 115)

The Technique of Lovers

In which a star classifies the

methods of men and specifically

of leading men.

CLARA

KIMBALL

YOUNG

IN these days of efficiency ex-
perts, machinery, standardiza-
tion, and all the other short
cuts constantly being invented
to save time and trouble, it is pleas-
ant to think that there is one cor-
ner of life which is immune from
relentless progress.

The lover of today, I am con-
vinced, is no different in anything
but his clothes, from the lover of a
thousand years ago. He is tender
or thoughtless, patient or abrupt,
merry or Byronic, considerate or
selfish — in short, an artist or a car-
penter. Of course, many a carpen-
ter is an artist too, and takes a
keen joy in the perfect matching of
two pieces of timber.- And many
a self-styled artist is nothing but a
carpenter. But you get the general
idea. In love making, the artist is
he who insists that all moments
shall be beautiful, not he who thinks
only of victory at any cost.

It is natural that there should be
as many kinds of perfect lovers as
there are kinds of men, but it is
extremely difficult to find the per-
fect specimen of each kind, because
men are naturally impatient. A
man who will refuse to accept a suit
until the tailor has perfected every
stitch, who fusses and fumes over

the least squeak in his automobile, who is a connoisseur of
food, will frequently be satisfied with the commonest sort of
mediocrit}' in his lovemaking. This is not surprising, of course,
because he has no means of comparing his methods with those
of other men. That is a privilege — or a trial — permitted, or
visited upon, only women.

Yet men could learn, if they only would. But most of them
are too egotistical, especially in this one matter. A man may
specialize upon any other subject under the sun, and the more

"The lover of today, I am convinced,
is no different in anything but his
clothes, from the lover of a thousand
years ago. ... It is natural that there
should be many kinds of lovers, but it
is extremely difficult to find the perfect
specimen of each kind because men are
naturally impatient. ... A man pains-
taking over other matters, will frequent-
ly be satisfied with the commonest sort
of mediocrity in his lovemaking."

he studies the more he realizes
there is to learn. He will admit
that there is no end to research in
electricity and metallurgy, but from
the day the freckle-faced girl next
door gives him a perfunctory kiss
in exchange for a stick of pepper-
mint candy, he thinks he knows all
there is to know of love and how
to make it. And when the woman
does not respond to his ardor he
declares that she is cold, unsympa-
thetic and bloodless.

This too must be remembered —
that a man who can make love per-
fectly to one sort of woman, will
fail utterly with another. The
Spanish lover would be doomed to
celibacy in Iceland and the Rus-
sian would be pathetic in Iowa.
The word "affinity" has been so
misused and bandied about that one
hesitates even to mention it, but
m my opinion affinity means merely
the perfect matching of technique
and temperam.ent. . The two per-
sonalities fit each other like per-
fectly beveled cog-wheels of an in-
tricate machine and without all the
long processes of gradual adjust-
ment, they begin spinning along at
top speed.

I wonder if men who see moving
pictures note the differences be-
tween the love scenes. Sometimes
these differences are subtle, and es-
cape the casual observer, but no
obser\ation should be casual where
so important a thing is under con-
sideration. These differences have
become especially fascinating to me,
and as I look back over my pic-
tures, it is interesting to studv the
various leading men who have played love scenes with me.
The list itself is somewhat appalling. For example, just re-
called at random without digging into the records, I have been
the object of the screen adoration of these players:

Joseph Kilgour, Conway Tearle, Milton Sills, Edmund Lowe,
David Powell. Nigel Barrie, Earle Williams, Harry Morey,
Maurice Costello, Paul Capellani, Rockcliffe Fellowes, Chester
Barnett, Vernon Steele, Ralph Lewis, William Courtleigh and
goodness knows how manv more.

"Paul Capellani, who
played Artnand to my
Camille. is my real prefer-
ence for a screen lover.
. . . He has the foreign —
Latin — technique, and
men of the latin race are
born lovers. This is un-
doubtedly due to the fact
that they set their women
on a pedestal, as opposed
to the American tend-
ency to niake of their
women companions."

Photoplay Magazine

"Rockclif f e
Fellowes\vas the
rugged wester-
n e r in 'The
Easiest Way."

m ^f

"Nigel Barrie, in 'The Better
Wife was the juvenile and im-
petuous type, the lover who pur-
sues the cave man tactics.

These men are all good lovers in their respective classes,
and it would be well worth while for any man who is con-
templating making love — and is there a man who is not — to
consider their various characteristics, and see which is best
adapted to his own personality, and to the susceptibilities of
her to whom he intends to make love. And what a lot of
unhappiness it would save the women if men would engage
in such a study. Just by way of helping a good cause along,
I will call attention to some of the more obvious character-
istics of some of these lovers — oh, merely as they have been
exemplified in their work with me on the screen. Let it be
distinctly understood that this discussion is absolutely im-
personal.

One of the interesting types of screen lovers is David
Powell, my sarcastic suitor in "The Price She Paid." His
technique in this story is one I would not recommend for
general use, as he made love with "reverse English." He
ploughed his way into my frivolous affections by telling me
I didn't amount to much, and concealing his interest beneath
a highly superior attitude. Of course, this sort of thing rather
piques a certain type of woman, who is conscious of her
charm, and regards treatment like that as a challenge.

Going to the other extreme, there was Nigel Barrie, who
besieged me in "The Marionettes" and "The Better Wife."
Here is the juvenile and impetuous type, the lover who pur-
sues the cave man tactics. "Catch them young and treat
them rough" is the motto of the lovers of this class. It is
said that women love brutes, — though far be it from me to
insinuate that there is anything brutal about Mr. Barrie in
his love scenes — and I suppose this has its foundation in our
instinctive admiration for strength. For countless centuries,
the sole bulwark between woman and a savage and predatory
world, was man's physical strength. Now that we are more
civilized, at least in the social relations of men and women,
there lurks in the subconscious mind of women, perhaps, the
feeling that her man must be a fighter. And when a lover
displays something of the "cave man" she is thrilled. At
least, I believe some women are. I have been so advised.

The idea can be carried too far. Personally I think such a
technique should be judiciously tempered with a little of the
delicacy of feeling that was always characteristic of the ama-
tory art of Maurice Costello. back in the Vitagraph days.
It was a delight to play love scenes with him for that very
reason.

For contrasted techniques in lovemakinc. there is perhaps
no better single array of talent than in "Eyes of Youth" in
•which I had four lovers — Edmund Lowe. Ralph Lewis.
William Courtleigh and Milton Sills, representing respective-
ly youthful sincerity, middle aged selfi.shness. greedy sensu-
ousness, and casual nonchalance. Here in the latter three in-
stances are excellent examples of what not to be. The middle
aged man who makes love by offering bribes should remember
that love is one commodity that cannot be listed in the
market quotations. All he can buy is a spurious imitation.

"For the reason that sincerity must form the solid foundation of
factory screen suitors. That is ^vhy he is always in demand ^vhen a

Photoplay Magazine

"Joseph Kilgour
— suave, man-
about - toTvn , in
'The Easiest
Way/ ••

'*i£aai.'st!>t-.

lovemaking that is successful. Con-way Tearle is one of the most satis-
serious and determined lover is wanted, as in 'The Common Law.

After all, the lovemaking that does not rest upon a solid
foundation of sincerity must fail, no matter what may be
its other characteristics, or how fine its technique, and for
this reason Conway Tearle is one of the most satisfactory of
screen suitors. That is why he is always in demand when a
serious and determined lover is wanted, as in "The Common
Law" and "The Forbidden Woman." In moments of dis-
appointment he can give an impression, perhaps more intense
than any other leading man I ever knew, that the entire
world lias collapsed, and what woman could resist such an
appeal to her sympathies?

Milton Sills, on the other hand, in such stories as "The
Claw" and "The Savage Woman," never permits the im-
pression that he is beaten. There is something of the "I'll
get her yet" expression about his eyes that arouses admira-
tion rather than sympathy. And after all, there is something
compelling about that sort of lover.

So the variety, infinite and fascinating, goes on. There
was Chester Parnett. the pathetic Little Billee to my "Tril-
by," as unhappy a lover as the world has ever known, but
hardly a type of lover because he was a victim of circum-
stances that he could not possibly control. There was Earle
Williams, the dignified gentleman type, and Harry Morey who
takes one back to the primitive. There was Joseph Kilgour,
the suave, manabout-town, and Rockcliffe Fellows, the
rugged westerner, excellent contrasts in "The Easiest Way."
There was Vernon Steele in "Hearts in Exile," a charming
composite of the aristocratic, romantic and esthetic lover.

My own preference? This is purely my personal view-
point, but of all the screen lovers I have had, '. really believe
I prefer Paul Carellan', who played Armand to my "Camille."
Of course, Mr. CapeFani had all the advantages in the world,
for Armand is a wonderful role, and should inspire any man
who has the least germ of talent for lo^-e-aking. But in
addition to that he has the foreign — -einaps I should say the
latin technique. The men of the iatin races are born lovers.
This is undoubtedly because in the Anglo-Saxon countries
women have been more companions of men. The latins set
their women apart, on a pedestal perhaps you might say, and
study them in all their manifestations. There is much to be
said for both viewpoints

The American, for exapiple, does not study woman, and
for that matter American women discourage men from study-
ing them — as women. American women have demanded
equality, and they deserve equality. But in fighting for
that equality they have voluntarily relinquished their former
prerogatives. Women in this country have been so insistent
upon their claim that mentally and psychologically there is
no difference between the sexes, that men have begun to
believe it. Consequently they jump to the conclusion that
women react to the same impulses and emotions as them-
selves, and make love as they would want a woman to make
love to them if the situation were reversed.

ENEMIES of moving pictures fall — or stumble — into two
groups:
I — Those who think they are highbrows.
2 — Some highbrows.

In the first group are those semi-erudite gentlemen who
write snappy pieces for the popular magazines, alternating be-
tween horrifying disclosures and personal plaints. The horri-
fying disclosures are to some such effect as that the movies
are all wrong, because the author saw one in which a man
bent an iron poker with his bare hands, a feat which (the
author assures his open-mouthed readers) is humanly impossible.
The personal plaints are that the moving picture producers do
not summon these observant authors and offer them much
moneys to remedy the screaming evils. Believing in their
childlike blandness that they have discovered something previ-
ously unknown to everyone else, like the youth of sixteen who
has just fallen in love, they grow violent over the trivial, pro-
found over the superficial, ponderous over the imponderable.
Their argument is always centrifugal, beginning with them-
selves as the centre of the universe, and whirling outwards with
a swish of words, until it is lost in mere sound and fury.

In the second group are those really erudite gentlemen who
write solemnly for the academic journals, lamenting that the
moving picture makes no attempt to visualize their favorite
classics, the Iliad, the ^neid, or the Odes of Horace. Many
of these gentlemen have taken their scholarly reputations in
their hands and descended for a day or two into the Avernus
whence come scenario and finished celluloid, but they carefully
conceal their disgrace by writing about the horrid experience
anonymously. Their argument is always centripetal, beginning
with the outskirts of the universe and working inward toward
themselves as the centre thereof, until it is lost in mere whisper-
ings and esthetic musings.

The common characteristic of both classes is the same curious
inability to recognize a fact as big as a house. They see
individual bricks, object to their color, size and shape, but
fail to perceive that the whole is a solid edifice. So recently
has it been erected, the scaffolding is not yet entirely removed,
the debris of the builders still litters the dooryard, paint and
patches of cement are needed here and there. Yet these critics
point to the ancient House of Literature and the elderly House
of Painting across the way as models of what the House of
Moving Pictures should be already.

This is not to be a demurrer that the moving picture is still
in its infancy, a plea made too long and too often. The virility
of the art itself refutes that statement. The main
fact to be pointed out to these enemies of the
moving picture is that the house was not built
for them in the first place, and nobody invited
them to the housewarming. They are like the
bad boys who were not asked to the party, peek-
ing in at the windows, declaring it
isn't much of a party anyhow, and
stealing the ice cream freezer off the
back porch.

Dealing first with the attacks of
these semi-erudite, let it be admitted
that in moving pictures there are to be
found numerous inconsistencies of
plot apd perhaps many of
character. Is this confined to
moving pictures? Is no other
art guilty of such lapses? How
many novels have you read in
which you cannot put your
finger upon a certain point in
the story and declare that it
was utterly inconsistent? Not
only in the movies are pokers
bent in a manner humanly im-
possible. The popular maga-
zines of today owe their mil-
lions of circulation to their
superhuman heroes, who with
dynamic brains and herculean
bodies nimbly outwit omnis-
cience, surmount the insur-
mountable, and get the girl in
the last chapter.

But these writing boys are
smart, and quick to employ the

Enemies of

natural advantages their craft offers them, advantages denied
the producer of pictures. Take for example our friend the
bent poker. Let us suppose the feat to be impossible. By
hocus pocus and the use of a rubber poker, let us say, the
director of the picture shows the thing accomplished, and those
who know snicker. But note how the deft author can cover
it up with a flux of words, making capital out of the very im-
possibihty:

"He gripped the poker in his two great strong hands. His
whole body became tense. The muscles of his wrists and fore-
arms stood out like whipcords and the veins showed blue and
vivid against the tan. Beads of perspiration came out on his
forehead. Annie watched, half horrified, half fascinated, un-
able to repress her admiration even in that moment of terror.
The thing she knew could not happen transpired before her
eyes. She had read in a magazine that no man could bend an
iron poker in his bare hands, and yet there it was. In Hugo's
giant grip the poker was lending. And so on and so on."

You've all encountered it. Though I'm very far
from clever I could write like that forever.
But you can't do that in pictures. The
statement is brief and final. The thing
goes on before your eyes, and the
more exciting, the more im-
possible it is to halt for
titles explaining the seem-
ing inconsistency. But
even after a novel is
written, accepted by
a publisher, and in
type — yes. even

the Screen

An answ^er to the erudite

and psuedo-erudite who throw bricks

at the motion picture.

RANDOLPH

BARTLETT

between editions — the author can correct and revise, add to
and take away from his work. When the picture is finished, it
is finished for good or ill. The director assembling his scenes
may discover that a certain incident added to the '.story, would
make consistent that which appears inconsistent. It is too late.
His players are gone, his sets torn down and rebuilt into other
sets, — what is writ is writ.

These things are regrettable. Sometimes they are annoying.
But they are nothing more nor less than the typographical
errors of the business. A Southern editor wanted to compliment
a certain Kentucky Colonel, and wrote of him as a "battle-
scarred veteran." The typesetter made it read "battle-scared
veteran." The Colonel called, armed and ferocious and the
editor promised to make amends. This is how it looked when
it found its way into type: "We referred to Colonel Bang as
a 'battle-scared veteran.' Of course, all who know the Colonel
will understand we could only have meant 'bottle-scarred' vet-
eran." The editor now sleeps with his toes to the daisies. There

are seventeen million ways that
similar errors can creep into
moving pictures, and the wonder
is not that there are so many,
but that there are so few. They
are decreasing constantly, and to
find such an array as one en-
counters from time to time in
articles in the cheaper maga-
zines, it is necessary to have a
remarkable memory, or patron-
ize only the lowest grade of
pictures.

So much for these profound
superficialities, errors in con-
struction, flat tones — these bent
pokers of the movies.

Come we now to the graver,
more solemn condemnation —
that the material used in the
moving picture scenarios does
not represent the world's best
literature. You will not find
this attack upon moving picture
matter in the same publications
that delight in ridiculing their
manner. For such a magazine
to engage in criticism along these
lines would be only to draw at-
tention to the fact that its own
gruel is very thinly diluted. It
is in the higher altitudes of
journalism we must search for
the criticisms of the material
used in the making of pictures.
Here we meet a class of critics
who, if quite as blind as the
others, are much more cultured
and altruistic. They complain
that the moving picture, which
would be a wonderful means of
placing before the pubhc in new
form the great classics of literature, interests itself in stories
which, to them, are nothing other than crude and vulgar.
And the answer is simply this:

If all the school teachers, libraries, magazines, and other educative media, in
all the centuries, have failed to create a great public demand for the classics,
why condemn the moving picture, the chief function of which is to entertain,
for a similar failure?

From Maine to Mexico the cry has gone forth in recent years, "Why should
our children's heads be crammed with classics in the schools? Teach them to
saw, hammer, add, subtract, build, sew, cook. To Gehenna with culture; be
practical!" Day by day and year by year, culture is being forced to the wall
in this country and becoming more and more a subject for individual research
only. This is proved by the debased condition of the drama, the prevalence of
mechanical musical instruments, the jazz band, the contents of the average daily
paper of large circulation, and countless other manifestations. America is at the
zenith of commercial success. Out of that success will come eventually a new
culture, but the time is not 3'et. Other things have first to be bom, and the
labor pangs are even now becoming evident in the body politic. Meanwhile,
because of this commercial success, thsre is a growing demand for entertain-
ment on the part of that vast majority which is now only beginning to discover

(Continued on page 120)

Who Has

Kangaroo?

It's been four years

since Enid Bennett has tasted

Antipodean beefsteak.

By
GENE COPELAND

'OU should see the letters I get
from there!" said Enid Bennett.

We were talking about Aus-
tralia.

She had suggested tea, thoughtfully and
enticingly with the added information that
in her native Austraha it is the custom
with a guest to knock at his door before
breakfast and offer him tea. Thus the
day is started and about six or seven times
during its course you are asked to imbibe.
The tea-drinking custom, and that of
eating kangaroo beefsteak, are her child-
hood memories of her own land. She still
likes tea but she says kangaroo is so hard
to find in America that she hasn't had any
since arriving about four years ago.

Enid Bennett and Fred Niblo, lier husband.

She has retained much in her manner
that tells of her birth in Australia.

In Australia she began her stage career against
great odds. Her father was a pioneer founder
of schools and the family lived in about the
smallest town in Western Australia. It was ac-
cessible only by stagecoach. But one day a
show came to town, stimulated Enid's dramatic
ambitions, and she left home determined to be-
come a success. She played all kinds of parts
until she was cast as Modesty in "Every-
woman."

"When I wanted to come to America," she
said, ''Mr. Niblo, who had been starring in the
plays in which I had ingenue roles, gave me a
letter of introduction to Mr. Frohman and I
came alone. There were some uncertain and
discouraging days as is inevitable in anything.
But I finally was engaged for 'Cock o' the Walk'
with Otis Skinner. Thomas Ince asked me to
have a test taken before the camera. I came
to the coast to make a couple of pictures, and
here I am. I think I stayed because I could
have a home of my own and could send for my
mother and sisters who make their home with
me now."

"How about the husband?"

"Oh," she laughed. 'T didn't have a husband .
until eighteen months ago. When Mr. Niblo
came out from New York to direct pictures
we met again for the first time since I had left
Australia." Now the Niblos are an Ince
director-and-star combination.

erstitions

In the
Movies

Picture people don't mind admit"
ting they're superstitious — so long
as you call it by another name.

By HENRY E. DOUGHERTY

Illustrations by Qale

CR-R-ASH! Boom! Boom!
Like the crack of doom a prop unloosened itself and
smashed into a jar of goldfish — and the big set was
aquiver with excitement.
Famous motion picture artists, obscure extra girls, musicians,
carpenters, directors, the black cat mascot — everything and
everybody about the premises seemed to flutter and buzz al-
ternately with questions and answers and explanations.
Then along came a flaxen-

Douglas Fairbanks has no
love for a rabbit that hops
along in front of his auto
and crosses the high-way at
his left.

haired girl — a young lady
whose name has never ap-
peared in type in letters larger
than the well known agate va-
riety— and announced right out
boldly that she walked beneath
a ladder as she came across
the lot. The mystery of the
falling prop was dispelled im-
mediately.

All the old-timers called a
round table conference. About
all the superstitions of the mo-
vies were sifted through the
sieve of various experiences.
Whether a production should
be started on Friday, or wheth-
er one should whistle while
standing in a dressing room, or
whether one should leave a
house or room or set by the
same door that gave entrance
thereto — these, and many oth-
er mooted questions received
careful attention.

Having been present at this
highly diverting discussion —
and having seen the jar of
goldfish almost completely ob-
literated— we received a sudden
inspiration.

What are the superstitions
of our favorite stars?

Are they a,fraid of black
cats, do they run from their
own shadows — or have they su-
perstitions at all?

Cecil B. deMille, creator of
many artistic picture plays and
chief directing genius on the
Lasky lot, looked up quickly,
adjusted his cigar, pushed a
huge pencil over his right ear

and looked at me intently when I asked him if he is super-
stitious.

"I am not superstitious," he declared. "But—" And then
he told us an interesting story.

"See this silver dollar?" He exhibited a coin that he had
just pulled out of his pocket.

"No, that may not be the one," he added, examining
piece of silver critically. "There are two. Here they are^
I carry them with me every dav — I am always careful about
that.

"Seventeen years ago a friend gave me a silver dollar. 'It
will bring you luck,' he told me. I carried it continually, but

the

somehow or another it became mixed with another dollar.
You see they are exactly alike — both made in the year igoo in
New Orleans and both worn so that you cannot detect the
difference. Naturally, I have to carry both of them now.

"The two dollars were linked with a black opal. Just before
I came to Southern California to do picture work here I experi-
enced three terrific failures on Broadway. All three were
plays by great authors and I was positive they would be suc-
cesses, but all three failed.

"When I came west to take
up the new venture, I put that
black opal away. I have never
worn it since. I thought I
would also put the dollar away,
but remembering the words of
my friend. I kept it. I feel
that I have been fortunate
ever since.

"But I want you to under-
stand that I am not supersti-
tious."

The opal and the two silver
dollars may have had nothing
to do with it, but success has
ever crowned the efforts of
Mr. deMille since he entered
the motion picture game.

Mary Pickford was a gra-
cious, courteous young lady
when we broached the subject
to her. She was slightly curi-
ous, however. She does not
exactly know whether she is
superstitious, but she will not
do anything that any member
of her company will not do, if
superstition is the reason.

On this very day Miss Pick-
ford was rehearsing with a
feather duster in her hand. She
was waving the relic with true
Pickford enthusiasm — and
somebody — I think it was Paul
Powell, her director, said:

"Don't wave the umbrella
like that. Shake it!"

So we learned it was an "um-
brella" and not a feather
duster.

Well, we made inquiry. This

is how Miss Pickford replied:

"Some people think it is bad

luck to use an umbrella while rehearsing. That's why I am

using this feather duster instead."

Now Miss Pickford absolutely refuses to leave her home by
the side door if she has previously entered by the front door.
She declares it is not superstition on her part, but somebody
in her company might hear of the matter, and that would queer
production for the day or the week.

She will not allow anyone to whistle iji her dressing room.
If this calamity does swoop down upon her, the person nearest
the door must go outside, turn aroujid three times and then
re-enter the room. It- is an absolute- law.- -•;- „
To whistle in the dressing room means that the star in ques-
ts

Photoplay Magazine

Charles Chaplin says he has
a horror of the smell of a
cigarette or gasoline in the
forenoon.

tion is soon to leave the company.
Just before Miss Pickford left the
Famous Players-Lasky organization
to make a series of pictures for First
National someone whistled while in
her dressing room, she declares.

This was all very interesting. We
found that Miss Pickford's sense of
humor is marvelous, and while she
does not believe in every fad and
foible, superstition and suspicion
about the studios, she respects those
who do because of the psychology of
the thing. She does not wish to bring
chaos or confusion into her organiza-
tion. Therefore, she does not take
issue with those who do believe.

And then it came to pass that we
called upon Charlie Chaplin. Did
the famous comedian believe in
ghosts? Was there something in this
world, seen or unseen, that he feared?
Well, we would see.

"I do not believe in superstition,"
was his rejoinder, also. "But I have
no use for that bird they call 'jinx.' "

He grinned amiably through his
white teeth and adjusted a trick cap
he was wearing. It was a trick cap
because he had been out horseback
riding. Chaplin has a favorite horse
and when he is not motoring or mak
ing comedies he goes for a canter.

"I have a horror of the smell of a
cigarette or gasoline in the fore-
noon," he said. "Whether that is a superstition or an aversion, matters
little. ~

"I will not attempt to explain it. But if I start to the studio and get
a whiff of cigarette smoke, or the pungent odor escaping from my motor
or someone else's motor rises up and invades my nostrils, I turn right
around and beat it. It reminds me too much of the night before, so to
speak. Anyhow, it's my 'jinx.'

"You see, if someone should puff cigarette smoke in my face about
Q o'clock in the morning I am liable to fall in the ocean before sundown.
If I get gasoline on my hands or my clothes before high noon comes along,
then I do not make comedies in the afternoon. The episode might spoil
my entire picture. Not that it would be saturated with gasoline — but
the comedy would be worse that that — it would be tragedy.

"Oh, no, I am not superstitious— but I am careful!"

Alia Nazimova will not wear jewelry and she will not touch a violin.
All because of a dream that later became a superstition.

"It was during my early youth," she said. "My father insisted on my
studying the violin. One night I dreamed a weird dream. A violin
figured in it. Every time I would reach for the musical instrument a
hand would come out of the shadows and snatch it away. When I awoke
I had the conviction that if I ever played the violin again — or even^
touched one with my hands — something terrible would happen to me.
abandoned a nlusical career and went on the stage. Now I am having the
time of my life playing in pictures."

When I called on Douglas Fairbanks he was making a quick circle just
outside his dressing room, having adopted a weird step that reminded one
of a young Indian about to hit the warpath. , : )•

"I have just been whistling," he said. "I whistled in there. That's

my dressing room. You see this path — see this circle — see those foot-
steps. There's where I leave much expensive shoe leather every day.
I just can't keep from whistling and when I forget myself and start a
joyfest in there" — (again pointing to the room) — "then I come out here
and execute a few circles — say about three or thereabouts."

So we got a firsthand glimpse of the athletic comedian in one of his
superstitious moods. Speaking further Mr. Fairbanks iaid:

"I have no love for a rabbit that hops up along the roadside and crosses
the highway to my left. I immediately turn around and either call off
the trip for the day or take another road. The rabbit may know what it
is doing, but I would rather see it turn to the right."

Houdini — magician, handcuff king and man of mystery — admits that
_he is the most superstitious man in motion pictures — and out. Everything,
to him, is a sign of good luck or bad luck.

"I would not think of carrying a lock of
hair," he said. "To me that is the surest
sign of the hardest of hard luck. Once I
bought a collection. In it was a letter writ-
ten by the Duke of Wellington to an artist
who had painted his portrait. In the letter
was a lock of the Duke's hair. All the time
I had it hard luck pursued me.

"Finally I tossed the thing into the fire.
The very next day bad luck and Houdini
parted company.

'T once had a lock of Edwin Booth's hair

that I bought in another collection. Hard

luck seemed to creep upon me again. I gave

that away — and once more hard luck left me.

"The numeral '13' does not

J. \Varren Kerrigan has a horror for the numeral 7.
It al^vays brings him bad luck, he says.

bring bad luck. It is merely
the sign that bad luck is com-
ing.

"Now I'll tell you my good
luck sign. If I forget some-
thing when I leave home in
the morning and have to go
back for it, I am sure to
have wonderful success during
the day. I try to forget some-
thing every morning. I must
admit that this is reversing
an old superstition — but
that's the way it plays with
me — and I am thoroughly in
favor of the new version of
the adage."

And then there is Tommy
Meighan's peculiar supersti-
tion. He, strangely enough,
has a powerful aversion to ac-
cepting checks in a poker
game.

His pal, Major "Bob"
Warwick, has a peculiar dread of walking in front of
speeding autos.

It is a combination of superstition and dread that
worries Mary Miles Minter, one of our most youth-
ful stars. She will turn her face when she sees a
hunchback coming.

"It's an ill omen to me," she said. "I once lost
a pocketbook after looking at a
hunchback. On another occasion I
fell in a lake and almost drowned,

"Oh, no, I was not frightened at
the men. But I had an instinctive

Nazimova will not
wear jewelry or
touch a violin. A
spooky dream scared
her off the instru-
ment, she declares.

Photoplay Magazine

I'M the bird
That beaks the flaw in the scene.
I'm the house'detective
In the Caravansery of Art.
The old farm-collie

Planted close over his favorite woodchuck hole
Has nothing on me.
The chicken-inspector up on the Avenue

The Discrepancy Hound

By JOHN ARBUTHNOTT

And the cop on the dead-line forninst Broadway and

Are pikers when I'm on the job. Pine

For I put on my Pinkerton scowl

And sit there watching the screen,

Panting and ready to pounce

On the point, the fatal and facile point,

Where the Director-Guy slips up.

Waiting to give the derisive Minnehaha

When Eloise comes out of the alligator-tank

In perfectly dry pan-velvet ;

And Elvira, begging for bread on the Bowery,

Sports a Tiffany watch on her wrist ;

And the Duke, in going over the cliff.

Starts in tweeds.

But hits the Big Drink

In full evening dress

1 miss the glory and glamor and grip

Of the story, of course,

For a man digging cooties from under his vest

Isn't altogether enjoying the moonlight.

And the cat intent on getting the fish-bones

Out of the garbage-can

Can't study the stars.

But I'm an observant and omniscient gink,

And I guess I'm getting my fun, after all,

In showing the world

What a wise, wise guy

I really am !

feeling that they were responsible for it all.
have refused to take further chances.

"I am always afraid of the rain. Of course the coming of
a shower will break up picture-making while on location, and
there may be a tangible reason why I dislike rain. But I
have a deeper feeling than that — a sort of dread, I might say.
Sunshine means happiness in the life of birds, for rain drives
them indoors — and consequently into prison. Sunshine also
means happiness in the lives of human beings — and when it
rains they also seek shelter.

"Therefore, when storm clouds appear on the horizon while
my company is at work on location., I entertain an instinctive
sense of impending evil, and always insist that we get to shel-
ter before the rain falls upon us. I always fear that some-
thing may happen to some member of my company before the
picture is finished if we remain and it rains upon us."

William S. Hart was oiling an antiquated pistol and his
hands were covered with rust and grease when I approached
him on the subject of superstition. He had purchased the
thing at a curio shop in Los Angeles and was priming it for real
action should that be necessary in a certain scene in the pic-
ture which he was filming at that time.

"I don't know that I have a superstition, but I have an
affection for dumb animals that almost amounts to supersti-
tion," he said quietly, placing the pistol on the bench beside
him and crossing his right leg over his left knee.

"Since childhood I have always been fond of horses. It gives
me great pain to see a horse suffer unnecessarily.

"When I am a witness to a tragedy of this kind I never feel
like continuing my day's work. I seem to brood. It's a sort
of ill omen. I usually rid myself of the feeling by calling it
a day — and then going for a dip in the ocean or a trip to the
mountains."

We next encountered J. Warren Kerrigan. He had just re-
turned from Coronado Beach where he had iigured in a motor-
boat accident.

Since then I We had heard about his horror for the numeral "7" and we

wished to learn about it firsthand.

"I think I was the seventh person to enter that motorboat
that day," he said. "I have called off more than one trip be-
cause they insisted on putting me in Lower 7, or Upper 7, or
because the numeral '7' appeared on my car.

"Somewhere during the week there is an unlucky day. I
always have a hunch that it is the seventh day. If I start my
week on Monday, then the following Sunday would undoubtedly
be the seventh day. But if I start my week on Wednesday,
or Saturday — well, it is a matter of mathematics, as there are
seven days in the week."

Now there is Frank Keenan, dean of actors and one of our
best known film celebrities, who does not want anyone to hang
a hat on his doorknob.

Mr. Keenan insists that the hatrack is for that purpose in
the first place, and that the doorknob is made for the stipu-
lated purpose of opening and closing doors. Anyhow, to hang
a hat thereon is to invite bad luck into the family, whether
it is the family that gathers around the well known fireside,
or whether it is the movie family.

So if you ever enter Mr. Keenan's office always remember
that his doorknob has not yet consented to become a hatrack.

And in conclusion let us give this bit of advice :

Do not walk beneath a ladder.

Do not whistle while in a dressing room.

If you enter a room or set by one door be sure to leave the
set or room by the same door.

Do not sit on your trunk until it is unpacked.

Do not hang your hat on the doorknob.

Do not carry locks of hair around in your best watch.

Do not insist that the star's next picture begin on the Thir-
teenth.

Weigh carefully the value of cigarette smoke or the odor
of crasoline before proceeding with the dav's work.

That's all.

^*>

Photoplay's

Beauty and Brains

Girl— Now!

Comedy claims Lucille Zintheo,
the prize contest winner.

IN September, 1915, Photoplay Magazine in-
augurated a unique contest — wliich lias, by the
way, been widely emulated since then. It was
"The Beauty and Brains Contest," and the pur-
pose was to select from the United Slates ten women,
and irom the Dominion of Canada one, who
could combine the maximum of beauty and brains
for the making of motion picture actresses and
eventual stars. Such judges as Lillian Russell and
William A. Brady were chosen to pass on the merits
of the contestants.

Up to February, 1916, the letters and the photo-
graphs came pouring in. Eleven beautiful girls were
linally selected, their expenses paid to New York, and
their talents tried before the camera. Most of them
photographed well; one jumped right into a leading
part in a picture; another joined a Broadway musical
comedy. Still others decided that an actress' career
was not for them, after all. But among the pretty
and plucky ones was a vivacious brunette from Spo-
kane, Washington. Lucille Zintheo was her name,
and she registered with a bang. She went to Cali-
fornia, because it seemed to her that film success lay
that way; and she played small parts for a while.
Then comedy claimed her. Now she is the principal
embellishment of the Larry Semon farces for Vita-
graph. Below, she is seen leading a chicken-chorus
in "The Head Waiter" — Larry Semon at, or on, the
piano.

Five Years

Ago

Five years ago is only yesterday
in almost any line of inventive,
scientific or artistic endeavor that
you may name. Yet five years ago in the film
business — that date is almost prehistoric! Only
aviation has kept pace with the giant strides of
the Living Shadow across the Whitewashed
Wall.

Before us is a record of film events, just five
years ago.

Famous Players was celebrating its first anni-
versary.

The first national advertising of motion pic-
tures had just been made, and was regarded,
generally, as a profligate adventure.

Adolph Zukor astounded the trade by show-
ing them that his concern had made no less
than thirty features in twelve months.

A serious discussion was under way as to
whether five reels would not prove an un-
wieldly, expensive and impractical length for
most photoplays.

Film contracts with a number of rather minor
stage stars were announced — general opinion:
a triumph for the movie men, a sacrifice ot
prestige and dignity for money, on the part of
the footlight folks.

A man named Griffith, in California, was
obscurely engaged upon a picturization of a
Thomas Dixon novel, "The Clansman."

An outlaw concern, known as Keystone, was
whaling away at brief comedies of which no
one knew anything in particular except that the
little films were good for a lot of laughs.

So much for five years. Also before us is a
standard magazine of exactly ten years ago.
One of its principal articles deals, in good
humored tolerance, with one of New York's
curiosities, a "Kineto theatre" down somewhere
among the lower orders, where poor and not
too discriminating people found actual enter-
tainment in fifteen-minute versions of classical
plays "which come in a tin box," and for which
"really good actors" are "said to have posed
incognito during the early morning hours in
Central Park." These pioneer pictures, when
shown, were "accompanied by tragic lectures."
Nowadays, we should doubtless consider the
pictures far more tragic than the verbal offering.
"Whatever the entertainment," concludes the
essay of this intruder upon the pitiful amuse-
ments of the poor, "no greater price than five
cents is ever charged."

NigKts With

George, who is five years old,
. ^r . lives with his parents in

A Vampire. Richmond, Va. The afore-

said parents are ardent picture devotees; George,
so far, doen't see much in the travelling views.
He had much rather remain at home, playing

with his blocks or sleeping the sleep of the very
juvenile. But competent nurses seem not to
be had, so the boy is dragged to the photoplay
many a time and oft, always against his will.

The other day a visitor, as ardent a fan as
his mother, asked him as to his favorite star.

"I like Theda Bara best," responded George.

"Why?" His interrogator was somewhat
astonished at this very early preference for"
purple problems.

"Because papa and mamma don't like her,
and we stay home them nights!"

"The Great After the success of

Broadway Success" fejf P^ "^^^"^ ^^"^
■^ bast, was assured,

Anthony Kelly observed one day in a facetious
mood, that henceforth he proposed to write all
his scenarios in the form of a play, and label the
cover of the manuscript, "Produced successfully
at the Steenth Street Theatre, New York." He
said this line on any 'script would sell it im-
mediately. At that time this was regarded
merely as a bit of Irish wit.

Now, however, it is reported, plays are act-
ually being produced with little hope of success
on the stage, merely to create an artificial value
in the scenario market. The immortal story of
Cinderella, produced in one form and another
perhaps a score of times in a year, will be re-
jected, no matter how clever the variation, if
submitted to a producer as an "original." But
let it get itself into the electrics on Times
Square and the film companies will be bid-
ding into the fifty thousands for it. A play
that has had a run of a quarter of a century like
"In Old Kentucky" is worth this fancy price, of
course, because it is so widely advertised, but
when a show opens Monday night and goes
to the warehouse the following Saturday, it is
difficult to see how its record makes it impor-
tant picture material. And the label "The
Great Broadway Success" is being so over-
worked that it fools nobody any more.

There are two reasons for this condition.
First, too much scenario buying is done outside
of the scenario departments. Producers pay
men of talent large salaries to handle the scen-
ario work, and then won't let them do it. It
is hard to sell a literary goldbrick to a man in
the writing business, and most of the fake play
successes are wished on the scenario editors by
those higher up. Which leads to the second
reason — producers are success worshippers. It is
a form of Manhattan myopia, the least indicat-
tion of success dazzling the patient and befud-
dling his vision. He believes that one swallow
makes a summer and that a Longacre premiere
makes a success. It stands, to him, as a mark

Photoplay Magazine

of contact with the public and a measure of
public approval. Until scenario chiefs are given
free rein and producers learn what a small part
of United States the city by the Hudson really
is, this condition will be more and more aggra-
vated instead of relieved.

A Good A certain producer is a great be-
1 . • liever in advertising, and when he

l^ocation ^jgj,j(jgs f}^3(. a player has star talent

the sky is the limit. He was impressing this upon
a certain film luminary with whom he had just
signed a long starring contract. "You're all
right as far as your work is concerned," said the
producer, "but you must remember that it is
going to take a lot of exploitation to make you
a big drawing card. I expect to spend three
times as much in advertising you as I pay you
in salary. You're only an empty lot — I'm going
to put up a Woolworth Building on you." The
new star considered a moment. "At least," he
finally ventured, "you must admit that I am a
good location."

Autocracy One would think Canada had

p J paid a sufficient price to help

in L^anaaa ^j^^ ^^^ ^^^^ ^£ autocracy, that

it would hate the thing in every form. Not so.
The Province of Ontario has decided in favor
of an autocratic censorship, and has abolished
its board of appeal. The censors now have ab-
solute power. The worst criminal unhung has
the right to appeal from a verdict of guilty, but
a picture which offends in any way the little
group of self-righteous souls appointed to judge
its merits, is executed summarily. The one
thing which made Canadian censorship endura-
ble, if any censorship can be said to be endura-
ble, has been destroyed. This in a country
which vaunts its "British sense of justice!"

And the excuse! Oh, exquisite gem of an
excuse! It is that the board of appeal has been
neglecting its duty, and overruling the board of
censors. Here indeed is lese majeste! Yet,
strange as it may seem, Canada does not wipe
out its supreme court when it overrules the
judgment of a lower bench. Why not? While
we are about it, let's stand the pyramid upon
its apex, make the part greater than the whole,
turn bolshivik and run amuck.

A few such grim jests will do the trick. Give
a lunatic enough rope and he will hang himself.

•^

The Church and The church is still ex-
irh(- TVi«-5ii-r«- periencing considerable

ine ineatre difficulty in adjusting it-

self to the moving picture. Speaking broadly,
the church has entered its third stage of transi-
tion in its attitude toward the films. First it
regarded the screen as a toy, then as a menace,
but now as an opportunity. A few organiza-

tions have not yet emerged from the second
stage, as, for example, when the entire body of
ministers of the city of Mount Vernon, N. Y.,
waited upon the city council and demanded the
repeal of an ordinance they had just passed,
permitting the Cunday showing of pictures,
although the voters had definitely decided in
favor of Sunday opening in a recent election.

"The Coast" When people go west to make
photoplay:, what is their
destination? California? Los Angeles? The
Pacific Coast?

No. It is simply "The Coast."

in the days of Augustus Caesar the inhabi-
tar ts of the world meant only one place when
the/ said "the city." They meant Rome.
"City" had acquired a grand simplicity that it
had not held before and has not held since.

The fact that the Atlantic has a fairly well-
known coast'; that there was once a rather re-
nowned coast of France and that there is said
to be a coast of South America — and perhaps
one or two coasts in the Orient— means nothing
in picture language.

"The Coast" means only and always that
part of the California slope beginning at Santa
Barbara and ending at San Diego. It is the one,
only and eternal. There is no other, and if
they at some future time begin to make pictures
largely upon the sea side of the Carolinas they
will have to get a new name, for "Coast" has
been permanently attached to and incorporated
by the orange belt.

Pictorially there is that coast, and, in the
language accredited by all mimics to Ethel
Barrymore, there isn't any more.

A Splendid The Metropolitan Museum ot

roiiri-*»ci7 ^^^ '^ trying its best to do away
courtesy ^^^^ ^^^ ..^^^ ^^ j^^^ ^^ j^,„

page in PHOTOPLAY, at least so far as matters
pertaining to historical accuracy are concerned.
There is no excuse for any producer within
motoring distance of the splendid institution on
Fifth Avenue using a Rennaisance chair in a
Medieval setting, or an Egyptian tomb in a
Persian story. In a recent letter, Richard F.
Bach, associate in industrial arts at the museum,
says "There is so much here at the Museum
that ought to be useful to the motion picture
interests, that it is really too bad that they do
not flock to the galleries to make use of the
vast resources offered." Some producers have
used the Museum to secure accuracy in detail —
Fox for "Cleopatra," ; Artcraft for "The Ava-
lanche," and others.

It is a splendid courtesy that this institution
offers to the films — the home of all the ancient
and honorable arts and crafts throwing wide its
doors to its youngest child. It is time the child
stopped playing in the dust, and entered the
"lordlier mansion."

T>Tawn by Norman cAnthony

Photoplays We Don't Care To See

Mary Miles Minter as Lady MacBeth

Charlie Chaplin in Hamlet

Taking Advanta

a Villain

Charles Gerrard is inter-
viewed for the first time

A WELL known and good looking actor with but one
letter from an. admirer in his life! And that from a
Japanese !

Surely there must be some mistake in this report.
And yet that might be his very reason for having ducked
demon interviewers all his hfe. No one knew why he was so
preciously elusive unless some scrupulously secret ethical
principle of his calling — an actor villain — compelled him to
forego such an indulgence. With Mr. Frohman who was his
first manager in America he may have believed that
much mystery and glamour is added to an actor's personality
if he is known only behind the "foots." Reticence may be a
virtue; it is certainly rare enough in these days of illustrated
magazines. At any rate the
fact remained that no one had
ever cornered him and gotten
him to talk of himself. He
either found legitimate excuses
to break appointments or just
boldly failed to appear.

So when Photoplay maga-
zine detailed me to obtain an
interview I didn't hail the pros-
pect so gaily myself. I had
my own ideas about villains
even though I had never be-
fore encountered one. Some-
how I had always had a pre-
dilection for the heroes of the
moving pictures. Rather
strange that I should have
preferred heroes to villains
I suppose. But it's just
one of those things not to be
explained by our mortal minds.
I'll admit though that it's
simply grand to be able to an-
nounce at the Friday Night
Church Socials all the cele-
brated leading men and hand-
some stars I am to lunch with
during the week. All the other
girls envy me and it makes me
so popular.

But it was with many

By
GENE COPELAND

qualms and much diffidence tfiat I planned to meet Mr. Gerrard,
Mr. Gerrard being the villain in this case. I trembled and per-
spired over the prospect. "What if he 'ducked' me as he had
other interviewers" was the terrible thought that kept recurring
to my mind. And what would I tell the girls to whom I had al-
ready announced my intention of seeing him? Of course the
interview for the magazine was most incidental. But — to be
humiliated — to have to tell the girl,s I didn't get to see him —
how could I ever do that?

Mustering my youthful confidence I decided to be the fox
in the quest for the wise owl and I called Mr. Gerrard on the
phone several times and asked if I might call at the studio to
see him that day. He always said, "Yes indeed, but why do
you want to see me?"

I replied simply "On a very personal matter." (That might
mean a real estate agent, a pawn broker or a bill collector in
Hollywood). I did this several times without carrying out the
suggestion that day. You know that was really a very clever
idea of mine: to make an indefinite appointment and never
keep it. I wonder if anyone ever thought of it before.

Leaving all thoughts behind however — when I casually
sauntered in on the set where Mr. Gerrard was working with
Dorothy Gish one day and he was introduced to me, we sat
down in a couple of chairs (it is customary around the studios
for men and women to take separate chairs) back of the camera
and started to chat.

He was in a dress suit and wore it so well that you wondered
if he would look as well in anything else. It was impossible
to see him digging in a garden. He looked indeed like a real
Drury Lane villain for his eyes had a way of appraising you
with each glance.

"Do you prefer California to New York?" I asked by way
of opening conversation.

"Oh yes indeed," said he, not lifting his eyes from the pig-

At the top of
above — as he

the page— Mr. Gerrard in "The Hun Within." Directly
appeared with Norma Talmadge in "The New Moon.

Photoplay Magazine

skin covered book in his lap and speaking with a decided
English accent.

I must have been very captivating.

First he made me feel uncomfortable by piercing glances,
then he ignored me totally. Thinking I knew something of
literature I essayed to discuss modern Irish writers.

Then it was I discovered he was Irish and a real student as
well. For even though I knew of Synge, Lady Gregory,
William Butler Yeates and Lord Dunsany he was able to roll
off glibly a dozen names that I had never heard of.

I was somewhat nonplussed and sat quietly gazing at the
grinding camera. Suddenly he looked at me and said really
seriously though I am not so sure he was trying to be face-
tious— "I say, Miss, have you ever worked in pictures?"

And without waiting for me to reply he got up and called
the director, Mr. Clifton, and cameraman, Mr. Hill, over and
most graciously introduced them to me. That put me in a
nice comfortable situation. I wanted to talk to them yet I
must not forget my mission in being there.

Mr. Gerrard said to me real, encouraging "Perhaps they'll
have time to interview you in a few minutes."

"Ha, ha" laughed Mr. Hill and Clifton, "she's here to inter-
view you!"

The villain looked dumfounded and said pathetically, "What
have I ever done to be interviewed?"

"The inevitable accounting for having been a villain all your
life" I ventured. "A man who has played in pictures with such
titles as 'The Conspiracy'. 'The Country God Forgot' and 'The
Hun Within' sounds as if he needed spiritual rejuvenation," I
said jestingly.

"Ah, but you didn't know that I played 'In a Full House'
as my first picture part," he replied snappily.

And then I was sure he was Irish.

"Does it pay to be a villain, Mr. Gerrard?" I asked with
philosophic intonation.

"I understand it pays more to be a hero, remuneratively
speaking" he laughed. "But because I look the part I've always
been cast for crook-gentleman crook parts. I am an actor be-
cause I love it. I was educated in Dublin University and read
good hterature as a result of directed tastes no doubt although
I reaUy do prefer it. I despise affectedness and sincerely want
to do my work well and pleasingly.

"I hate interviews for the reason that the tawdry, over-
romantic, over,-sentimental characterizations or equally obnoxi-
ous "ham," ki.ghaired, funny page, Rialto type that is usually
depicted makes lor mystery perhaps but does not in my opinion
create a genuine appreciation of the hard working, good citizen
type of actor. I work hard and love it. I don't know what
more to say because I'm too surprised," he ended abruptly.

Fairly delighted with having obtained what I considered the
pith and marrow for an interview I started to leave.

"Oh, by the way," he cried. "Here's another thing. In the
only fan letter I ever got in my life from a Japanese girl she
wanted to know if I were married. I am not married because
I bore women."

Whether the remark was candid or a subtle insinuation I will
let you conclude. At any rate I went on my way rejoicing
that I had taken advantage of a screen villain and discovered
an actor who had qualities that would make him an excellent
Beau Brummel or Baron de Chevreul (of "A Parisian Ro-
mance") but withal was more concerned with his Art than with
the publication of meticulous details of his career (as many in
the profession are) and that he was an interesting man with the
fine human YOU-and-I quality.

Joe Martin.

Monkey
Business

Filmdom's latest blushing bride
is a regular little chatterbox.

By
MRS. JOE MARTIN (nee Topsy Tree)

Translated from the Simianese by H. C. Bate

Mrs. Joe Martin.

I CAN'T say that I ever heard of a bride giving out an
interview panning her husband so soon after their marriage,
but then, I am no ordinary bride, and the events which
have transpired since Joe Martin led me. blushing, from
the Universal City justice's office, excuse anything I might say.
I speak without prejudice. The fact that I was married to
this Joe Martin party didn't necessarily change my opinion of
him any — for the better. It was a marriage of convenience — if
you get what I mean — convenience of the Publicity Depart-
ment.

Ours was no plebeian courtship. For the benefit of posterity,
we decided, after being approached on the subject by members
of the publicity staff, to let them screen our heartthrobs. I
must say, however, that this had its disadvantages. Take a tip
from me, girls, and don't let a camera man come near your
cage while you're being courted.

I remember with dismay the time Joe popped the question.
I knew it was coming and had taken a firm grip with my toes
on the branch upon which we were swaying. I was going to
close my eyes and fall lovingly towards him. It is well I had
taken precautions. Just as I swayed, there came the ominous
"click" of the moving picture camera from beneath the tree.

Although Joe and I are old-timers before the camera — per-
haps we were a little nervous at the time. Anyway, I didn't
fall into Joe's arms as I expected. There were no arms to
fall into. When I opened my eyes and caught my balance, I
saw Joe speeding across the fields toward Universal City and
gaining on the camera man every second.

The camera man escaped into a building. Joe came back
very much put out. He was so upset that he forgot what
we had been talking about. I had to remind him.

There were still other times when I was sorry the camera
played such an important part in our love-making. The Httle
affair with Jocko, another Universal monk, for instance. Joe
had been surly for several days. He had sent me only two
shrivelled bananas. It was only by accident that I happened
to stroll by Jocko's quarters. He looked so lonesome that I
stopped to cheer him up.

One can't be haughty with old friends, though, and I am sure
I did my best to cheer up the poor boy. At any rate, when I
chanced to look around and saw that awful camera man crank-
ing away within a few feet of me, I paled and fled. Of course,
the incident reached Joe's ears. It has been the subject of
many a tedious conversation between us.

54 Photoplay Magazine

I shall never forget my wedding day. It was the turning The real break, however, came over the tobacco question,

point in my life. Before, I was a carefree girl, enjoying all Like all poseurs, Joe is addicted to violet scented cigarettes,

the light-hearted pleasures of a popular West Coast debutante. I ask you, what can you do with a husband like that? It

Now alas, I know all the sorrows of disappointed love. wouldn't have been so bad, if he had not had the nerve to

But to return to the wedding. My wedding gown was a complain of my pipe — -my favorite cob. He would make fuimy
dream' in white satin. The bridal wreath of orange blossoms faces— a thing he does with great ease — when I puffed con-
was delicious. In fact, before the ceremony was completed, tentedly at my favorite tobacco — Mule Hoof Brand — a tobacco

I had eaten them all.

Joe was equally
diked out. At the
time, I thought no one
could look grander.
Now, I suspect that he
had "borrowed" the
dress suit of some
undersized waiter.
Either that, or his
tailor was a mail-order
out-fitter. The best
thing about Joe was
his high hat, which he
held after the mode
popular among pall
bearers to the ultra-
fashionable.

The ceremony took
place in an alcove
erected for the purpose
at Universal City. I
was given away by Mr.
Fred Fishback, who directs the
pictures in which I play. Freddie
wept as the knot was being tied.
I expected every minute, how-
ever, to hear him shout "Cut!
Retake!" Those are his pet
phrases.

Judge Bobby Mack, who per-
formed the ceremony, was a
dear. I could love that man. I
smiled kindly at him as he pro-
nounced the words that made me
man and wife, I mean Joe Mar-
tin's wife. I believe
Joe saw this and was
jealous. Something
must have aroused
him. The end of our
wedding party was
rather exciting.

At the conclusion of
the ceremony, Judge
Mack leaned over to
salute me on the cheek
as was his privilege.
Under the circumstan-
ces, I could not object.
In fact, I was rather
pleased at the idea.

Not so, Joe. In an
instant he was roaring
with rage. Only the
persuasion of Mr.
Fishback and others
present kept my hus-
band from taking the
law into his own hands.

Our honeymoon waned only too soon. The early days in
our little Universal City bungalow were indeed happy.

Soon, however, my better half, if you can call that brute
from Borneo by such a figure of speech, began to get moody.
1 always will suspect he was jealous of me. For a long time,
you see, many critics rated him as the greatest comedian at
Universal City. Far be it from me to make any false claims,
but my comedies are funnier than a barrel of monkeys.

EDITOR'S NOTE:— It is with the best of in-
tentions that Photoplay Magazine pre-
sents this marital argument. It is only just
to Joe Martin to say that for all we know he may
make the best of husbands. But to be really fair
we have got to present both sides of the question;
and here is Mrs. Joe's. The Martin-Tree wed-
ding was one of the mid-winter events of the
California zoological colony.

Above — The wedding occurred in mid-winter, at
Universal City, California. Belo-w — Mrs. Joe Mar-
tin, one of our leading dramatic actresses, here shown
with Edith Roberts in "The Baby Doll Bandit."

popular among sailors,
and which I learned to
enjoy on my way to
America.

One day, in my
absence, he tried some
of this tobacco. When
I returned I found him
almost overcome. Flee-
ing from my ridicule,
he crawled from the
house. I have not seen
him since. I under-
stand he has gone to
the country to recuper-
ate. As he left Uni-
versal City, however,
he gave out the state-
ment to the press in-
tending to undermine
my standing as a mov-
ing picture actress of
note.
Don't think that I am griev-
ing. I have my career. After
all, I found that I could not live
with Joe. Why? To tell you the
truth — he isn't human. At times,
he's even brutal. Well, "Et tu
Brute," as the doughboys say.

Don't you love French? You
know, I am one of the few screen
actresses who don't claim to have
been born in Paris, or somewhere.
I come by my French quite
naturally, though. You might say
I was convent-bred. I
was raised just out-
side of a convent in
Madagascar.

In fact, when I was
induced to come to
America to accept a
screen contract, the
only English I knew
was "Fade me, white
boy!" "Shoot two
bits!" "Read 'em and
weep!" and similar
phrases I picked up
from the little Mada-
gascar darkies near my
home. These phrases,
I understand, have to
do with Osteopathy, or
the scientific manipu-
lation of the bones.

Many people have

asked me why it is I

generally impersonate

men, rather than women, in my pictures. I will tell you, if

you keep it strictly confidential. Entre nous, as it were.

I was first attracted by the ease with which men make
monkeys of themselves. Being of an imitative nature, I tried
the reverse of this and found it exceptionally simple. In my
latest releases I have proved how nearly human I can act.

Well, if they will set me in a ring with this Joe Martin party,
I'll soon prove who's the master mind.

''HE best way to elevate the screen would be to hang a few of the sex-play
producers. n.

C'PViialit, PrinBle & Booth. Toronto, 1919

The Prince and the Pictures

If the cameramen could have their wish,

all temperamental film stars would make Edward of Wales

their good-natured model of camera conduct

By BETTY SHANNON

IT is too bad that the Prince of Wales can't find the time
ofif from his duties of learning how to be a king to become
a motion picture actor.

Have you ever seen nicer screen features?
Can you think of any juvenile that could get away with that
slim, aristocratic stuff the way he could?

And that smile! You know as well as I do that if that smile
were given a chance at matinees alone it would go a long way
towards clearing up the British war debt — even without the
Flantagenet name behind it!

It's especially sad that prince-ing is such strict and occupy-
ing business when you consider how well Edward has gotten
on in the movies. All fall and early winter he was the most
photographed young man in America. Every news reel teemed
with pictures of him. It wouldn't have taken any sort of an
advertising campaign to have put him across big in drama.

And then, when, according to Tracy Mathewson, the pho-
tographer who took most of the pictures, he was getting "cam-
era broke," he had to go back home to get ready to leave on a
visit to India and some others of those overwhelming colonies
he will have to rule some day.

The Prince of Wales is very fond of motion pictures. He
knows most of the American stars. And as for the internal
economy of a camera^Mr. Mathewson says that the Prince
knows more about lenses and apertures and shutter speeds than
most of the cameramen who earn their livings by turning a
crank !

Mr. Mathewson is greatly prejudiced in favor of the Prince,
which speaks well for His Royal Highness. If a man has a
mean disposition he would have a hard tinle hiding it from
a photographer who takes his picture every few minutes for
three months.

Photoplay Magazine

Tracy Mathewson (or "Fatty," as His Royal Highness called
him) was the ofticiai motion picture photographer of the Pnnce
of Wales' Canadian tour. In other words, he was paid for
traveling on a trick train equipped with shower baths, tele-
phones, free cigarettes, free lunches, free stationery, free valets
and a free tailor with nothing to do but grind off a few feet
of a Prince or Duke or Lord or Admiral or so every now and
then.

He and his assistant, George Ddran, were the only motion
picture cameramen on the royal train — though there were two
"still' photographers, one of them being Brooks, the royal
photographer. Any others who wanted to follow the Prince
about from city to city had to make their own traveling ar-
rangements.

• Which is our idea of a pretty nice job, as it was Mr. Mathew-
son's. Though we have his word for it that it was not a soft
one.

Mr. Mathewson found the
Prince a very willing and
helpful motion picture sub-
ject. Whenever His Royal
Highness saw the camera of
tis official screen recorder
turned on him at a public
function, he tried to help
by stepping into better
light, or by speaking more
slowly, or moving more de-
liberately. He was very de-
cent about posing. And
he had a way of letting one
know that he knew one
was there which was very
gratifying. For instance, in
one Canadian city where
Edward was to make a pub-
lic inspection of his guard
of honor, Mathewson set
his camera under the edge
of the. grandstand, thinking
to get some unusual shots
and to be out of everybody's
way. In the middle of his
focusing he heard an ap-
proving, "Attaboy," and
looked up to find the Prince
calling to him in a low voice
behind his palm, so that
none of the dignitaries en-
tertaining him would hear.

On the other hand, it
took an endless amount of
scrambling about to be
Johnny-on-the-spot where
the best pictures were to be
found.

The Prince told Commander Dudley North, one of his staff,
that he had never seen any one who amused him as much as
Mr. Mathewson.

"He has more energy than I have ever seen before," he
said. And the sight of Mathewson's plump figure with his 80-
pound camera, scurrying off on a hand car to get ahead of the
royal train so that he could get a picture of it drawing into a
station, hanging by an eyelash to a window-ledge, diving under
a crowd, legging it down a platform, or hiding behind a hedge,
always brought a grin to the Prince's face.

Prince Edward's party landed from the Renown at St. John's,
New Brunswick, on August i =;th. It was five days later, at
Charlottetown, Prince Edward's Island, that the Prince first
spoke to Tracy Mathewson. (Unless you're a Duke or some-
thinsj you don't speak to "royalty" until you're spoken to.)

"The royal party was being entertained at the races," says
Mr. Mathewson, "and was seated in the judge's stand. I
worked my way up to within about ten feet of the Prince,
cursing my luck because I couldn't get near enough for a good
old-fashioned American Close-up.

"As I began to grind away, the Prince spied me. He smiled
and bowed, then summoned me.

"'You're an American, aren't you?' he said, shaking my
hand and asking me my name. 'T thought so, because in Eng-
land the cinematographers never make "close-ups."

Tracy Mathewson, at the camera-crank, was the official motion
picture photographer of the Prince of Wales" Canadian tour, and
as such was conceded the distinction of riding on a handcar. This
picture was taken ^vhile Mathewson was grinding in the face of the
engine dra'wing the royal train, George Doran is the assistant
cameraman, holding the legs of the tripod.

"A few days later I learned that there are traditions about
'photographing royalty' in England as there are about nearly
everything else. Brooks, the royal photographer, informed me
thai there are four things an English photographer would
never do when photographing the Prince of Wales. Brooks is
the son of the gardener at Windsor Castle and began making
his first pictures of the royal children when they were young-
sters together. He knows all about what is and what is not
good form either for photographers or 'royalty.'

"The four rules are: (i) His Royal Highness should not be
photographed 'close-up;' (2) His Royal Highness should not
be photographed playing golf or indulging in other like in-
formal sports; (3) His Royal Highness should not be photo-
graphed with ladies; and (4) His Royal Highness should not
be photographed whenever he royally does not want to be.
'Since the Prince had considered my picture taking at the

judge's stand at Charlotte-
town a 'close-up,' I had al-
ready broken rule one. But
the consequences had been
far more pleasant than
otherwise, and I decided in
the future to use my own
judgment, as I had always
done in the past."

When the Prince learned
that Mr. Mathewson was
to cross the continent
with him, he asked if
the pictures of the trip
could be shown on the
train.

Accordingly a motion pic-
ture projection machine
was installed in the dining
car. As often as Mr. Ma-
thewson could get prints of
his pictures back from New
York, where the negative
was sent for development,
the Prince had a chance to
look at those same pictures
of himself which you were
looking at in the theaters.
"Those parties in the
dining car were very enter-
taining," says Mr. Mathew-
son. "Everyone on the
train was invited. The
Prince sat in an easy chair
with his feet on another and
'kidded' the life out of the
members of his staff when
they appeared on the
screen. He was especially
entertained at a picture
showing his private secretary. Sir Godfrey Thomas, in a
high hat. The Prince himself hates to wear a high hat. He
asked to have that film run each time we had a show.

"Occasionally complete American news reels were sent. The
Prince enjoyed keenly the picturization of current events, and
expressed considerable appreciation of a picture of California
dancing girls which was shown in one reel.

"One time there was a subject showing his younger brother
presenting a cup to the men on a British man-o'-war. The
Prince had a good laugh over this.

" 'He's stealing my stuff,' he said. 'I always used to do
that.' Edward is a fan for American slang.

''There were moments, too, when I felt like a small boy
must feel who is caught throwing paper wads. Those trouble-
some 'photographing royalty' rules would get badly fractured
at times.

"There was a fishing picture which gave me some embarrass-
ment.

"They refused to let me go along on a trout fishing trio
into the mountains, because the Prince was resting and did not
want to be bothered by cameramen. However, I did get a
good shot of him as he started out. It occurred to me after he
had gone that Doran, my assistant, was of about the same
build as His Royal Highness. We managed to scrape up an
(Cont'mued on page 118) 1

Clothes

PHAtoolav M

■: HP

and

Good
Taste

By
ELSIE FERGUSON

"It is not what \

you wear so much as
how^ you w^ear it."

THERE is no doubt in my mint!
that the average woman is more
interested in the fashions dis-
played in motion picture productions
than in the plots! This is not always the
fault of the plots, but often times to the credit
of the fashions. For an enormous variety of
clothes are exhibited in a first-class picture. Expense is
not considered at all, so that every detail is perfected, and
as a rule the models worn are advanced creations from
Paris, or from the best modistes of America.

Before the war, it would have been presumptuous for
any American fashion authority to attempt to foretell the
modes, without having first consulted the creator of all
modes: Paris. At that time the French creations
were the first and last word in smart attire, and
no American designer would have denied the
superior judgment of the Parisienne artistes.
With the advent of the war, however, and the cur-
tailed transportation facilities, many Manhattan
designers were forced to create special models of
their own, which soon became as popular, in their
original appeal and far greater suitability to Amer-
ican woman, as the modified Paris fashions.

Stimulated by the success of their efforts in this
direction, the New York designers have been
encouraged to create a greater variety of models,
until today a number of smart establishments
offer exhibitions of their original designs, fol-
lowing the practise of the great French houses.
It is a significant feature in the development of American
styles, and I for one am heartily glad to note this progress.
It does not at all presage a lack of interest in French fashions
as one might hastily assume, but rather signifies the perfect
combination of American and French ideas.

There has been a tendency in the past few years to wear
garments from other countries, without modifying or altering
them to suit American ideas. The vogue for Spanish shawls,
for instance, or the Mandarin coats for evening wraps, has
flourished in recent vears. The senorita wears her shawl with

Campbell
Studios

a certain grace which cannot of
course be emulated, and with-
out which the shawl is lifeless and
unattractive. The Chinaman glides
along in his Mandarin coat, giving it
an air of Oriental dignity which
would be ridiculous for an Occidental
woman even to attempt to imitate.

On the other hand, many far-
eastern ideas may be cleverly adapted
for American fashions. The lovely
beadwork, embroideries, and fascin-
ating color schemes that have found
their way to us from the Orient,
have not failed in their purpose to
give beauty to our garments. The
long fringe which has been so
popular during the past season
was surely borrowed from the
Spanish shawl, and served its
purpose in grace and allurement when combined with an
American frock or wrap.

Stage clothes, like foreign garments, should be modified
slightly, to make them suitable for private wear. It very
often follows that costumes used on the stage and in motion
pictures do not look at all extreme because they harmonize
so perfectly with the settings. As a rule a clever actress carries
her clothes with a nonchalance which is too subtle for the
average person to observe, but if the garments were copied
exactly, and worn without that poise, would lose their charm.

Photoplay Magazine"

A :

Stage clothes, like foreign garments, should be modified

slightly in order to make them suitable for private ^vear.

A clever actress can carry her clothes with a nonchalance

•which often proves half the charm of the garment.

It is not only the selection of lines, colors, and
modes which make an attractive ejisemble- Few
women seem to realize the necessity of various car-
riages for various garments. Someone once said that
it is not what you say, but the way you say it, which con-
veys the subtlety of thought, and this truism might well be
applied to fashions: it is not what you wear, but the way
you wear it, which best sets off your sartorial personality.
Clothes, like humans, possess personalities, and because they
are inanimate things in a literal sense, they demand the wearer
to assume corresponding carriages and moods to display them.

It very often happens that a hat which is becoming one day
is not so attractive another day. This is not the fault of the
hat nor the judgment in selection, it is simply the fault of
the wearer's mood. Disappointment often follows after a gar-
ment or hat has been sent home, because one feels that it
does not look as attractive as it did in the shop. Without a
doubt, the garment or hat which was becjjming when one
purchased it, is just as attractive, but the purchaser is not as

1 spontaneous after a tedious day of
shopping. One should not attempt to
try on new purchases until one is rested
and in the mood to wear it to best ad-
vantage.

The smart French women are artistes
in this respect. They wear their clothes
with an unconscious air which permits
them to don extreme modes without ap-
pearing conspicuous. Nevertheless, their
air of unconsciousness is born of long
hours of study before a mirror, so that
when they finally appear in public, their
* poise and gestures harmonize so perfectly

with their clothes that the effect is as
soothing as a rythmic poem.

Few women have real clothes-sense. It
may be cultivated, perhaps, but a correct
taste must be born in one, I think. One
sees so many ridiculous sights on Fifth
Avenue, which is supposed to be the
fashion-promenade of America. One of
the late prevalent and incongruous spec-
tacles was that of the tightly-skirted
^.' woman who tried to stride along in it

^•?- with an athletic swing in her gait. The

■F tight skirt was not, by any means, the

^ jUfFfi /. correct mode for an athletic woman. An-

other amusing type is the woman who is
always a minute ahead in every new mode
that is introduced, whether it becomes
her or not. If women would only be
true to type!

No amount of money can produce a
smartly-dressed woman if she lacks that
essential sense-of-the-fitness-of-things.
The more I see of feminine nature, the
more I study styles, the more I am con-
vinced of it. A stately evening gown
demands dignity and grace; one cannot
strut about with an informal air as one
might do when wearing a tweed sport suit
—and yet I have seen it happen. When
wearing a frock of loose lines and sinuous
draperies, it is permissable to lounge at
ease; but a costume which is created on
dignified lines must be accompanied by
the proper poise of the wearer, or the
whole effect is spoiled. It is essential in
every instance to express the char-
acter of one's clothes by one's o\yn
postures, and when this is artis-
tically accomplished, half the
problem of being smartly attired
is solved.
Your common-sense should
tell you not to pose. One
may be gracefully and
artistically attired, and live
up to one's clothes in one's
manner, without being
theatrical about it. The
average woman has a great
deal of natural charm and
I count upon her to exert it. I know
whereof I speak, because there is no place
that theatricalism shows up more than m
the theatre! Audiences— screen audiences
too — are demanding more and more that their favorites be
quiet, natural, and convincing. An actress must live up to
her audience's ideal — in clothes as well as in acting. _ _

The average woman, perhaps, will say to me, "Yes it is
easy for you to talk to us about good taste in clothes. You
must have them for your work. But what if one cannot
afford a large wardrobe?" And I will answer, "It is not really
necessary to have a large wardrobe to be well-dressed if one
is careful about selection." The best thing a woman possesses
in her wardrobe should control the general selection of other
articles. If one is fortunate enough to own a beautiful set
of furs, then it is well to choose a gown or suit which will
(Continued on page jiq)

Ifl

ELSIE FERGUSON has been aptly called "the Aristocrat of the Screen." After
several seasons in the films, she has announced her return to the stage in Arnold
Bennett's "Sacred and Profane Love," but she will continue her picture work.

Abbe

THE baby of the Talmadge family, Natalie, wouldn't be a picture actress at all.
if her sisters didn't insist. Obedient, this serious banged brunette wends her
way to the studio every morning, to play with Norma or Constance.

;>.--

Fi'Plilifh

JJARRY CAREY'S birthplace was New York but he
is a real westerner if there ever was one. That
quick draw he uses took a long time to learn.

T RVING CUMMINGS used to be perfectly unceusor-
able in films. Then someone decided he would make
a good villain and he has had to be bad ever since.

''■^

Hnrtsook

DRYANT WASHBURN is the original busy boy
of the cinema. They rush him from one filmed stage
success to another. He has had fine parts lately.

rjKORGE WALSH may hurl himself over cliffs, ride
wild horses, fight villains and rescue young ladies
hut that smile of his simply won't come off.

C. Hinith Oaftlrror

pORTRAIT of a Very Young Girl. She is Mary Marsh Anns, the six-months-old
* daughter of Mae Marsh. She has already made her screen debut, for her parents'
own camera and PHOTOPLAY MAGAZINE'S SCREEN SUPPLEMENT.

WITH this issue Photoplay presents Mr. Burns
Mantle to its readers as head of the department
of review and criticism known as The Shadow
Stage. His soundness of judgment, brilliancy of style and
clarity of expression have earned for him an enviable and
distinctive place in the ranks of leading American dramatic
critics; and his opinions and comments on matters theatrical;
have made him, not only a metropolitan, but a national
figure.

To the screen, in addition to his vast lore of theatrical
knowledge, he brings a broad vision of the possibilities of
the photoplay; its great mission as America's greatest
recreation; its responsibilities and potentialities as the
supreme moulder of public opinion; and withal a sympa-
thetic understanding of the difficulties which beset producers
in their effort toward perfection in a still adolescent art form.

THE EDITOR

The

Shadow Stage

Keg. U. S..Pat. OH.

A Review of the new pictures

hy Burns Mantle and Photoplay

Magazine Editors

BURNS

THE editor, being an inquisitive per-
son when he is nursing an idea,
wanted to know how much I knew
about pictures.

It took me a full minute and a half to
tell him, the extra minute being wasted on an effort to be
polite.

"But," I said, producing the familiar alibi, "I know what I
like."

That's the curse of being original. It invariably leads to
something.

"Write it," said he, as one accustomed to command.

"Write what?" queried I, as one eager to dodge work.

"Write what you know about pictures — and what you like,"
said he.

"Does that imply that I also can write about those I don't
like?"

"It does," said he, turning back to the consideration of
serious matters. "If I'm not here, leave your stuff in the
mailbox. Good-by and may the 'fillum' gods be with you."

Which is by way of explaining how it happens that you
find me this day sitting in where the gifted Julian Johnson
formerly sat — Mr. Johnson having moved on to those wider
fields of endeavor in cinema land toward which many men
struggle, but where only the elect arrive.

For a long time I had been conscious of being gradually
moved into the movies. If I tried to keep track of the actors
in whose careers I was most interested I was obliged to fol-
low them to the screen. If I wanted to familiarize myself
with the history of the newer playwrights I had to trace them
through the scenario departments of a film concern. The man-
agers I used to know, and hke — because occasionally you do
meet a likable manager — I gradually lost track of, because, I
discovered, they were all in the movies.

Finally, I found myself growing unpopular with the family
and with the neighbors. I knew something about the theater,
but did I know anything about Lillian Gish? No. I could
remember when Richard Mansfield first played the Baron Chev-
rial, but did I know what had become of the old Biograph
stars? Or how Griffith started? Or that Mae Marsh was
living in Forest Hills? Or that Thomas Meighan had become
infinitely more resourceful and a more finished actor on the
screen than he ever was on the stage? Did I know that Theo-
dore Roberts, far from giving up acting, as I suspected, was
doing more acting that ever in front of the camera? Or that
Elsie Ferguson had even a larger and more loyal following in
the movies than she had commanded in the drama? Or that
my old friend, Doug Fairbanks, who, as a boy in knickers, had
proudly recited "Antony's speech" in my parlor years and
years ago, had acquired milhons of new friends by jumping
over the world? No!

In sheer self-protection I realized that something would have
to be done. So I started for the movies.

"Why do you go, if you don't have to?"
Z' "To hear the music," I explained, a little sheepishly.
/ For a time that was true. Still is true, to a degree.
, Then, ever so gradually, because feature pictures were still

MANTLE

pretty bad in spots, I found myself acquir-
ing a fondness for parades, and waterfalls,
and the thrill of war pictures and the sight
of the boys going overseas on that grand
crusade, and coming home as conquering
heroes. Then I came to know, and to like, the Charhe Rays
and the Mary Pickfords, the Gishes and the Alice Joyces; and
to rediscover the Barrymores, and the Farnums, the Fergusons,
and the Nazimovas. And to applaud the Tourneurs, and the
Hugh Fords, and the Tuckers, and the deMilles, and the strug-
gling young Griffiths.
Until — well, here I am.

And I am going to start right in by quarreUng with David
Wark Griffith. Not as a captious critic, because I admire
him beyond all other leaders of this expanding art. But be-
cause he is a leader and seems, to me, to be forgetting the
responsibilities that go with the job.

I have long considered the advisabihty of writing him an open
letter. And dismissed the suggestion when I realized that he
knows so much more of his business than I do. In that letter
I was going to ask him if he really thought it necessary to
inject into every picture drama he made an ugly assault upon
the heroine? Or frequent scenes of such sheer brutality that
they sadly minimized when they did not completely undo the
fine effect of the picture as a whole?

Granting that there would have been no story worth the
screening in "The Birth of a Nation" if the little sister had
not been pursued by the negro until she was forced to leap
from the cliff to save herself; and that "Hearts of the World"
would have lost its "punch" if the German officer had not been
an utter brute, was it necessary to drag In the incident of the
seduction of the little English girl in "The Great Love," or
send an audience shuddering out of the theater with memories
of the excessive brutality to which Battling Burrows subjected
the pathetic Lucy in "Broken Blossoms" uppermost in their
minds?

I heard any number of people say that they would not think
of letting their children see this, in other respects, truly won-
derful picture because of those horrifying incidents. And many
an adult declares that, remembering them, he (and more fre-
quently she) was through with the movies for weeks to come.
Was it necessary to play so strongly upon the attempted
assault of the heroine in "Scarlet Days," and to make the
wanton mother quite so physically and morally and fleshly
repulsive as she was made? Or to add the rape scene to the
horrors of the massacre of St. Bartholomew's Day in "Intoler-
ance"? Surely there was enough thrilling and holding drama
in these stories without this overlay of bestiality as it was
developed by the director. And particularly by a director who
is so wonderfully capable in the development of those contrast-
ing scenes inspired by the best and truest of human impulses.
It isn't, I contend, fair to the movie-going public to play so
persistently upon these baser themes, and certainly it is de-
moralizing in its effect upon those hundreds of younger direc-
tors who consciously or subconsciously take Mr. Griffith as
their model.
How many of them, do you suppose, have said to them-

Photoplay Magazine

"The Copperhead" is intelligently handled in Charles Maignes adapta-
tion. Lionel Barrymore plays Milt Shanks simply and truthfully.

Fighting Cressey" is Blanche S'weet through and through. It is
glorified early western drama, without one single dance hall.

In " Red Hot Dollars, which involves the steel industry, Charles
Ray is his most natural self.

selves: "Gee, Griffith gets away with a lot worse stuff than
that!" as they have visioned some particularly revolting scene
in the scenarios from which they are working? Dozens and
dozens, I'll wager.

"THE GREATEST QUESTION"— First National

I was still hoping that Mr. Griffith had seen the light when
I went to see "The Greatest QuestioriL" Here, I said, is a fine
theme, and a big^oUE^ Here will Be-ar-stety of that mystical
never neveflahd with which the world is just now trying to
establish' communication. And it will be a clean and .wholesome
picture with a sweep of sympathetic drama such as always
surrounds the theme. But, I was wrong. There again was'^he
beating of Lillian Gish by the degenerate old woman so vfeW
played by Josephine Crowell that you wanted to throw ^n
orchestra chair at her. There was another attempted assaiit
upon a young girl by a vicious, licentious, ugly old man, an|d
a brutal murder to top off the excess of violence. I

^ ■- Why, in the name of all things reasonable? Why? If tne
storyv\Yas to be based on that boundless love between sympa-
thetic souls- on earth that cannot be broken by death, as amiar-
ently it was tKeorigioal intention to base it, why not,Jet it
be the logical developmenrTrf~-that_ jheme through the experi-
ences of the young man who, called to war, still kept in touch
spiritually with his mother and returned to her in the spirit
after he had been swept into the sea from the deck of a sub-
merging submarine?

The brute redeemed did not necessarily have to be the par-
ticular type of brute that preys upon innocence. His character
would have been much more logical, much more convincing if
he were just an easily recognizable kind of everyday brute,
cruel and hard, selfish and ignorant. But, no, Mr. Griffith, with
this obsession for scenes of assault and beating, must needs
take both him and his degenerate wife out of character and
exaggerate them out of all semblance to any but mentally
unsound patients of a psychopathic ward in a hospital.

Dramatically, too, I believe this leading director is on the
wrong track. He is shooting birdshot in place of bullets. And
as a result he is scattering his dramas so full of incidental
scenes that he loses all contact with his main story. The only
connection between theme and title in "The Greatest Question"
is found in the brief reappiearance in the spirit of the dead boy,
with whom the audience is not permitted to become sufficiently
acquainted to feel more than a passing interest in whether he
lives or dies

Otherwise, it is the story of a little girl who, reared by gyp-
sies, was witness to the murder of a young woman "who
trusted too miich." Grown up, she is adopted by poor but
worthy people, seeks work in a neighboring farm house that she
may earn something to help her benefactors, discovers in her
new employers the brutal pair before mentioned, and finally
recognizes in them the perpetrators of the deed that had
been stamped upon her infantile mind.

Now, having that much off my heaving chest, I can say some
nice things. The pictures themselves, as pictures, are beauti-
ful. There is a fine sense of location in the Griffith equipment.
He finds the truest backgrounds for his scenes of any director
with whose work I am familiar, and once they are found, the
admirable G. W. Bitzer, his camera man extraordinary, em-
ploys them to perfect advantage. The countryside pictured in
"The Greatest Question," the gypsy camp, the tumble-down
farms, are intelligently chosen locations, and in composition the
pictures are charmingly atmospheric. There is a real thrill, too,
in the submerging submarine that leaves a man in the sea.
Griffith also has an impressive sense of character (which is
probably one reason I dislike his brutal types so heartily) and
each individual is convincingly visioned on the screen. Even
his exaggerations of character have point, in that they carry
home to dull minds what he intends they should. Lillian Gish is
again a charmingly wholesome innocent, Robert Harron an up-
standing boyish hero, and Eugene Besserer, Josephine Crowell,
George Fawcett and Tom Wilson all splendidly vivid.

"THE COPPERHEAD"— Paramount' Artcraft

Charles Maigne's adaptation and direction of "The Copper-
head" does him credit. There was danger here of a blatant
patriotism that would have destroyed the finer values of the
story. There was danger that too much, or too little, of tl^e^
secret service plot would be revealed. Finally there was the

Photoplay Magazine

always lurking danger of the offense that might be given sensi-
tive Southerners if the war episodes were carelessly screened.

All these problems have been intelligently met and solved,
and "The Copperhead"' may safely be listed with the big pic-
tures of the year. It is a better story on the screen, in that
it is a more complete and more consistent story, than it was
on the stage.

Milt Shanks is a spy, but no common screen spy, largely
because Augustus Thomas has so written him and partly be-
cause Lionel Barrymore, as near the head of our list of char-
acter actors as any man I know, not excepting his gifted
brother John, plays him simply and truthfully, and with that
fine sympathy of which he is master.

The cast is excellent. Barrymore's performance is a perfect
bit of characterization, both in his portrayal of the young and
the old hero. Mrs. Barrymore (Doris Rankin) is beautifully
in earnest as the misunderstanding wife, Arthur Rankin is manly
as the boy Joey, and M. F. Schroell, picked for his physical
likeness to Lincoln, displayed little of an amateur's awkward-
ness. If the closeups of him had been less sharp they would
have been improved, but in the main the Lincoln substitute
was entirely successful. The transition of the sleepy Illinois
village in 1861 to a bustling town in the early nineties was
well pictured. This is the first big picture to be made on the
new Long Island territory where so many Eastern studios are
being built. It promises much for the possibilities of our fa-
vorite residence section as an Eastern Hollywood.

"RED HOT DOLLARS"-Ince'Paramount

I am one of those to whom Charles Ray is, or has been so
far in my movie experiences, a constant source of joy. I the
adoring fan, Charles the male Mary Pickford. Once I came
near writing him a mash note. Credit him with an engaging
personality and you have explained a lot, but not all. Back of
that personality is a developed skill in pantomimic byplay, in
facial expression, in poise, in all the arts and graces of a natural
actor that many an engaging personality fails to acquire. And
back of that is the natural, and human, and clean-minded
impulse. Granting that "he is always the same" because he
kicks the dust, and twists his hat, and turns on his heel to
indicate the restlessness of the eager adolescent, his sameness
is due rather to the situations in which he is placed than to his
histrionic limitations. Playing the type of boys grown up that
he plays, he is bound to be limited in his method of express-
ing their moods and impulses, because they are all of a piece.

In "Red Hot Dollars" Charles is his most natural self.

"HUCKLEBERRY FINN"— Paramount

If I had a son I certainly should take him to see "Huckle-
berry Finn," the Famous Players-Lasky screening of the Mark
Twain classic. Here, also, is a perfect picture for all the boys
in the world to take their daddies to see; a wholesome boys'
story of adventure as full of fun and atmosphere as the book
itself. Fine Twain atmosphere, too, ver>' slightly exagger-
ated and most wholesomely natural, once the main story is
reached. I do not know much of William Taylor's work as a
director, but I am going to know more on the strength of his
fine showing in this picture.

Huck himself tells the story to a finely visioned Mark Twain
in the flesh, which is one thing that keeps it so nicely in the
spirit of youth.

The boys, too, are real boys, Huck being perfectly realized
by Lewis Sargent, and Tom by Gordon Griffith. It is largely
Sargent's picture, but he is most ably assisted by every mem-
ber of the supporting cast. "Huckleberry Finn" is much the
best boys' picture I have ever seen. The excellent scenario is
the work of Julia Crawford Ivers.

"THE CUP OF FURY"— Goldwyn

The features of "The Cup of Fury" which justify its prom-
inence as the first of Goldwyns' eminent authors' series are
not altogether traceable to the influence of Rupert Hughes,
the author. They concern more particularly the scenes taken
in a shipbuilding yard during the war, and they are vivid and
intensely interesting views of this gigantic industry, including
an impressive launching and a mob effect or two that are splen-
didly staged by T. Hayes Hunter, the director.

Ans-wering Photoplay's plea for pictures of tte sea, " Behind the
Door" is a grim and terrific drama, featuring Hohart Bosworth.

"The Lincoln Highwayman," founded on a vaudeville sketch, deals
with the trailing of a robber. William Russell is the robber.

Alice Lake plays the betrayed-heroine in "Should a Woman Tell?
■with fine feeling for the dramatic episodes of the story.

Photoplay Magazine

"Water, Water, Every where ! " is an amusing comedy drama, fre-
quently dipping into farce, starring Will Rogers.

'Huckleberry Finn is a perfect picture for all boys to take their
daddies to see. There is fine Twain atmosphere throughout.

' Everywoman fulfills the demands of the spectacular picture,
■whose message gets over as surely as it did on the stage.

Otherwise the picture, though sanely adapted from Mr.
Hughes' novel of the same title, is frankly conventional in both
plot and action and is a little like an echo of a dying past.
"The Cup of Fury," in other words, would have been a sensa-
tional picture if it could have been conceived, written and pro-
duced when we were hot upon the trail of German spies, and
keen to cheer the men who were doing such wonderful work
in the war industries.

Now we get a belated thrill or two, but feel, some way, that
just as the picture arrives at the most interesting point of its
development, which concerns the effect the I. W. W. and its
bolshevistic allies will have on peace times, it flickers and goes
out.

The purpose of the picture, which is the strengthening of our
Americanism, is fine, and the characters are all well played,
particularly those of the heroine, by Helene Chadwick; her
lazy brother Jake, by H. A. Morgan; Davidge, the upstanding
American hero, by Rockcliffe Fellowes; Abbie, Jake's wife, by
Marian Colvin, and the aristocratic Weblings, by Kate Lester
and Herbert Standing.

The Goldwyns' eminent authors idea is certain to bear fruit
in time. It already has done so, notably in the case of the
Re.x Beach pictures, and will do so in the case of Rupert
Hughes, for he is a man of taste and he is possessed of a keener
sense of drama than ninety per cent of American writers.
But it takes time for even a gifted man to make his influence
felt through a medium of expression still strange to him.

"SHOULD A WOMAN TELL?"— Metro

Another picture I saw the other day that has a fine back-
ground for the approach to the story is Metro's "Should a
Woman Tell?" The early scenes are at a life-saving station
on the Atlantic coast. There is a yacht in distress in the
ofSng. The guard is called to the rescue, the guests and owner
of the yacht are saved by the breeches-buoy and the real story
begins in the next reel. These scenes of the lifeguard in
action, the launching of the boats, the distress of the ship-
wrecked party, the helpful part played by the New England
natives are wonderfully done, as fine a storm effect and as clever
flash-lighting as I have seen.

Then the story slips into the groove frequently followed
by betrayed-heroines. In this instance it is helped very much by
Alice Lake, who plays the girl with a fine feeling for the
dramatic episodes and an in(Mcation of intelligence in her play-
ing that is none too common on the screen. She knows, by
instinct, perhaps, something of the art of repression, and sel-
dom overplays her scenes. This talent, combined with her
clear-eyed beauty, is likely to keep her feet on the path to
stardom on which Metro has started her.

I did not catch the answer to "Should a Woman Tell?"
though I assumed from the heroine's experiences that she was
a good deal of an idiot if she did.

"WATER, WATER, EVERYWHERE —Goldwyn

Will Rogers, as every screen follower knows by this time, is
one of the rare personalities of the screen. I suspect him of
writing half his own titles (the better half) and of developing
many of his own best scenes. It must be a joy for his director
to work with him, and if he had as sound a story sense as he
has a comedy sense he would be an unbeatable acquisition.

The new Rogers picture, "Water, Water, Everywhere," is,
in a majority of its episodes, an amusing and interesting com-
edy drama. Where it is weak is in the padding, the effort to
string out with exaggerated comedy the slender plot. In these
incidents it dips freely into farce, and farce is for the farceurs,
not for the comedians of Rogers' quality.

In this story Will becomes mixed up with the unco guid
people of a Texas town who try to make effective the new pro-
hibition laws. The drys are a crowd of interfering ladies and the
males who flock with them, and the wets a rollicking bunch of
good and bad fellows who want their likker when they want it,
but decide there is compensation in drinking the soft stuff if the
barmaids are beautiful. Rogers is neither very wet nor very
dry, but a sane middle of the roader. "The man who says
he can take it or leave it, sure knows how to take it," is one of
his anti-drunk lines, and "Who wants to drink thirty-seven bot-
tles to be one hundred per cent drunk?" is a contrasting argu-
ment for the wets. In the story he loves the town belle, but
nobly sacrifices her to the handsomer hero once that candidate

The Shadow Stage

(Continued)

proves his worthiness. The scenes include some excellent
shots of a mine accident and an exhibition of rough riding by
Rogers that makes the similar shows of most of the screen
horsemen seem as simple as little Johnnie riding Dobbin to
the barn.

"EVERY WOMAN"— Paramount - Artcraft

"Everywoman" as a spectacle fulfilled the demands of the
spectacular picture. It was literally photographed against a
background of dollar marks. And "Everywoman" as an alle-
gory succeeded in getting its message across on the screen just
as surely as it did on the stage. Which is to say that this
particular enterprise has been carried through most success-
fully, by Famous Players-Lasky.

Of course to the easily bored intellectual this message is
crude and obvious. Everywoman's pilgrimage in quest of True
Love is a primer story for grown infants. But the bored intel-
lectual can as easily leave it alone as try to like it and it will
make no more difference with the success of the picture than
it did with the success of the play, which has made millions.
But whoever does leave it alone will miss some of the most
stunning effects achieved recently on the screen.

The cast itself is a remarkable assembly of several of the
screen's most capable players. Violet Heming, playing the title
role, was wisely chosen. She not only is blessed with physical
beauty, and equipped with the results of long stage training,
but she is temperamentally the type that could follow Every-
woman's pilgrimage and be no more than lightly touched by
her successive experiences. The simple scenes were pleasantly
intimate, and the revels engineered by Wealth and his friends
were impressively grand and costly.

"WHEN THE CLOUDS ROLL BY'— United Artists

Just how much the barest suggestion of plausibility, no mat-
ter how fancifully imagined, will help a picture is shown in
Douglas Fairbanks' "When the Clouds Roll By." Herein the
popular cloud jumper does all the things he has been doing
in all his other pictures, but because they are introduced in
logical sequence and as the result, first, of a regular old terror
of a nightmare and, second, as the planned experiments of a
scientist who was making a study of human reactions to cer-
tam imposed tests, they seem like a new set of stunts.

Both the interest and the fun of "When the Clouds Roll
By" are constant for three reels, and then, as though he wished
purposely to heap the measure, Fairbanks adds two reels of as
lively and thrilling a melodramatic comedy as any you are
likely to see screened. "There is a cloudburst, a flood, a threat-
ened dam break. I suspect Doug has had this bully idea
for a picture in mind for a long time, and has been saving it
until he was practically "on his own." If he had begun his
United Artists' career with it he would have given that new
connection a boost which "His Majesty the American" fafied to
impart. However, here it is now, and it is Fairbanks at his
best. Kathleen Clifford is successful as the heroine, Frank
Campeau is excellent and the other parts are all well played.

"PINTO"— Goldwyn

The director and the star who are pleased, for the sake of
what they doubtless believe to be their art, to consider all
Westerners wild-eyed idiots and all Easterners such fools that
they will believe anything they are told about said Westerners,
are to me artistically dead before they start work on a picture,
(Continued on page no)

Photoplay Magaz^ine's Letter Contest

Whether or not you care for motion pictures,
they mean something to you.

You cannot live in a world where so many
millions of people look to the pictures for their
amusement; you cannot pass the door of a motion
picture theatre day after day — even without ever
going in — you cannot read the newspapers and
say, "Motion Pictures mean nothing in my life!"

They must mean something to you — if it is only
annoyance at having to step out in the street to
avoid the happy crowd overflowing the theatre
lobby.

If you are a mother whose only son lies under the
poppies in France, the pictures may mean solace,
forgetfulness, relief from long, sad hours.

The familiar faces appearing on the screen may
be your only friends if you are a lonely country
girl trying to gain a foothold in a big city.

To those wearied by the humdrum monotony of
drab existence in a small town, the pictures may
mean the only stimulation which keeps alive the
spark of youth, the love of color and romance.

Perhaps pictures mean your main chance of
education. They lay the whole world at your feet.

For the best letter telling "What the Motion Pictures Mean to Me"
Photoplay will give a prize of $25, For the second best letter it will
give $15. For the three next best letters it w^ill give $10 each.

No letter must be longer than 300 words. All letters must be in by March i, 1920.

The winning letters will be published.

Photoplay will Announce A7<iOTHER Big Letter Contest J^ext Month

WATCH FOR IT!

Director Gish

when Lillian bossed Dorothy around the "lot."

JUST before D. W. Griffith went
to Cuba to film scenes for a
new picture, he handed a script
to Lillian Gish. "Here's Dor-
othy's new picture," he said. "You
can go ahead and direct it."

Lillian— that fair, frail perse-
cuted child of pictures — bad never
directed before. The Griffith
studios at Mamaroneck were in a
state of incompletion ; the props
were new, and the lights were bad —
sometimes work was possible only
for fifteen minutes a day. But
Lillian finished her first picture —
a five reel Dorothy Gish com-
edy— action from start to fin-
ish— in twenty-five days. She
really directed; bossed the
studio hands and the elec-
tricians; designed and ar-
ranged the sets; consulted
with the cameramen and put
the players through their
paces. Her intensely fem-
inine viewpoint stood her in
good stead ; like Lois Weber
she sees many intimate things
in the direction that a man
would overlook. "I felt," she
said, "just as if I were play-
ing with dolls again. It was
fun to make the puppets move
the way / wanted them to."

The romance of a merry widow in a
daring, modern role.

By
JEROME
SHOREY

YOU who would chide Georgiana Chad-
bourne for casting aside her widow's
weeds with a little yelp of joy the
very first moment that the rules of
the game said it was permissible so to do,
consider this:

She married Henry Chadbourne when she
was seventeen, because she was an orphan
and everyone told her what a good man
Henry was and what a splendid husband he
would make. Not being in love with any-
one else, and having only a vague sort of
idea what love was anyhow, knowing only
that it was pleasant to be kissed by almost
any man so long as he was a gentleman, and
did not smell too strongly of tobacco, and
had kind eyes, and would stop when you told
him to, she fell for Henry's virtues. Her
chum Helen Blake, had marrried Henry's
brother Jeffrey, and Jeffrey, everyone ad-
mitted, was not nearly so good a man as
Henry, but Helen said he was just a per-
fect husband. That should have warned
Georgiana, but keep in mind that she was
only seventeen, and how was she to know
that a man who was better than a perfect
husband would be a calamity? And Henry
was nothing short of that. Of such as
Henry are the salt of the earth, but remem-
ber, it is salt that drives people to drink.

For example: He would rise with the
well known lark, play eighteen holes of golf,
and come in all merry and bright and bois-
terous when Georgiana was just rubbing the
sleep out of the corners of her eyes.

For example: He would make her drink
a cup of hot water before breakfast every
morning.

For example: He was eternally trying to
improve Georgiana's mind, and seemed to
take little interest in the fact that she had
a face and form which could hardly be im-
proved.

For example: He would neither become
jealous of Georgiana when she flirted a little,
nor would he flirt himself. Georgiana .
entered into a conspiracy with a very gay
friend to try to jolt Henry out of his rut of
impersonality, and the friend came to their
house one evening clad in something that
would have hardly made a harness for a
bee. Georgiana deliberately left them alone,
and a few minutes later Henry called her in
to point out what a perfect arrangement of
intercostal muscles was displayed by her
vampish friend.

For example: If she became desperate
and .did something really outrageous, all

"I'm going to make war! I'm going to round up a bunch of
wild men and if I can find one bad enough 111 marry him!"

Photoplay Magazine

"But, Georgiana — you'll get into troutle!" gasped Helen. "I hope so — that's the hig idea," retorted Georgiana.

Henry would do was look reproachfully at her, hold up his
forefinger, and say in babv-talk tones, "Good little girls don't
do that."

Now be reasonable — is a husband like that entitled to one
minute more than the exact legal minimum of mourning?
Georgiana said not. And she said it to Jeff's wife, who prob-
ably told Jeff, for Jeff wore a sort of pained expression the
next time he saw Georgiana. Jeff had looked upon Henry as
a perfect model, and it was a considerable shock to him to
find that Georgiana did not fully appreciate him. But Jeff
had the same insufferable tolerance about everything that
Henry had, and so he didn't scold the widow. Georgiana had
come to New York to visit the Chadbournes, and she un-
burdened herself to Helen as soon as they were alone.

"Helen, do you know any really devilish men?" she de-
manded, abruptly.

"Why no — what do you mean?"

"Just what I say. You can't understand because you
haven't been married for three years to a perfectly good man.
The only time Henry ever got thrilled was when the new
issue of the Atlantic Monthly arrived. Look here — "

Georgiana dived into a wardrobe trunk, and began flinging
out flimsy, fluffy, enticing garments.

"There's my armor, and I'm here to make war. I'm going
to round up a bunch of wild men and if I can find one bad
enough, I'll marry him."

"But Georgiana — you'll get into trouble," Helen gasped.

"I hope so. That's the big idea," Georgiana replied.

ON the footbridge which crosses the bridle path in Central
Park. Georgiana stood idly dangling a few flowers she
had picked from a bush right beside a sign saying she would
be arrested if she did, and watched the people riding past

below, her. They did not look especially evil and so they did
not interest her. At last there came one riding alone, a big
young man, from the West unless his sombrero lied, and
Georgiana became more alert. Not that he looked any worse
than the others but, well, there was something about him that
— oh, you know how it is. She had a good opportunity to
observe him unobserved, as he stopped to adjust a stirrup. It
did not take him nearly as long as Georgiana wanted it to,
and upon the impulse of the instant she flung upon him as
he approached the bridge, her handful of contraband flowers.
He caught one, looked up, astonished and rather pleased, and
then Georgiana ran — first to escape, then wondering if the
stranger would have the gumption to follow her. He seemed
sorry to see her go, and made as if to follow, but changed his
mind. Georgiana did not stop until she reached her car, and
ordered the chauffeur to drive to the Casino.

The restaurant in the Park was rather empty. At one_ table
were an old man made up with wax and dye to deceive himself
into thinking he looked about thirty, and a dizzy blonde.
Georgiana cast a mildly speculative eye upon them, and _ in
midair her glance met that of the ancient mariner of feminine
seas. In her present mood, Georgiana would have outstared
old Cyclops himself, and the enameled ruin feasted his eyes
until the blonde objected. A minute later his companion went
to do a job of telephoning and the reconstructed wreck toddled
over to Georgiana's table.

"We've met somewhere before; where was it?" he grinned.

Georgiana looked at him thoughtfully.

"So that's how it's done," she observed. "I've often won-
dered."

With that she looked beyond. The hero of the horse-path
had arrived. True, he was not looking for her, seemingly, for
he merely summoned a waiter and ordered something to eat.

Photoplay Magazine

But in his buttonhole he wore the flower she had flung him
from the bridge. Well, what else would he do with it? Did
that prove anything? No, not if you're going to be so darned
literal about it, but at least it gave Georgiana a little thrill.
And she decided upon her plan of action. Ignoring the sly
old fox who had accosted her she went directly to the stranger's
table.

'•We've met somewhere before; where was it?'' she asked.

In the thousandth part of an instant that intervened between
her remark and his reply, Georgiana imagined what Henry
would have said. He would have said, "Good little girls don't
do that." Georgiana made a mental resolve that if the stran-
ger said that to her she would crown him with the sugarbowl.
He didn't. He said:

"I've met you a thousand times in my dreams."

Georgiana gasped. This was going pretty strong.

"I've been looking for you all my life," he continued, dead
serious.

"And I've been looking for a man like you all afternoon,"
she replied, being determined not to let the conversa>tion get
too much out of hand.

"All my hfe I've been waiting for you," the equestrian
persisted.

"That's very nice, but you might tell me who you are and
get started right,'" Georgiana suggested.

He handed her a card, and wrote an address on it, from
which Georgiana learned that her friend was John Garrison of
Denver, temporarily staying in New York at the apartment
of Mr. Samuel Harding. Before she could return the courtesy
the surprising wheel of fate she had started spinning made a
new revolution. The dark shadow of a policeman fell across
her bright form, and a voice informed her.

"Young woman, you're under arrest for picking flowers in
che park."

"But say, officer — " Garrison started to protest.

"Oho. so you've got one of them on you. Maybe I'd better
take you along too."

"Isn't there some way we can arrange it so we don't have
to be arrested?" Garrison pleaded.

"Not a chance. Come on," the policeman retorted.

Georgiana gave Garrison a quick wink and a suggestion with
a gesture, and he grabbed the cop in both arms. "While the
policeman struggled to free himself Georgiana darted out,
jumped into her car and sped away, ignoring Garrison's fran-
tic plea, "Wait, you haven't told me
your name."

It was a flushed and triumphant
Georgiana that burst into the Chad-
bourne apartment a little later.

"I've met him! I've met him!" she
shouted. "He's a regular devil and he
flirted with me from the first minute
he saw me."

Helen and Jeffrey looked at each
other, scandalized.

"I've had a marvelous time," Geor-
giana went on. "I nearly got pinched,
but he saved me. I left him fighting
with a policeman. And I'm terribly,
hopelessly, thrillingly in love. Oh, he's
wonderful ! "

Bit by bit they managed to extract
the stor>' from her. their dismay grow-
ing with each sentence.

"But this is quite impossible," Jeffrey
protested. "Why don't you meet some
of our friends, before you throw your-
self away on a stranger? We know
some awfully nice men."

"I don't want a nice one. I want a
wild one, and I've met him — I've met
him!" Georgiana replied.

"There's a friend of ours from Denver
coming tonight," Jeffrey went on, and
at the word "Denver," Georgiana grew
interested. "His name is Jack Garrison,
and he's thoroughly reliable. He's more
like poor oH Henn.' than any other man
I ever knew."

"He's — a — good — man?" Georgiana
questioned.

"The best in the world. Steady as the Rocky Moun-
tains."

"How long have you known him?" she asked, hopefulness
evident in her voice.

"All my life," Jeffrey assured her. "Helen is to meet him
for the first time tonight. I know you'll hke him."

The blow almost killed Georgiana. She had fallen in love
with a good man. There was no doubt of it. Jeffrey would
never be mistaken. He had had the example of Henry's good-
ness from which to judge, and there was no hope. And
Garrison had seemed so promising. But the wheel of fate
was spinning more rapidly than ever, and again somebody
stepped on thq accelerator. Another of those little machines
that are supposed to simplify life, but really complicate it, —
the long distance telephone — did its little bit.

Jeffrey's mother was living alone at their country estate on
Long Island, and the housekeeper telephoned that the old lady
was quite ill, and would they please come out right away.
Helen offered to go alone, but Jeffrey's sense of honor would
not permit such a shirking of duty, and he hustled his wife
into the car and sped away, after asking Georgiana to apologize
to their guest, and introduce herself.

"And remember what I've told you," he said. "He's just
the man for you."

Georgiana's first impulse was to leave word that everyone
was out and send Garrison away without letting him know
that the girl he met in the park was the sister-in-law of his
friend. But her maid, Katy, whose wisdom had been evidenced
upon more than one troubled occasion, suggested it would be
better to give him a chance.

"Perhaps he isn't as good as they think," she said. "I've
worked in the families of these good men before."

"No," Georgiana moaned. "There were only two as good
as he in the world and I picked them both."

"You mustn't give up like this," Katy urged. "He can't
be altogether good. He flirted with you."

"That's so," her mistress agreed. "It's worth while giving
him a demonstration run anyhow. I know — I'll pretend I'rr^
Jeff's wife. He's never seen her, and if he flirts with his best
friend's wife, I'll know he's a human being."

Georgiana made herself up regardless. If the vampires of
commerce ever looked like she did that evening, the breed
would not be dying out so rapidly. She wasn't quite sure that

She had picked the flowers from a bush right beside a sign that intimated she ■would be

arrested if she did.

he would be able to get there, as her last sight of him fighting
with a policeman promised trouble for him. Yet somehow
she had confidence in his ability to get out of scrapes. And
he did. He gasped when he saw her.
"You here?" he exclaimed.

"Of course. I'm Mrs. Chadbourne. I didn't have time to
tell you after I found you were Jack Garrison."
"Jeffs wife!" Garrison's jaw fell.

"I arranged that Jeffrey should be called away tonight,"
Georgiana cooed.

"But — is that fair to Jeff," he pro-

tested manfully.

"What does it matter to you and
me?" she vamped.

"Jeff Chadbourne is the best pal
I ever had," he retorted. "There is
nothing left for me but to go out of
the lives of both of you forever."

She was close to him now, and he
felt her warm breath on his cheek
and sensed the suppleness of her
body ready to cling to him.

"Don't tempt me," he cried.
"You are talking madness."

"Love is madness!" she whispered.
"Tell Jeff I envy him his happi-
ness with all my heart," he groaned,
and rushed away. He grabbed his
hat in the hall and dashed down the
stairs too anxious to go while his
resolutions held, to wait for the
elevator.

"He's crazy about you all right."
Katy observed, unblushingly.

"Yes, and he'd drive me crazy too.
If he ever said 'Good little girls
don't do that,' I'd murder him."

That might have been the end of
it, only the wheel was not yet through
spinning. Word came from the Long Island
estate that old Mrs. Chadbourne had been dis-
covered to have an attack of measles, and
Jeffrey and his wife would be quarantined for
at least a fortnight.

"Two weeks," Georgiana cogitated. "I be-
lieve in two weeks I could make a human being
out of that poor fish. It's worth trying.
Katy!"
"Yes'm."

"We've got two weeks to make over John
Garrison into material that we can live with."
You would never have thought that a young
widow with no more advantages than those few
which had been allowed Georgiana could have
made such a thorough job of it. It must have
been Katy and inspiration, for the poor child
herself could never, in normal moments, have
thought out such a complete campaign of
demoralization. But then, too, she was ven,-
fond of Garrison, and was determined not to
let him escape her. She enlisted the aid of his
friend Sam, who was entirely in sympathy with
the plan. With his aid she broke up a luncheon
of the Purity League in the dining room of the
Blinkmore Hotel, at which a suitably inscribed loving cup
was to have been presented to Mr. John Garrison, as a
testimony to the esteem in which he was held by the organiza-
tion. She found out wherever he was going and beat him
to it. He could not escape her night or day.

At last Garrison decided to put an end to it once and for
all. On the understanding that they were to have a good,
oldfashioned, serious talk, Georgiana lured the bedevilled
young man to the Chadbourne apartment. And she had the
stage all set, with herself as the jewel of the piece.
Garrison leaped into his subject:

"I'm going away, but before I go I want to plead with you
to drop this life and be a decent, respectable mate for poor old
Jeff."

"I don't want to be respectable," she retorted, cHnging to
him.

It was too much for Jack Garrison. With a sweep he

Photoplay Magazine

In Search of a Sinner

NARRATED, by permission, from the
Emerson-Loos adaptation of Char-
lotte Thompson's story of the same
name, produced by Joseph Schenck for
the First National Exhibitors' Circuit,
and presented with the following cast:

Georgiana Chadbourne

Constance Talmadge

Jack Garrison Rockcliffe Fellowes

Jeffrey Corliss Giles

Sam . . . William Roselle

Helen Marjorie Milton

Katie Evelyn C. Carrington

The Blonde Lillian Worth

Henry ... ... .Arnold Lucy

Roue Charles Whittaker

gathered Georgiana in his arms, and gave her the first lesson
she ever had in what kissing could be like when there was real
conviction behind it. And Georgiana knew she had won her
battle. He wasn't hopelessly good. But in an instant the
manhood in him asserted itself, and with a pang of conscience
he flung her off.

"Poor old Jeff," he groaned. "And we're brother Elks, too."
Georgiana looked at him and wondered what direction he
v/ould jump next. She soon found out.

"Oh what's the use of being
decent?" he cried, and rushed into
the hall.

"Where are you going?" Georgiana
called as he opened the door.

"To hell!" he snapped, and
banged the door.

"When you come back I guess
you'll be human," she said to the
door.

On his way to his announced des-
tination Garrison stopped long
enough to send a telegram to Jeffrey
Chadbourne, reading: "Goodbye. I
can no longer stay in this Babylon.
Do you know where your wife is and
what she is doing?"

When Jeffrey received this he
thought Garrison must have found
the place where what was unsold July
I, 1919, was kept, because at that
particular moment his wife was in
the library of their country house
playing solitaire. So he decided that
as his old friend, that very good man
John Garrison, was in trouble, it was
up to him to take a chance, break
quarantine, and help him out of
whatever hole he had fallen into. So
he broke all speed records and an
hour before midnight jerked a hot and pro-
testing motor to a sudden stop in front of the
apartment house where Jack was staying alone,
Sam Harding having been called out of town
on business. Jeff found his friend flinging
clothes into a trunk and suitcase in frenzied
haste.

"What's the idea Jack?" he asked.
"Never mind me — look after your home."
Jack grunted.

"But what are you going to do?"
"I'm going to find the worst woman in New
York and take her on a trip to Europe," Jack
growled. "I've lost all vestiges of honor and
decency, and I'm through with that stuff for
keeps. But never mind me. I tell you. Watch
your own home."

"You've been drinking."
" 'Course I have. And I'm just getting
started. But remember — my last words to you
are, keep an eye on your home."

The constant repetition of the refrain began

to worry Jeff at last and he thought it might

be well to investigate. There must be some

cause for Jack's raving. So he hurried home.

Everything seemed all right. Georgiana was cheerful — even

radiant.

"Whafs the matter with old Jack Garrison?" he asked. "He
keeps telling me to keep an eye on my home."
"What is he doing?"

"Packing. Says he's going to find the wildest woman in
New York and take her to Europe."

"Oh! He mustn't get that bad!" Georgiana cried, and
throwing a cloak about her dragged Jeff back to Jack's apart-
ment.

The wheel of fate is spinning a bit less rapidly. Its whist-
ling is softening down to a purr.

"I guess when you really love a man you want him to be
kind of good, after all," said Georgiana, when Jack had been
persuaded to unpack, and had listened to the explanation of
why he had been subjected to temptations that would have
made St. Anthony hesitate.

PHcroPLAY Magazine — Advebtising Section

by CjL

vur

Have they the beauty they so easily can gain?

'OW beautifully turned
out — how correct," you
thought — until you caught
a glimpse of her nails.

Then, "Shocking" you said to

yourself.

And that one glimpse of her
carelessly groomed hands left an
impression that you never forgot.

faster it grows. It becomes tough,
thick, and hangnails appear.

You can keep your nails lovely
without injuring the cuticle.

Cutex is a harmless cuticle re-
mover. Applied to the cuticle it
keeps the base of the nail smooth,
firm, crescent-like.

Wrap a little cotton around the

Do you realize how easy it is to end of an orange stick (both come
keep your nails so lovely that they Jn the Cutex package), dip it into

the bottle of Cutex and work it
around the base of the nails, gently
pushing back the cuticle. Instantly
the dry cuticle is softened. Wash
the hands, pushing back the cuticle
with a towel. The surplus cuticle
will disappear, leaving a firm, even,
slender nail base.

If you like snowy white nail tips
apply a little Cutex Nail White under-
neath the nails directly from the tube.
Finish with Cutex Nail Polish.

MAIL THIS COUPON AND TWO DIMES TODAY

Thii method it
the secret of the
perfect, even
cuticle of many
fa s h ion a b It
•women

lend you that assurance which
comes from the knowledge that
even the most critical
eye can find only im-
maculate perfection?

The secret of beau-
tiful nails lies in the
care of the cuticle.
This is the most im-
portant part of a mani-
cure. The more you
qvit the cuticle the

If your cuticle has a tendency to
dry and grow coarse, apply a bit of
Cutex Cold Cream each night. This
cream was especially prepared to keep
the hands and cuticle soft and fine.

It is true that one Cutex manicure
makes your nails look lovely, but you
cannot keep them well groomed by ir-
regular care. Give your nails a Cutex
manicure regularly.

Cutex Cuticle Remover, Nail White,
Nail Polish and Cold Cream are each
3 5 cents. The Cuticle Remover comes
also in 65 cent bottles. You can get
Cutex in drug and department stores ia
America and chemist shops in England.

A manicure set for 20 cents

For 20 cents we will send you the
Cutex Introductory Manicure Set, not as
large as our standard set, but containing
enough of the Cutex preparations for at
least six complete manicures. Use the
coupon below. Address Northam Warren,
114 West 17th Street, New York City.

If you lii/e in Canada, address Northam War-
ren, Deft, joi, 300 Mountain St., Montreal.

NORTHAM WARREN

Dept. 703, 114 West 17th Street
New York City

Name .

Street .

City.

. State . . . ,

When you write to advertisers please mention PHOTOPLAY :&IAGAZINE.

Mary Marsh
Arms was
approaching
lier eightk
month when
this picture
svas posed.

MIsbkin

Studios

Mae Marsh Is Back

ONE glance at this picture, particularly the chubby,
round-eyed kewpie in the lower left-hand corner, and
none of the girls we know would find it in their hearts
to blame Mae Marsh for being absent from the screen.
Having a baby like this one, says Mae, is just about the
nicest thing that can happen to anyone, even a movie star;
and she had a hard time making up her mind to leave it for
even part of a day, which she would have to do if she signed
a contract. But the "wont-you-come-backs" were too insistent,
and Mae finally agreed to cast her lot with the Louis Gasnier
interests. She will make the type of picture which made her
famous, doing the pathetic, sympathetic little girls she alone
can do so well.

The baby's name is Mary ISIarsh Arms and she is, in this
picture, approaching her eighth month of life. She is already
trying to say "Dada" and you should see her shimmy! Father
Louis grabs her tiny feet and Mother Mae tickles her, and
Mary does the rest.

This child has some of the most distinguished real and

adopted relatives in filmland. Lillian Gish is a self-appointed
auntie; so is Dorothy. Bobby Harron is sort of a big brother
and Marguerite Marsh and Mildred Marsh are her real aunts,
to say nothing of cousin Leslie and cousin Betty, both well-
known young cinema debutantes.

Motherhood has made Mae Marsh's philosophy of life more
mellow; more tolerant. She has always had a wonderful sense
of humor, and she seems to have passed it on to Mary. There
was— never — other people than her parents say it — such a good
natured baby. And it's a wonder she isn't spoiled. Mother
went west soon after the holidays, accompanied by her hus-
band and a nurse, and while she works at the studio, Mary
will attain the teeth and baby-talk period in a California
bungalow and a California garden. California has always been
"home" to Mae Marsh, although her past few years have been
spent in New York. The rumors that she was to become a
legitimate actress proved to be unfounded, for the present any-
way; but it is no secret that she would like, some day, to try
out her talents— and her rich voice— on the speaking stage.

Photoplay Magazine — Advertising Section

m t

THINGS ' THAT ' ENDURE

The works of men that endure are all alike
vitalized by the same spark. That spark is
the striving for an ideal perfection that for'
gets immediate profit.

When the Apperson Brothers built w^ith
their own hands the first mechanically sue
cessful automobile, their goal was achieve'
ment of an ideal perfection.

And as Apperson has gi own, this spirit has
never changed. It has kept the Appersons
breaking trail for more than a quarter
of a century. It has endowed every
Apperson car with enduring worth.

Appersons stay at their best a long,
long time. Owners of old Apperson
Sixes and Fours still drive them today,

finding it difficult to believe that the Appet'
son Eight can be an improvement.

Yet the Apperson Eight is a big advance. It
has eighty less parts. Astonishing accelera'
tion — from i to 40 miles an hour in 40 sec
onds. This shows the motor's flexibility
and tremendous power. And the car is so
perfectly balanced that the brake curbs the
speed from 40 miles an hour to a dead stop
in 4 seconds — 40 yards.

These outstanding superiorities reprc
sent the excellence of the whole car
and its every part.

And Apperson excellence endures.
DRIVE an Apperson First —Then
Decide.

Apperson Bros. Automobile Company, Kokpmo, Indiana

APPE as O N

VJhen saa tmte to advertiser please mantion FHOTOPLAT MAGAZINE].

Moving Pictures and Big Business

Strong financial interests coming into amusement
field in substantial way, but small investor should
still avoid the professional moving picture promoter.

A FEW years a.go Photoplav Mao-
AZINE erected a "Look-out-for-
the-cars'' signboard regarding the
seller of motion picture stock.
Enormous profits had been made in
photoplays. A serial company had liter-
ally made hundreds of thousands. The
sudden wealth of the individuals holding
the patents company was compared to
the gold of Croesus. In a night, almost,
the once-despised "movie" had come to be
the greatest, most productive, most profit-
able amusement force on earth. Accord-
ingly, the sharpers threw out their bait,
and the suckers bit.

Organizations that sounded perfectly
tremendous were formed, almost in a day.
The amusement press trembled and
glowed and scintillated with its weight
of dazzling news — news of combines,
amalgamations, great directorial unions,
imposing new studios, heaven-aspiring
production plans, great argosies of au-
thors, fleets of directors, squadrons of
imposing actorial celebrities. It was the
Mississippi Bubble period of the picture,
and there never will be one just like it
again.

There were thousands — perhaps hun-
dreds of thousands — of investors in these
stocks. Possibly a small group made a
little money from its investments. A few
got their money back. The great major-
ity saw their cash disappear like water
thrown on sand — and, sinisterly, some of
this money lives today, in great studios
built one wonders how, or in great capital
behind long-established production enter-
prises which have never yielded a dollar
to any but their promoters.

We are now entering the second stage
of the motion picture giant's expansion.
This is the stage in which the picture is
officially recognized as Big Business, and
in which its highest counsellors take place
in the vast affairs of the world, while the
men of these vast affairs no longer think
it beneath their dignity or a danger to
their purses to openly participate in pic-
ture manufacture.

It is because of this deserved recogni-
tion, this officially acclaimed solidity of
our American Art, that we choose this
moment in which to tell a few plain truths
about an honest, creative industry which
in its exuberant and healthy youth is ever
inviting the harpies, the idlers, the graft-
ers, and all their kindred birds of prey.

There are, and will continue to be, two
opposite but necessarily allied forces in
photoplay manufacture. The creator:
the artist who makes the picture, whether
he be author, director or actor; and the
distributor: the man who organizes and
maintains the forces necessary for profit-
able, steady, systematic handling of the
artist's product. The Nineteenth Century
began an age of specialization which the
Twentieth Century is perfecting, and the
business and creative forces of the pho-
toplay industry must go on, in peaceable

Do not fall for get-ricli-quick talk
from moving picture promoters.

From the "Wall Street
Journal"

WALL Street is goin? into amuse-
ments in a financial way. The
newly incorporated Loew's Theatres
numbers among its directors: W. C.
Durant, head of the General Motors
Corp.; Harvey Gibson, president of
the Liberty National Bank; and D.
E. Pomeroy, vice-president of the
Bankers Trust Co. The Famous
Players-Lasky Corp. is being pro-
vided with $10,000,000 of new capital
with Kuhn, Loeb & Co. backing,
while the du Fonts and the Chase
Bank interests have entered the Gold-
wyn Pictures Corporation.

In view of these developments,
some statistics on the motion-picture
industry should prove interesting to
investors. Gross revenues of picture
theatres in the country are estimated
at 800 millions this year. They were
67s millions in 1918 — comparing fav-
orably with 700 millions gross of
thirteen leading rubber companies —
against but 65 millions in 1907.

In this country there are 15,000
picture theatres with 8,000,000 seats,
nearly every town of 1,000 population
having at least one theatre. Twelve
hundred new houses are being built at
a cost of $72,000,000. Good theatres
cost $300 a seat to build at present
prices, so that at a conservative cal-
culation of $100 a seat, the investment
in motion picture theatres totals about
800 millions. All other countries of
the world now have about 17,500
theatres, an indication of the expan-
sion possibilities of the industry, con-
sidering the fact that American made
films now predominate both here and
in foreign lands.

The 5-cent motion picture show is
gone — admission tickets now run as
high as $2. Change in public taste has
resulted in a demand for higher grade
pictures, and people are willing to pay
higher prices. The first week's box
office receipts of the Capitol Theatre
in New York were $70,000. Pro-
hibition has proven a big boon to
picture theatres, the business doubling
in one western city of 450,000 popu-
lation when the dry law closed 2,700
saloons.

and practical co-operation, as long as pho- i
toplays are made.

At the present time, the most money is t
made out of distribution. Of course we
are not considering, in this discussion, the;
large salaries paid the stars and their con-
ductors, nor the increasing gratuities^
which at last, in all justice, are being ex-
tended the authors. We are considering,,
the returns on the stock of producing or- 1
ganizations versus the returns on the cap-;|
ital of distributing organizations. Nature-
ally some one must remain actively!
concerned in the manufacture of photo- j
plays, or the distributor would have noth-
ing to distribute, but as a whole it is'
financially better to sell than to orig-
inate. Just why this is so need not bej|
fully discussed here — the demand for pic-|
tures and the certain and comparativelylf
easy return on them, as against the tedi-
ous processes and uncertain expenses ofi3
picture-making, are some of the factor

Now the people who are making thi
money as distributors only are invit-
ing no partners. If they need money,
are sound and have good financial rec-
ords, they can get it on a business basis
from their bankers. The bona-fide dis-
tributor is selling no stock to the pub-
lic, nor is he giving away any territories.

The lines of the producing firms
which can operate on a profitable basis,
and are so operating, are equally well
drawn. There are only a few, a very
few, great organizations which are con-
sistent successes. These are solid, com-
pact corporations. There are only a few-
small producers who win, and the small
producer — the independent manufacturer
•who puts all his eggs into one basket of
comedy, or one stellar nest, or one direc-i
toral hat — is certainly in no frame of!
mind to share his limited gains unless tke
participator is also in a position to ven-
ture very generously upon his possibly
unlimited losses.

During the past six months Wall street,
for the first time, has become seriously
interested in motion picture possibilities.
Some tremendous deals have resuHed.
Some colossal financing has been done.
Some unexampled expansion has been un-
dergone. As one result, the newspapas
have printed scare-head stories about the
sky-high expansion of the picture indus-
try, and a chance of riches for every
man, woman and child who has a doDar
to invest.

Unconsciously, these reporters have
played right into the hands of the few
get-rich-quicksters who stfll hang forlorn-
ly about the outskirts of this exceedin^y
lively industry business. But by the same;
token the very friendly hand of Wallj
street, extended toward the established
and reputable picture interests, has made
unnecessary and unwanted the hand andj
aid of what we may term the itinesanl
investor — the man who looks ior a littlf
(Concluded on page 114)

Photoplay Magazine — Advertising Section

BEWARE OF THE LITTLE FLAWS
THAT MAKE ONE HOMELY

It is SO easy to let your skin acquire bad traits

A LITTLE roughness^ a little shine, a
little cloudiness of skin, and one's
looks are gone! It is so easy, too, to let
your skin acquire these bad little traits unless
you know just how to avoid them.

Wind and cold whip the moisture out of
your skin — leave it dry and tense. Then
fcllow roughening and chapping. Skin spe-
cialists say that one can protect the skin by
applying a softening and soothing cream al-
ways before venturing out. Never omit this.

Of course, you can't apply a co/tJ cream
before going out. It makes your face too oily.

skin. At once it disappears, leaving your
skin softened. Now powder as usual and
don't think of it again. The powder will
stay on two or three times as long as ever
before. There is not a bit of oil in Pond's
Vanishing Cream, so it cannot reappear
in a miserable glisten.

When your face is tense from a long,
hard day, yet you want to "look beauti-
ful," remember that the cool, fragrant
touch of Pond's Vanishing Cream smoothed
over the face and neck, will instantly bring
it new freshness. Do this before you go
to a dance.

Beware of allowing your skin to cloud
up and lose its clearness. When this hap-
pens, it is because minute particles of dust
have worked their way too deep into the
pores to be removed by ordinary bathing.
It takes a cold cream with a good oil base
to remove this deeply lodged dust.

Before you go to bed and whenever you
have been especially exposed to dust, rub
Pond's Cold Cream into the pores of the
skin. Then wipe it offwith a soft cloth. You
will say, "How could %o much dust have
gotten into my pores!" Do this regularly
and you will be rewarded by a clear, fresh
skin.

A touch of Pond's yanishtng Cream
before going to a dance gives your skin
«eiv transparency

Lightly touch your face and hands
with Pond's Vaniihing Cream, which
is made precisely for this daytime and
evening use. This leaves your face
smooth and protects it from the weather.
Do this every time you go out.

Does the powder keep coming off
your face, leavmg you all shiny and em-
barrassed ?

Before yoi5 powder, take a bit of Pond's
Vanishing Cream and rub it lightly into the

MAIL THIS COUPON TODAY

One little bedtime

duty that no ivise

woman forgets is the

cleansing with Pond's

Cold Cream

E-ven though you are tired,
you can make yout complexion
especially lo-vely at a moment's
notice

Why there are two kinds of cream —
one without an oil base and one with it

Every skin needs two creams. Do not
forget that the cream which you use for day-
time and evening is especially made with-
out oil so that it cannot reappear in a shine.
This is Pond's Vanishing Cream. It
has no oil and cannot make your face
shiny even for a moment. It is based on
an ingredient which is prescribed by
world famous physicians for its softening
effect. Use it for protection from cold,
for a powder foundation, for freshening
the skin at a moment's notice.

But for cleaning the skin and for mas-
sage it is the cream with an oil base which
you need — Pond's Cold Cream. Use it
nightly before retiring, and whenever you
have been exposed to dust and dirt.

Neither cream will encourage the growth
of hair on the face.

When you go down town, stop at
the drug store or at any department
store and buy a jar or a tube of each
cream. You need never again fear the
little flaws that ruin one's appearance.

POND'S EXTRACT CO. 138T, Hudson St., New York
Please send me, free, tlie items checked :
LJ A free sample of Pond's Vanishing Cream
Li A free sample of Pond's Cold Cream
Instead of the free samples, I desire the larger samples

checked below, for which I enclose the required amount :
LJ A Sc sample of Pond's Vanishing Cream
LI A 5c sample of Pond's Cold Cream

Name._

Street

City ,. State ,....i.....i,..„^... „,.,

PON D'S

CoLd Cream ^
^aniskina Cream

One with an oil base and one without any oil

When you write to advertisera please mention PHOTOPLAY MAGAZrNE.

THE

Jnuinel

A.GNUTT

IN Africa the mother-in-law is no joke. On
no account must a black man look on the
face of his wife's mother. It would bring him
bad luck if he did. It might save us a lot
of family rows if we adopted a few African
superstitions. Then hubby wouldn't have to
make any excuse for staying at the club dur-
ing mother-in-law's annual visit.

TWO Canadian veterans were talking:
"Do you know the difference between a
louse and a cootie," asked one.
"No." answered the other.
"Well, a cootie is a louse which has had
military training."

AWAITERLESS table was recently exhib-
ited. Miniature electric railways, somewhat
on the principle of the cash carrier, connect
each table in a restaurant with the kitchen.
The guest writes his order and drops it into
a slot on the table. A kitchen attendant places
the dishes which the patron had ordered on the
proper train, which stops automatically at the
table. The used dishes are put on the table by
the guest and are whisked back to the kitchen.

IT seems that President Wilson's silk hat re-
vived the cusfom of wearing them in Eng-
land. "As a result," says Tid-Cits, "several
quite decent people are in danger of either be-
ing mistaken for gentlemen or for undertakers'
commercial travelers."

"•yOUR Honor," said the lawyer, "I submit
'■ that my client did not break into the house
at all. He found the parlor window open, in-
serted his right arm, and removed a few trifling
articles. Now, my client's arm is not himself,
and I fail to see how you can punish him for
an offence committed only by on^ of his limbs."
"That argument," said the judge, "is very
well put. Following it logically, I sentence the
prisoner's arm to one year's imprisonment. He
can accompany it or not, just as he chooses." I<|
The prisoner calmly unscrewed his cork arm
and walked out.

A ZEALOUS revenue officer was sent up into
'» a Kentucky district to try to locate several
"moonshine" stills which were known to exist.

Meeting a native the officer said:

"I'll give you fifty dollars if you can take
me to a private still."

"Sure I will," was the reply, as lie pocketed
the money. "Come with me."

For many weary miles over the mountain
roads they tramped, until they came into view
of army camps. Pointing to a soldier seated
on a step inside the square, the native said: —

"There you are, sir, my brother Fred, he's
been a soldiei' for ten years, an' he's a private
still."

"TTHE latest swindling device used by confi-
* dence men in making unwary part with
their money is the "opium brick." The first
victim on record was Wong Tong. a chinaman
living in Montreal, who was persuaded to raise
$5on among his friends for 45 small square
packages wrapped up in Chinese red paper and
tied with red string like opium. They were
filled with blocks of wood.

"\77HERK you bin this hour of the night?"
'''' "I've bin at me union, considerin' this

here strike."

"Well — you can .stay down there an' consider

this here lock-out."

THE fanners around Rapid City. 111., are
raising a great howdy do. It seems tliat
trains running from that city "to the bridge"
are often delayed, and the passengers have taken
to amusing themselves by milking the cows
along the way. "We want precautions taken
against this or the train speeded up," is the
farmer's cry.

STENOGR.\PHERS take notice! The Chinese
Ambassador to the United States owns a
typewriter with over T,8no kcjs. Each of the
Chinese characters had to be hand engraved as
there were no dies of the Chinese characters
available. Imagine taking his dictation!

THE poetic hedgerows of England are doomed.
They have recently been checked up and
found to cover too much ground — 500,000 acres
to be exact. It is pointed out by the board of
agriculture that if only half of that acreage
were put in wheat it would feed 1,000,000 peo-
ple bread for a year.

MAUD — "Your friend. Miss Blank, going to
be married? Why, I had the impression
that she was a woman in her declining years."
Ethel — "OJi, dear no. She's in, her accepting
ones."

PROBABLY the world's marrying record for
men was created by that noto.rious bigamist,
George Witzoff, whose marriages have been es-
timated at about 800. A Boer woman named
De Beer has done more than indifferently well
in the matrimonial game. She has been mar-
ried to seven husbands, is the mother of 58
children and the grandmother of 300 — a decent-
sized town.

MAY — "What did father say when you asked
him if you could marry me?
Harry — "He didn't really refuse, but he made
a very severe condition."
May — "What was it?"
Harry — "He said he'd see me hanged first."

"I HEAR they are eating crows in Germany."

* "Well that's a good way for the people
to help their country's caws."

THE ruby, weight for weight, is more valu-
able than the diamond. A pigeon's-blood
ruby weighing five carats will sell for five times
more than a diamond of the same weight. The
greatest ruby mines in the world are at Mogok
in Upper Burma. Burma, not only produces
the finest rubies, but its output is greater than
that of all other countries combined.

THE latest story of the humorist of the
British royal family. Prince Albert, brother
of the Prince of Wales, which he declares is
true, concerns a teacher who was giving her
class of small children a lesson in "general
knowledge." Presently she produced a photograph
from an illustrated paper, showing Princess
Mary as she appeared a few years ago, with
her fair, curly hair upon her shoulders.

"Who is this?" she demanded, and the class
shouted back in prompt and gleeful vinison,
"Mary Pickford!"

"P\ O you love me?" said the paper-bag to
'--' the sugar.

"I'm just wrapped up in you," replied the
sugar.

"You sweet thing!" murmured the paper-bag.

I^ ILLED bv lightning while standing under a
'^ tree during a storm, it was found, on
medical examination, that the victim's body was
marked with the imprint of the tree.

Such a freak is not uncommon. The markings
on the skin are reddish brown in color, and
resemble photographic imprints of trees or
shrubs.

Lightning, however, plays many strange tricks.
\ girl was once crossing a meadow during a
thunderstorm when .she was struck by lightning.
Although every shred of clothing was torn from
her. she herself merely experienced slight gid-
diness.

In another extraordinary case a man was
killed by lightning while riding a horse through
a storm, but the animal was untouched and un-
alarmed, and carried his dead master home at
a gentle trot.

'T'HE old man from the country stopped in

* front of a picture palace plastered with
posters of lions, tigers, elephants, and other
African wild animals.

"Great giins, Henry!" he .said to his_ nephew,
who lived in town. "I'm glad I'm going home
on Saturday afternoon."

"Why are you so anxious to get away?" asked
the nephew.

Pointing to the notices, llic old chap read
ainnd the words — "To be released on Saturday
night."

IN a voting competition, organized by a
Danish paper. Mary Pickford received 159,-
199 votes, more than 20.000 ahead of her nearest
competitor. Marguerite Clark.

Douglas Fairbanks was top among the men,
his votes numbering 132,128. W. S. Hart came
next, and fairly near him, with 129,565 votes
to his credit. Like the winners, the other
artistes who occupied top places are favorites
also in this country, but, wonder of wonders,
Charlie Chaplin's name was not among theml
Can it be possible that the Danes don't like
him, or have his pictures been overlooked in
Denmark?

"VY/ HY did you snatch the lady's purse?"

*'' asked the magistrate.

"Because, your worship, I thought the change
might do me good," answered the prisoner.

TWO shipwrecked sailors were on a desert
island. They were utterly miserable, pinched
with hunger and cold. The one more wretched
than the other said to his companion, "Can
you pray. Bill?"

"No."

"Can you sing a hymn?"

"No."

"Well," said the first, "let's have something
religious; let's have a collection."

I N Athens goats are marched to the house-
* keepers' doors and milked before the eyes
of patrons. But this system does not prevent
adulteration. The milkman wears a loose coat
with wide sleeves. Around his waist is a rub-
ber bag filled with water, and a tube runs down
his arm. As he milks he presses the tube, and
milk and water flow silently together into the
milk-pail.

"LIEAVENS! Who's this? He's mistaken it
** for an infants' class," one of the exam-
iners at the fifth international shorthand con-
test for the championship of the \yorld is said
to have exclaimed when a certain youth in
knickerbockers entered the room.

But that youth had made no mistake. Veteran
competitors were amused when he sat down at
one of the desks — amusement which turned to
amazement and chagrin when he beat nearly all
of them, winning second place and writing fif-
teen words a minute faster than any writer had
written before in the international contests.

That is how Charles Swem, the official re-
porter and personal stenographer to President
Wilson, first became known, and when two
years later, again in the world's championship
shorthand contest, he established a speed record
of 268 words a minute, they began to crack
the joke that Swem always wrote on wet paper
to prevent the friction of his lightning strokes
setting it on fire.

A SAILOR stood in front of his commander,
'^ a gentleman fierce of mien, and with some
nasty questions on the tip of his tongue.

"Brown," came the stern demand, "what have
you to say?"

"Sir," and the pat answer tripped lightly,
"yesterday afternoon I set out to come aboard.
Arriving at the railway station, I found i had
only a minute to spare."

"Yes," rapped out the commander.

"Just then a band struck up 'The Star Span-
gled Banner' and I stood to attention and
saluted until they had finished."

"Yes."

"Then, sir, by that time the train had gone!"

DISHEVELLED and weary, the stout sub-
urbanite sank gasping on a seat in the
railway station, and glared at the rear end of
the train he liad just missed. To him came
the fussy station-master. ^^

"Were you trying to catch that train, sir?'
he asked, pompously.

The panting would-be passenger_ eyed hira
balefully for a second before he hissed in re-
ply:—

"Oh, no! I merely wished to chase it out
of the station!"

Photoplay Magazine — Advertising Section

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Photoplay Magazine — Advertising Section

Brunswick Again
Brings a New Idea
to Music Lovers

First came The Ultona which intro-
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QUESTIONS

AND

ANSWERS

SggS

V^OU do not have to be a subscriber to Photoplay
■*• Magazine to get questions answered in this Depart-
ment. It is only required that you avoid questions
which would call for unduly long answers, such as
synopses of plays, or casts of more than one play. Oo
not ask questions touching religion, scenario writing or
studio employment. Studio addresses will not be
given in this Department, because a complete list of
them is printed elsewhere in the magazine each month.
Write on only one side of the paper. Sign your full
name and address; only initials will be published if
requested. If you desire a personal reply, enclose self-
addressed, stamped envelope. Write to Questions and
Answers, Photoplay Magazine, 25 W. 45th St.,
New York City.

CATHERINE C, Cranford.— I can'ti'
stand it; I can't. With prohibition
surely upon us — I discovered that
after sampling some new-year's cheer;
with the price of neckties soaring, soar-
ing; with Mary Thurman and Alice Lake
in drama, and Phyllis Haver and Marie
Prevost threatening to dress as if for a
northwestern winter — I simply will not ans-
wer, again, whether or not Dick Barthel-
mess is married.

Isabel A. Marr, Adel.ude. — Yours was a
very charming letter. You Australians all
•write a bit alike — as to form, not substance.
Jack Pickford may be addressed care Gold-
■wyn, Culver City, California.

BiLLiE, Indianapolis. — You certainly are
an up-to-date girl. "Is it true," you ask,
"that Florence Lawrence has retired" and
"'really, isn't Alice Hollister making pictures
any more?" No — and Mary Pickford is no
longer with Imp, D. W. Griffith has
Ijranched out, with his own company, the
Gish sisters are no longer playing small
parts, and Charles Chaplin makes a little
more money than he used to as a Sennett
comedian. It takes a smart feller to keep
up with pitchers these days. You enclose a
snapshot, saying "I'm told I look like Con-
stance Talmadge but I fear 'tis a sad mis-
take.'" Well, said he, clearing his throat in
a deprecatory manner, what should / sav to
that?

H. W. H., Litchfield. — It must be pretty
bad to live in the town which has its first
claim to fame in the fact that E. H. Sothern
and Julia Marlowe used to spend their
summers there. You wouldn't mind it so
much, you write, if you only had good
pictures. But, after waiting months for
"Mickey," when this saucy child finally did
arrive, the film broke in the middle and
then caught on fire. Many of the Zane
Grey books have been filmed by Fox. Bill
Farnum in "The Last of the Duanes."

Marshm.an, Detroit, Mich. — I am no
fiend at answering questions. I am merely
earning my salary, I will have to beg off
in your case, though, even if I get docked
for it; I haven't that technical information
you crave. Sorry. Yes, I like your city
verv- much.

M. B. S., Inquirer. — No, the cleverest
woman is she who can look like an ingenue,
but not think or talk or act like one. "In-
genue" really means a young girl who is
artless, jjigemKmsr-!rrret-in««cent. The per-
sonj^iC&'tion of innocence is always one~of
most appealing forms of drama. Ingenue
like ingenue women, will never cease
be popular. Pearl White is working in
Jew York at present; her first Fox picture^
isVT'he White Moll" now completed. Har;p
Milfefde directed her.

she made a railroad leap from New Orleans,
where she was locationing, to be with him.
You wish you knew Olive? Well, I can
only say you wouldn't be disappointed.
She is much more beautiful that she is in
pictures; I have heard even rival stars say
tfiis.

'1ms,

Patricia II, Australia. — You're right
about many of our rriodern plays, and films,
and books. Every man doesn't have to go
out and kill a couple of lions to prove his
worth. The real struggle of humanity is
the inward struggle — such as, say, Douglas
Fairbanks' after he had eaten one large
onion, one Welsh rarebit, one lobster a la
Newburgh, and a slab of mince pie, in/
"When the -Clouds Roll By." Serious]

Tapioca Blue, Baltimore. — I don't
understand you. You say that we are "so
partial to New Yorkers and Californians."
That isn't true at all, at all. Unless you
mean as regards the stars and companies.
There is no question about that because
very little picture-making goes on outside
these two states. You just start a company
in Baltimore and we'll show you. Viola
Dana, Metro, Hollywood, Cal.

isl/,

■T— I

Advice to Film Stars

(With Apologies
to Herrick)

By
EDMUND J. KffiFER

/^ATHER admirers while ye may!
^ Netv stars are ever dawning;
And these same fans 'who smile to-day,
To-morroisi may be yaiuning.

M. E. W., August.a — I would never make
s9„-bel4— as- to say I— kfltrw~-a lady^'s^ age. I
once told a correspondent that so-aiTd=s©- —
was approaching her eighteenth year and
said correspondent cattily asked, "What de-
tained her?" So I don't like to do that any
more. But, according to the veribest sta-
tistics— for which, really, there is a crying
need in all answer departments — Mary Miles
Minter has been nineteen years on earth.
She has real golden hair and pretty blue eyes.
Next time she comes through here I'll teU_
her hpw much you like her.

though, life is only a series of compromises
with a hard-pressing world. Mar>' Fuller
has not been in films for a long, long time;
she lives in Jersey, I believe. Victoria
Forde is the wife of Tom Mix. Thank you
sincerely for all your good wishes to us.

M. D. B.. New York.— We'll have a
fight to the finish over those initials, milady.
And another over the pertinacity of con-
fiding— on paper — one another's preferences
and prejudices on the stars. Do you want
that I should lose my job? My favorite is
Venus; anyway. Anita Stewart is Mrs.
Rudie Cameron. Mrs. Wallace Reid is
Elorothy Davenport — which is another way
of^teUing you that Wallie is married.

Genevie\e, Oakland City. — You should
read. Life is much more satisfactory when
viewed through the pages of a good book,
in a good library — but not, alas, nearly
so interesting. Jack Pickford took a fly-
ing vacation to New York to spend Christ-
mas with his wife, who is Olive Thomas;

Yvonne R.. Tontiac, III. — ^You're right
about that ; maybe the reason a man doesn't
talk about men so much as women talk
about other women is because a man would
rather talk about himself. I know that I
would. Lila Lee is a great kid; I admire
her stick-to-itiveness. Not many youngsters,
after all the publicity and attention Lila
had would be willing to admit that she
had something to learn about acting — not
only admit it, but take smaller parts to
prove it. Harrison Ford. Write to them
both at the Lasky Hollywood studios.

Write to her care Famous Players ^""y ''^tter yours is— straight to the point arrives. I'll take a chance on its breaking

Margaret of McKeesport. — There seems
to be no reason why I shouldn't give you
Dorothy Dalton's address. Inasmuch as I
can't write to her myself, you might as
well. And then tell me what she says to
you.

New York; or the Century Theatre, same
village. Miss Dalton has been married but
b in the singly-blessed state at present. She
was once Mrs. Lew Cody.

Kathryn M., Chicago. — So you want to
know whether the man named Harry Pollard
who acts in the Harold Lloyd comedies
is the tall young man with the glasses or
the little short one with the drooping mus-
tache. I make answer to that that Harold
Lloyd is not Snub Pollard; then will I
indulge in that form of vice known as versa
and haste to inform thee that
Snub is the little fellow, of
absolutely no interchangeable
identity with Mr. Lloyd.
DonH make that mistake
again, I beg of you. I sup-
pose next you'll be asking
if Phyllis Haver is the big
fat woman who acts so
funny in the Sennett Come-
dies.

Questions and Answers

(Continued)

contract with American is up; she is to
travel around the country with some sort
of a government picture, I understand.

Victor Wegnor, Minn. — What an un-

dread of bombs, poisoned candy, or loaded
cigars.

Naughty Sixteen. — I know I shall suffer
an intense craving until that promised honey

and carrying the earmarks of business. And
so I shall answer in like vein — strictly busi-
ness ! John Bowers leading man with Madge
Kennedy in "Thru the Wrong Door." Wanda
Hawley stenographer in the "Poor Boob."
Bebe Daniels now with Lasky. Mary Pick-
ford played child roles and was in Belasco's
production "The Good Little Devil." Selah.

enroute. Just send it along. The Answer
Man needs sweetening, I'll tell you. Mary
Pickford's hair is golden — honestly golden.
Norma Talmadge's sister Natalie is on the
screen. ''Intolerance" was taken on the
Griffith lot in Hollywood, California.

F. M., Pittsburg. — So you are very much
interested in Thurston Hall. Well, I don't
blame you, though he ought to make a
good impression with 200 pounds. He is

Charlotte, Fort Wayne.
— At ten, the main thing in
life is securing an autograph
of your motion picture idol.
At four limes ten the main
thing in life is to wonder
how on cirth you could ever
admire a man like that. True
love, my child, seems only
to e-xtend itself to young
handsome men with eye-
brows like Wallace Reid's and
hair like Eugene O'Brien's.
If I am ever loved it will
be for my sweet disposition.
Alice Brady, care Realart Pic-
tures Corporation, New York.

Dra\> n by Nunnan Anthony,

M. X. M., Michigan. —
You told me to publish you as
"Mary X., Detroit Only." And
don't ask me how old Con-
stance Talmadge is supposed
to be. Very likely the young
lady is supposed to be as old
as she is. Which is early-
twenty or thereabouts. I am
constantly bemoaning the
cruel fate that ties me to
statistics when I long to soar.
Constance is a bobbed
blonde; not brunette. Don't believe all you
hear, kid. Anita Stewart is medium-bru-
nette. Whatever that may be.

Brooks of Sheffield. — I have no excuse
whatever for answering you, because you
not only break the rules: you step on them
with your — I hope — daintily shod French
feet and smash them into a thousand pieces.
I can't help it; I never saw such erratic

Virginia.— The "Curly Kid" in "The Girl
from Outside" was Cullen Landis. Do you
know his sister Margaret Cullen Landis?
Perhaps you might grow to lite the whole
family. I hope this word of enlightenment
catches your eye before you leave this coun-
try. Do look in on us again,
won't you?

Charles D. B., Ottawa. —
A pessimist is one who, when
laughing, is thinking of the
wrinkles it wUl bring. I'm
afraid I can't help you in that
personal matter. Constance
Talmadge's leading man in
"In Search of a Sinner" is
Rockcliffe Fellowes. Robert
Harron, D. W. Griffith studio,
Hunt's Point, Mamaroneck,
New York. There also you
may reach the sisters Gish.
Why, I never said I didn't
like the Gish girls. As a mat-
ter of fact, there's nobody
in films I like better.

Celia 0., Hansboro. — It -s
very nice to think about tl.e
woman who is made for you.
And it is nice, too, to think
that you haven't met her yet.
Ruth Roland has been mar-
ried. Norma Talmadge
Schenck has an apartment in
Manhattan.

Mademoiselle Fleurette,
Marshalltown. — I have
heard it said, too, that the
early bird catches the con-
sequences. But I forget what
vaudeville team said it first.
Your paper is tres jolie — but
don't, I beg of you, use it
again very soon. My eyes
aren't so good as they used
to be. Dick Barthelmess
played the young brother of
still in pictures. Here are some he has Nazimova in "War Brides" and he was
played in: "Cleopatra;" "The Price Mark;" Marguerite Clark's leading man before he
"The Edge of Sin;" "Love Letters;" "An went with the Grifflth company. He may
Alien Enemy;" "Tyrant Fear;" "We Can't play with Dorothy Gish again but it is not
Have Everything;" "Mating of Marcella." likely.

"Thia is a five-reel picture.

"Yes — four of them explain w^ho directed, photograpked
it, etc., etc."

I hope with these you'll see a lot of him.

B. A. D., Mo. — So my sex is an enigma
to you. Good; if you knew me well you
would lose all interest in me and cease to
typewriting as yours. Why don't you try think me clever. Distance lends enchant-
tying the old machine down once- in a ment, I vow. Casson Ferguson was the

while? Mine skids all over the desk — or
did; now I have it properly trained. I
reprove it by threatening to throw it out
and get a Corona-Corona instead. Some-
times we accept contributions; it depends,
said he wittily, on the contributions.

LoRETTA R., Buffalo. — Don't marvel at
your nose for news. Surely it can't be as
long as all that. Besides, Loretta, I'm con-
vinced that if I'd been conducting this de-
partment for a hundred years instead of
only a few, there would still be women
who had new questions to ask me. Mary
Pickford, her own studios in California;
Mary Miles Minter, Realart; Olive Thomas,
Selznick, New York. Margarita Fischer's

I. D. D., Windham, N. Y.— "Ivanhoe"
was done some years ago in England with
King Baggott and Leah Baird. So you were
writing in a terrible snow-storm; don't you
mean brain-storm? "Sporting Life" was
produced by Maurice Tourneur and released
by Artcraft. I don't know, I am sure, why

"would-be bad man" in "Unclaimed Goods.'

He is 28; has blue-grey eyes and brown hair it is that George Walsh makes up his eyes

and is not married. Address Lasky, Holly- so dark

wood, Calif. He played in "How Could
You, Jean?" as you suspect. Wallace Reid
played opposite Geraldine Farrar in "Marie
Rosa." His wife's pre-marriage name was
Dorothy Davenport. No, to the children
query. Ann Little is the wild mountain
girl character you ask about.

Lilly, N. Z.— Yes, Francis Ford still illu-
minates the screen. His latest is the serial "The

Mystery of the Thirteen." He also directs. I. K. Colorado— You did right, Little

You ask too much when you seek my fav- Nell, in not attempting to deceive the An-

orites. I may have them, but I'm too swer Man. I can see through the slyest de-

canny to mention them. I have a hazy (Continued on page 12- '

Miss I., San Francisco. — There are two
kinds of women: those who fall in love,
and those with a sense of humor. And I
am a man myself, too. Write to Tony
Moreno at the Vitagraph studios in the West.
He is to appear in features upon the com-
pletion of "The Invisible Hand" his new —
and last serial.

Photoplay Magazine — Advertising Section

Cartoon Stars
make bi^money

Sidney Smith, Clare Briggs, Fontaine Fox and other
cartoon stars make from $10,000 to $50,000 a year.
Bud Fisher makes over $50,000 a year from Mutt and
Jeff. R. L. Goldberg's yearly income is more than
$125,000. Yet both Fisher and Goldberg started as
$15 a week illustrators. Ministers, bookkeepers, and
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Cartooning. Don't let your present job hold you back.
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These stars make big money from simple cartoon ideas.
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Wlien you wilte to adveitlsers please mention rHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

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©PHOTOGBflPH BY EVANS

Alice Joyce has a natural
dignity that is as a raised,
arresting hand. She is of
gracious manner, with the
graciousness of one who
softly, smilingly closes a
door ... a mistress of the
fine art of self-withdrawal.

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Behind the eyes that Grif-
fith called wonderful, there
lies a gentle doggedness. It
serves her well, so well that
in a popularity contest she
was conceded to be third
in the list of America's
most popular actresses.

Photograph by Bangs

The Lady of Vast Silences

A study in inscrutability — a delightful
word photograph of a much-beloved star.

ADA PATTERSON

VICTOR HUGO told the world that there is nothing as
fascinating as a wall which may not be passed. I
thought of the French genius and his sage conclusion
the first time I met Alice Joyce.
The tall, slender girl with the eyes of autumn leaf
brown grazes inscrutability. She is a woman of
vast silences. Persons who surround her with
chatter seem as so many magpies. Yet, she
without a word, holds the situation. She
has a natural dignity that is as a raised,
arresting hand. She is of gracious man
ner, with the graciousness of one who
softly, smilingly closes a door. She
is a mistress of the fine, protective
art of self-withdrawal.

In the days of her artistic begin-
nings she went to the Biograph
Studio. It was while David W.
Griffith was its king. She was led
before a tall man who sat on a
high stand and wore a large felt
hat and talked through a mega-
phone. She stood and looked up at
him. Alice-Joycelike, she said not
a word. He said: "Come on in the
crowd just as you are." The girl
tenderfoot in the new land of the
screen construed literally his words.
She joined the group. He called through
the megaphone: "Go and be made up."
A girl actress powdered her plentifully and '^%

she returned. But by that incident, her si- ^'

lence and the gaze of her large, unfathomable eyes,
the star of her hopes to go with the Biograph stock
company to California set.

"Juno?" said the rising sun of shadow land. "The girl that
reminds me of a cow? She has wonderful eyes but nothing be-
hind them. We wont take her. Strike her name off the list."

Cru.shed but not beaten the girl went back to the studios of
the illustrators. While she posed at fifty cents an hour for
C. D. Williams, for Charles Gilbert and Edmund Magrath
and in the styles for the commercial photographers, she
thought of the motion picture studios and their greater
rewards. In this she revealed what was behind
the eyes that the great impresario of the
screen had granted were wonderful. That
something, lodged where he had thought
was vacuity, was a gentle doggedness.
It is still hers. Well has it served her,
so well that in a recent popularity
contest she was conceded to be third
on the list of most popular actresses
in America. The first according to
the vote was Mary Pickford. Sec-
ond, by that rating, was Maude
Adams. Followed, Alice Joyce.

One remembers Alice Joyce for
the reason that one cannot forget
her. After one meeting at the ho-
tel which she has bought with her
star dust I thought often of her. I
wanted again to see her. I craved
more knowledge of her. This not
because she is a star of the first mag-
nitude in the screen heavens. It has
not been given me to see many photo-
dramas nor to know many of the sover-
eigns of shadow land. It was because of
her haunting personality. Because she is a
mysterious, elusive young woman. Because she
teased the character student in me into pursuit.
Because she was "hard to get at," therefore of hundred
woman power interest. A will o' the wisp or a softly shining
planet, obscured often by her myriad reticences — which?

I contrived it — a glimpse over "the wall that could not be
passed." And these are what I saw, the things that lay behind

Photoplay Magazine

r^^Wl^s

'"''^0%^]

■^^u

• /

J^^o

She used to pose for artists — at fifty cents an

hour. But that's harking back a long time —

as you may note by the vogues of these cover

pages, as old as ten years.

''l^>-^/

l' J

the eyes that are as none others. I repeat it, as none others.
For this I have the corroboration of a weatherbeaten woman
who sells postcards of stars of the screen and stage.

"That's Alice Joyce," she said. "There's pretty ones and
there's grand ones and there's great ones, but there's something
in her eyes that none of the others has."

In the peep over "the wall one cannot pass" I found a spirit
that is habitually gentle but that once in a rare while rises and
flames and blazes in defense of its own. I beheld, looking past
that wall, two children at war in a garden. It was a vegetable
garden. To be accurate, as the writing person should, the par-
ticular portion in which the fray occurred was an onion patch.
The combatants were a tow-headed boy of five and a thin
httle girl of eight. The girl was winning the war. By well
administered cuffs and kicks punctuated by angry cries,
she was winning it.

"Will you stop calling me 'scarey eyes'? I can't help it if
they're big and scarey looking. They're all I've got." A re-
minder from a boot tipped with brass. "If you don't quit
saying my mouth's too big for my face and my teeth stick out
I'll bite you with them." A shower of tears. "Don't you
ever say another word about my hands and feet. 'Tain't my
fault they're big. Will you promise? Then get up."

It was Alice Joyce's first emotional scene. The villain whom
she worsted and reformed was her brother Frank. Then her
tormentor, now her most pro-
found admirer.

So Miss Joyce has always
turned upon adverse fate when
it was too painful to be ac-
cepted.

Another glimpse behind the
wall and the eyes unique re-
vealed a habit of decision that
has worked for her weal. As
when she was a pig-tailed,
short-skirted stock girl in a
department store and asked
for a "book." A term in de-
partment store vernacular that
signifies that the stock girl be-
lieves herself entitled to the
honors and emoluments of a
saleswoman. The head of the
department surveyed her high
boots and short skirts, sniffed
her atmosphere of unimpressive
youthfulness and said "No."
Upon which the aspiring young-
ster said something that rhymed

She has been called the screen's Madonna. "I should be sorry,"
she said, "if I thought I -would have no more children."

with his "No" and as snappy. It was "Then I will go."
She had heard of what is advertised as "the ideal occupation
for women," the symbol of which is the switchboard. She
would an operator be. Having qualified and equipped herself
for the said-to-be-ideal occupation she was installed as operator
in a smart Broadway hotel. A male guest tarried beside the
switchboard inviting her to dine with him. Mindful of her
mother's warnings she said what the head of the department
said when she wanted a "book." It was a round, positive,
unmistakable monosyllable, such a "No" as one Captain Myles
Standish dreaded.

The manager of the hotel strolled past. The guest related
his disappointment. "I've been asking this young lady to have
dinner with me. She says she won't." The manager turned
upon her an interrogative gaze. "I said I won't, and I won't,"
said the positive young person. The next day she was informed
that the hotel would "dispense with her services."

Her next employment was with a man-hating female celibate.
The guests shunned the switchboard save for telephoning.
There was good reason. The hotel proprietor was vigilant.
The penalty for an attempted flirtation would have been an
immediate eviction. Alice Joyce remained for three untroubled
seasons. A hotel season is from autumn until summer. The
three months must be filled.
She went a-modeling. Then came the three-day Biograph

attempt and failure. A Kalem
studio man saw reproductions
of her poses in the studios. His
pictures caused a summons
from the Kalem company. She
was engaged for "The Engi-
neer's Sweetheart." "Do you
ride?" "Yes," she answered,
refraining frohi details. The
details would have been of five-
minute rides on the back of a
weary plow horse from a Vir-
ginia field to the water trough.
In pursuit of her new profes-
sion she galloped on a spirited
steed across recurrent and
seemingly endless car tracks.
She fell' off three times. Her
bruises were large and livid and
past counting. Her mother ap-
plied liniment and tears.

The next day Miss Joyce
limped back. She limped
through the week. Her gentle
(Continued on page 95)

Fine LEATHER
makes Fine Shoes

ON sunny mountain slopes flocks of
kids and goats graze under thewatch-
ful eye of shepherds. Some wander away,
scra.nbhng over sharp rocks, pushing
through thickets, and sometimes indulg-
ing in lively fights. They care little that
after their goat souls have gone to the
goat heaven, their hides may supply
the leather for the fashionable shoes of
America.

But only the skins of the good little
kids who mind their shepherds are made
into Vode Kid. For the choicest skins
are selected for this ultra leather.

Vode Kid is found in all the shades and
lasts shown in the smart boot shops. No
matter what your shoe problem you should
be able to find a pair of shoes of Vode
Kid to solve it. Permit your shoe
merchant to help you select the shoes
of Vode Kid which best suit your foot
and blend with your new costume.

Standard Kid Manufacturing Co.
Boston, Mass.

Agencies in All Shoe Manufacturing Centers

Ask for Shoes of Vode Kid

The History of a Word

THE trade-mark "KODAK" was first applied, in 1888,
to a camera manufactured by us and intended for
amateur use. It had no ** derivation." It was simply in-
vented— made up from letters of the alphabet to meet our
trade-mark requirements.

It was short and euphonious and likely to stick in the
public mind, and therefore seemed to us to be admirably
adapted to use in exploiting our new product.

It was, of course, immediately
registered, and so is ours, both by
such registration and by common
law. Its first application was to
the Kodak Camera. Since then
we have applied it to other goods
of our manufacture, as, for in-
stance, Kodak Tripods, Kodak
Portrait Attachments, Kodak
Film, Kodak Film Tanks and
Kodak Amateur Printers.

The name "Kodak" does not
mean that these goods must be
used in connection with a Kodak
camera for as a matter of fact any
of them may be used with other

apparatus or goods. It simply
means that they originated with,
and are manufactured by, the
Eastman Kodak Company.

"Kodak" being our registered
and common law trade-mark can
not be rightly applied except to
goods of our manufacture.

If you ask at the store for a
Kodak Camera, or Kodak Film,
or other Kodak goods and are
handed something not of our
manufacture, you are not getting
what you specified, which is obvi-
ously unfair both to you and to us.

If it isn t an Eastman, it is?i t a Kodak

EASTMAN KODAK COMPANY,

Rochester, New York.

hii -Go'^fieii

Go - ^t

Title Keii. U. S. Pat. Off.

'I 'HIS is YOUR Department. Jump right in with your contribution,
■^ What have you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of absurdities in pictures you have seen.
Your observation will be listed among the indictments of carelessness on
the part of the actor, author or director.

Specs Without Glass — Agaiti

IN "Sadie Love," Mnmjy upon arising rubs his eyes violently
through heavy rimmed glasses. Harold Lloyd, to my knowl-
edge, is the only man who can do this.

Mrs. R. L. Goetz, Reno, Nev.

An Old Habit

ONE scene in Katherine MacDonald's picture, "The Thun-
derbolt," shows Spencer_JUile in ridiijghabit, and after a
lapse of fqurj^fiaxs-Jte-TS-seenin the same haBJt: — -

Constance E. Gawne, Brooklyn, N. Y.

Love Is Blind, Anyway

IN "The Miracle of Love," in a supposedly English scene,
the leading lady is seen reading a supposedly English paper.
But it was the New York World.

M. D., Hartford, Conn.

And Theodore Roberts, Too

WILLIAM FARNUM— "The Last
of the Du&nesl^— makes off to
the . woods with Louise tuvtly^ — Ut&

; heroine, in the morning. He is as clean-
) shaven as a youth. But at night he
.' wears a beard that would have made
Rip Van Winkle jealous.

R. P. Emmonds, Boston, Mass.

I "Hot Dawgs!"

CAN you tell me how this ever hap-
pened today? The hero of "Shock
o' Doom" — Edward Earle — had twenty-
five cents in his pocket. He bought
three hot frankfurters and was
given change!

E. H., New York Citv.

We'd Call Him a Dog Fancier
IN "Soldiers of Fortune"
* the hero — Norman Kern,'
— appears for a flash with
a brindle bull in a ham-
mock. There is a brief cut-
back, and thereafter he is
always seen, in the ham-
mock and elsewhere, with
two Chesapeake water-
spaniels.
Dr. Leon.\rd K. Hirsh-
BERG, Baltimore, Md.

A Searsroebuck Indian

EARLE WILLIAMS, in "The Wolf." plays the part of a
halfbreed, talks broken English, yet wears a store-bought
flannel shirt, immaculate tie, and a cute little mail-order belt
with a knife and hatchet attached thereon. He also smokes
innumerable cigarettes, which he lights with safety-matches.
He leaves on a hunting-trip, returns the following spring —
and we see the same new shirt and belt! As he enters the
village he languidly lights another cigarette. Did he get them
in the "wild northwest?" His hair is always well-brushed and
smartly cut. Never heard of tonsorial parlors near an Indian
camp. Towards the end, he is pursued by the villain and first
we see him by a camp-fire, at night (a sub-title having just

SuHJiis Should Worry!

informed us that it is night) then we see the villain, in broad
daylight, and even though the scenes change several times, we
still witness that phenomena, daylight for the villain — ^^fire-
light for our hero.

William C. Graveline, Attleboro, Mass.

Airy Fairy Dorothy

IN Dorothy Gish's "Turning the Tables," Miss Dorothy fell
•I through a window, landing on the other side amid much
s, etc., yet when an outside view of the house and window
s shown, the window was as whole as before the young lady
fef\ through.

Elizabeth Myres, Los Angeles, Cal.

be He Shaved with the Propeller

IN "Fires of Faith" the American aviator (Eugene
O'Brien) is shot down and remains in hiding a week and
is then shown sailing away in the Hun's machine with a
clean shaven face. G. P. W., Wilmington, Del.

BLUE BONNET" with Billie Rhodes opens with the
child coming into the world in 1898. Later we see
her selling papers at the age of 12 and crying "All about
the .'Mlies' Victory." I didn't know the war was on in
iQio. James Dyer, Pittsburgh.

CORINNE GRIFFITH, as
Blanche Hunter in "The
Climbers," was seen in broad
daylight in an evening gown
feeding the swans, while
Sterling, her fiance, wore
sport clothes. In another in-
stance in the afternoon on
the lawn, her sister was wear-
ing a voile dress and the two
women she was talking to
had on evening gowns.
R. Ryskind, New York City.

How Quicklv Max Cleans Up!
IN "Castles in the Air"
* May Allison throws an ink-
well at the Assistant Man-
ager which completely douses
him as they are fighting. When he hugs her again, she also
gets the ink on her face and her scarf. But in the next scene.
May is spotless, while the poor A. M. still has the ink on.

C. V. Sullivan, Minneapolis.

The Faithful Prop

IN "Smashing Barriers" (sixth episode) William Duncan and
Edith Johnson are escaping from the villain's clutches — in
a wagon. The wagon is rocking dangerously and William and
Edith are having trouble holding on: yet there is a bush on
one side that stavs right along with them for many miles.

H. L. J., Valley View, Texas.
Food for Thought

A SUB-TITLE in "The Isle of Conquest." a Norma Tal-
madge picture, stated that Wyndham Standing was going
in quest of food. But upon returning he had an armful of
wood. Fred E., New York City.

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Maurice Maeterlinck, noted Belgian

poet and playw^right, and Madam

Maeterlinck, on their arrival in New

York.

^- ^W

W.de W orld Photo

More Beautiful Than
The Elephants

An impression of a little visit with
Maurice Maeterlinck

By
BETTY SHANNON

I HERE were six of us in the not
large brown limousine — and one of
us was Maurice Maeterlinck. I have
said that the limousine was not
large, therefore you may know that we were
snugly packed. For Maurice Maeterlinck,
as his picture will attestify, possesses six
feet of vigorous, rugged person.

It was tres jolie. So at least said Mme.
Maeterlinck, whose picquant face with its
living brown eyes and its honey curls under
her beaver hat of a pastel green expressed
many delightful and humorous ideas of the
situation that she lacked the words to say
in English. The rest of us thought so too.
Even Monsieur Maeterlinck who sat in the

corner politely bunched up inside his brown
overcoat to make more room beside him
on the back seat for Madame and the wife
of Mr. Henry Russell, his personal manager
and friend, seemed not to mind it. The
dignified Mr. Russell, an opera director well
known both in Europe and America, rode
outside with the driver. Mr. Felix Isman,
a friend, knelt on the floor, and I sat on one
of the collapsible seats, twisted about so
that I could watch the serene face of the
great Belgian poet, philosopher and dramat-
ist with its very blue, kindly eyes, its
generous mouth, its almost boyishly stub-
born chin, its sturdy wholesomeness.
(Continued on page g2)

When you write to advejtisers nlease mmfi.

T'TfOTflPT.AV \fA«l7TVT^

Photoplay Magazine — Advertising Section

^Tm Waiting for

To-morrow to Come

All the hopes and longing of youth and love are packed
into this wonderful song. Its simple melody has a sympa-
thetic quality that appeals to everybody, a lilt that stays in
your memory.

When you want to be sure of having a good time, sing
Stasny Songs. They are always welcomed in any com-
pany, because everyone likes to sing them and to hear them
sung. They are just right in the home, when a few con-
genial people are gathered around the piano. They make
a hit in theatres and restaurants. There is a universal
appeal about every one of them that goes right to the heart.

Other Stasny Favorites

Every chap that has
ever dreamt of a lovely
girl will like this song
— every girl that has
ever hoped to be dreamt
about will love to hear
it sung. It's easy to
sing, delightful to listen
to. VOU should get it
for your piano TOD A V. pjeam Gill

,00^ M'JMl. bj

CLEVELAND

VOCAL
One Happy Day
That's Why I Love to Live
Just a Kiss
That's Why I Call You 'Dear'

INSTRUMENTAL
Blue Bird Inspiration
Love's Garden
Dream True
An Autumn Day

C^ Q 1 Wherever the better grade of music
\_yil \JiXL\^ jg sold. If your dealer is out of these
Stasny Song Hits, we will send them to you for 40c

a copy, any three for 31-00, postpaid;

orchestra 2Sc each.

The mystic East will
cast its magic spell over
you when you hear "My
Desert Fantasy." It
carries with it a breath
of the Orient that will
•tir you strangely. Don't
miss it. Get it from your
music dealer today It can
be had either as an instru-
menr.il or vocal number.

.W-S/asnyiVusiC ^.^

Get them from your

dealer for your

TALKING MACHINE

My Desert Fantasy

Lyric tiy
VRANCIS HAMILTON
Refrain

Music fty
ROBERT REID

Get them from your deafer
for your PLAYER PiANO

56 West 45th Street, New York

When you wiite to adve tiscrs please meat on PHOTOPL.\T MAGAZINE.

Fleet-log u a t]« ion faic^™ Your m*^

PfioTOPi.AY Magazine — Advertising Section

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More Beautiful Than the Elephants

(Continued from page go)

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of LA MEDA COLD CllEAMKD POWDER

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NAME

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I usually buy my toilet goods from

It was the day after Christmas, the day
before the premier of MaeterHnck's "The
Blue Bird" as an opera at the Metropolitan
Opera House in New York.

We were on our way to the movies. Not
to a regular motion picture theatre — there
would not have been time for that, since
"The Master" and his wife and his manager's
family were due to call on Mary Garden
in an hour. But we were progressing as
fast as Madison Avenue crossways police-
men would permit us to the office of one
of the Kinogram typical weeklies that had
made a picture of Monf.ieur and Madame
before landing from the boat which brought
them to .America. The picture had not yet
been presented in the theatres. But they
could not wait to see how they looked, dear
souls. Especially Madame ! Before the war
— before she became the second wife of the
great Maeterlinck, when she was still Renee
Dahon the actress — she had played in two
pictures in Paris. She hopes to do dramatic
work again for the screen.

While we exclaimed over the tiny blue
bird in a wee crystal cage attached to a
delicate chain which Mme. Maeterlinck
fetched out of its leather case to show us,
and while we laughed merrily at nothing at
all but that we were so crowded in, Maeter-
linck looked out, for the most part, on the
mid-afternoon turmoil. It seemed to con-
fuse him. even while it interested him.
Perhaps its very restlessness brought into
the mind of the great nature lover who
recorded "The Life of the Bee" the picture
of his peaceful bee hives, the beloved seclu-
sion of his home at the old Abbey of Saint-
Wandrille.

Occasionally he would join in with us.

He did not know how he liked .\merica
yet — "I go where I am taken and make no
outcry,'' he said with expressive gesture.
"I am always in notre limousine. I see
only the avenues and these" — pointing to
the high buildings.

Mr. Isman suggested that after all the
high brows were through showing him the
things they thought he ought to want to see,
he would take Maeterlinck and his wife out
to see the famous white lights. This
brought a radiant "Merci" from them both.

Maeterlinck could not understand the
curious, aggressive ways of the American
journalists in search of interviews. They
overwhelmed him. (Even at that moment
he was being sheltered from hundreds of
them who were trying to break past the
protective barrier reared by the sympathetic
Mr. Russell to bombard him with questions.
Neither Mr. Russell or Monsieur Maeter-
linck knew that I belonged to the clan — or
I am afraid they would never have con-
sented to letting me arrange this enchanting
movie party.) Three weeks before sailing
date he had cabled Mr. Russell in America
saying he could not come. But out of
deference to the committee of fashionable
American women who had laid the plans
for a "Blue Bird for Happiness Campaign''
he reconsidered his decision.

Maeterlinck had never seen the motion
picture version of "The Blue Bird," which
was produced in this country about two
years ago. He had missed it when it was
shown in Paris. He does not like Paris — "it
ees too cold." He would be "ver' glad" to
see "The Blue Bird" photodrama while he is
in America — especially after he had seen the
opera, so he could compare the two.
Madame wished to see how the role of
"Tyltyl" appeared on the screen, for she
was the creator of that part in the play in
Paris. Monsieur was afraid that the story
would have lost much of its imaginative
quality in the screening.

He did not want to talk of the lectures

he had come to America to deliver. Madame
said, "He ees so scairt — like me. He has
almost, what you say, the cold foot. He
work ver' much to learn English — on the
boat, every day here. I think he will not
be scairt when he make his lecture."

Maeterlinck was wrapt in a more or less
aloof dignity during our crowded journey,
but he expanded into a delighted child when
we were seated in the projection room be-
fore the screen on which his picture was to
be thrown.

I had the place of honor beside him.

While we were waiting for the room to
darken and the picture to begin I learned
that he is an enthusiastic picture fan.

"Ah — we go often to the picture theatre —
we lak it much," he said happily, "they are
gude. The Americaine picture I lak most —
it ees best of all in Europe. Of all who
play I lak Bessie Love" (he called it Bessie
Luve). "She has the purest art. We look
for her tous le temps. We lak William Hart
—not so much Charlie Chaplin. He ees not
— he ees wulgar."

It occurred to me that Mme. Maeterlinck
herself looks like Bessie Love. I said as
much. It brought a pleased protest from
Madame, though I believe that Maeterlinck
himself, though he did not say so, agreed
with me.

"I do not luke lak Bessie Love," she said
modestly. "Bessie Love is ver' pretty."'

Now the picture began — opening with a
subject showing the celebration of Armistice
Day in India.

First was heralded the arrival of a great
many podgy Rajahs, clad in flowing robes
which did nothing to conceal their unbeau-
tiful figures.

"They are stoofy," observed Maurice
Maeterlinck in his best English.

"Stuffy," corrected the younger Russell
who stood at his elbow.

"La la — la la — magnifiqiie!" he exclaimed
at intervals as a procession of gorgeous
elephants, heavy in priceless trappings of
silver and gold, lumbered across the screen.
And then (in French which again taxed the
translating powers of the lad at his side) —
"We shall not be_ so beautiful as the ele-
phants!"

There were other subjects on week day
topics before the rose tinted picture of the
mist enshrouded ship on which Maurice
Maeterlinck and his wife crossed the ocean
for the first time flashed on the screen.
When it did Maeterlinck stirred and moved
imperceptibly forward in his seat. It was
beautiful — tres, tres jolie, tres bien and all
the rest. And the elephants were com-
pletely outshone.

After that there was nothing to stay for,
so we left — "The Master" and his party
with many cries of "Merci! Merci" to visit
Miss Garden, and I to go about my work.

It did not really matter that I had not
tried to coax Maeterlinck into betraying his
ideas of the psychology and the philosophy
and all the other ologies thinkers are be-
ginning to look for in the motion pictures.

It did not matter that he had not talked
to me, in his quaint, uncertain English, on
life after death — the subject on which he
had come to our shores to lecture.

Let the high brows pin him down and
probe him for that. I had seen him throw
back his head, with its wilful silver hair,
and laugh like a child at motion pictures.
I had seen him relieved of all embarrassment
and shyness at being in the presence of
strangers. I had caught a glimpse of that
great simplicity of soul which makes "The
Master"' love and write about little things.

I saw him again the following night at
the premier of "The Blue Bird" at the
Metropolitan. I was standing at the stage

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

More Beautiful Than the
Elephants

(Concluded from page g2)

entrance, waiting to be let in past the
inexorable ticket taker, when Monsieur and
Madame arrived with their party.

Madame looked like an exquisite flower
in her pale evening dress trimmed with gold
lace showing under her fur wrap. In her
hair was a garland of yellowish-pink rose
buds. In her hand she carried a formal
bouquet edged with a shelf of stiff paper
lace, which reminded one of nothing so
much as the prim little maids of long ago
in their lace edged pantalets.

Maeterlinck himself wore the same brown
coat, with its youthful belt, over his evening
clothes. His gray hair, parted well to the
back" and brushed forward and around his
head, was more tractable than the day be-
fore. He had a more shy expression, as if
he were dreading the necessity of facing \\\i
thousands of eyes which would shortly be
focused on him.

When they saw me, they stepped forward
with the simplest cordiality and greeted me,
with very correct, "How do you dos."

There was a great clapping of hands when
they entered the honor box in the middle
of the horse shoe, draped with Belgian and
American flags, and again when Maeterlinck
appeared on the stage after the third act
with Albert Wolff, the composer, who also
conducted the opera.

I did not hear Monsieur's first lecture on
"The Unknown Shore," which he himself
prefers to name, "New Proofs of Immor-
tality." But it is a matter of history that
his immature English — acquired in two
months — failed him. The lecture had been
written out phonetically thus, — "Aie ondre
stann tha mannale aixpeh tha aie brinn ae
maissija ov dhe waugh." It was finally
necessary to send to his apartment for the
English and French versions of his talk, so
that he could read in French a paragraph or
two, and that the Rev. Merle St. Croix
Wright might make it clear by reading the
same in English.

Translated, this is what the phonetic in-
troduction means, "I understand that many
expect that I bring a message of the war."
No wonder Maurice Maeterlinck got con-
fused.

Mary Pickford
— Director

Demonstrating that
often a little girl can
best direct little girls.

By
LEWIS RUSSEL

OW are you all ready for the pic-
ture?"— (I recognized that clear
voice, but where was Mary? Oh
yes ! Under a table, on her hands
and knees!) "Remember, now, I'm a big
old bear, and I'm going to get you if you
don't do just what I tell you ! G-r-r-r-r-

Three delighted peals of childish laughter
showed plainly how excited was the imagina-
tion of three dimpled little girls. Robed
only in cherubic smiles and angel wings,
they sat on a studio-cloud or climbed golden

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Photoplay Magazine — Advebtising Section

Mary Pickford — Director

(Concluded )

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"The little girl ■who does the very best will get a lovely
little toy dog! (As well as some candy. Ed.)

dream-stairs, at the commands of the star-
director. Mary Pickford crept from her
bear-cave, laughing, and rewarded the three
little angels with chocolates.

"Now" she called to the cherubs "we are
going to take the picture.'' (Sotto voice to
the electricians, "Don't turn on the lights
until we try them once more.") Rehearsal
went splendidly. Then:

"All right — now we'll do it again (ready,
boys) — and I'll tell you what," — three little
heads bent eagerly her way, — "the little girl
that does this the ve-ry best — is going to
get — a love-ly little toy dog!" Gasps of
astonishment, then with childish cunning a
little voice called:

"Miss Mary,— with a bell on it's neck?"

"Yes sir, with a bell !— Lights — Camera !
Now — slowly, Marjorie, go on up— look at
Dorothy — noii.'. take it away from her —
good — fine I"

"Miss Mary," coaxingly, "do / get the lit-
tle doggie?"

"Wait, dearie, till we try it again." (Aside,
"Did you hear that cute little thing?")

Back and forth she went, arranging posi-
tions, studying effects. All unconsciously a
cherub took a wonderfully graceful position.
We caught our breath, eager to call her at-
tention. Never worry, for —

"Hold that, dearie, here, — just like you
were," Mary Pickford had caught it in-
stantly !

"O!'' gleefully, "I can see myself in your
eyes. Miss Mary !"

"Now cover up and drink this hot milk"
(It was the third time these small players
had been given hot milk.

In the midst of it: — "Miss Mary, — Miss
Ma-ry — Miss Mary, dear, can I have a real
live doggie?"

"Well, maybe, we'll see!" (Oh, the
scheming of these precious little angels.)

Another half hour of work, with endless
questions, then suddenly:

"Miss Pic-shurd, when will our dogs be
here? '1st in a minute? O my dog's going
to be so lit-tle it can't open it's eyes!" (One
dog has grown to three!)

"Miss Pic-shurd!" repeated Mary aside
to us, "Aren't they dear? You know they
have been so wonderful I think we ought
to give them three real dogs, don't you?
If their mothers will let thean have them.''

Little Dorothy had been studying the
patient star-director, who had been making
a game of work for them, and suddenly she
reached a satisfactory conclusion of her
own. Leaning over, affectionately, towards
Miss Pickford she declared with conviction,

"Why you're just a little girl!"

No wonder she is so successful with them
when, after two hours of hard work, she
can leave them with that feeling. Perhaps
the secret of it is that after all she is, at
heart, "Just a little girl."

Photoplay Magazine — Advertising Section

The Lady of Vast Silence

(Concluded from page 86) ■

doggcdness had been crowned by a gold coin.
The reward for her services that first un-
forgettable day should have been five dol-
lars but because of the horse and the falls
and the bruises and her dry eyed victory it
was ten. Success beckoned her. She went
to the land forbidden her by the Biograph.
Soon she became a personage in picture
land.

California was a fairyland that stirred
memories of her childhood, a warm emo-
tional, beauty loving childhood. But not a
soft one. Her father and mother had sep-
arated. Her mother had turned seamstress.
The small Alice spent hours of silent de-
light in the workroom, caressing brilliant
bits of cloth. One day she broke her usual
silence.

"Look, Mother! Lovely!" Her mother
went to the window. The small girl stood
enraptured before an effect she had produced.
With a scrap of red calico she had in part
covered a cluster of growing violets.

"Yes, dear, Beautiful !" Her tired mother
went back to her work saying "I shouldn't
wonder if Alice would be a dressmaker too."

Tastes are character indicators. Further
peering over the Joyce wall revealed that
she likes old friends best ; that friendships
mean much to her; that the qualities she
seeks in a friend are sincerity, frankness,
simplicity.

She has a gentle, impersonal satisfaction
in her deserved fame. But it is impersonal.

"The year that I left the screen and
stayed at home to take care of my baby
Alice I learned a great deal" I heard her
say: "When I met persons and was intro-
duced as Mrs. Moore people paid very little
attention to me. If someone said 'That is
Alice Joyce,' it was very different. It was
chastening to know that as myself I didn't
interest the passing crowd."

She was Mrs. Tom Moore. Was, not is,
for two years ago the New York courts
severed their bonds at her request.

"I brought the suit because my husband
requested it," she said. "Afterwards he
changed his mind but the suit had gone too
far. It was better for our daughter. It is
better that a child should have half a home
or rather two homes, than that she should
live in an inharmonius atmosphere. Mr.
Moore is a fine actor and fine man. But
our tastes and habits were different. We
became like strangers. Alice is devoted to
him. When we are both in the city we go
to plays together. We are friends."

The future of Alice Joyce is like herself,
nearly inscrutable. There remains two years
of a contract with the second company that
her talents have served, the Vitagraph. Her
art has steadily and swiftly improved. She
has a huge following. The Joyce "fan"
waves in a continuous breeze. Her future
rests in great part with herself. When^ her
contract expires will she retire, at thirty-
one, to a new alliance and new domesticity?
A' strong, almost fierce maternal instinct,
hides behind the eyes of "Juno." "I should
be very sorry if I thought I would have no
more children," she has said. But she be-
lieves that divided interest means only par-
tial realization of potentialties.

"I don't know just what I want" she says.
"I do know that whatever the picture I have
done I always want to do better. I always
have a sense that there is something better
farther on."

One of the famed Vienna bronzes is of a
prostrate woman reaching eagerly toward
something invisible. The strain and pain of
the reaching show in her thin far-stretched
arm, in the slim fingers stretched to their
farthermost point. My last glimpse of Alice
Joyce recalled to me that Vienna bronze,
slim, brown, shining, reaching — For what?

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Real news and interesting comment about
motion pictures and motion picture people.

■ARY PICKFORD may be billy-
wested very shortly. To save Miss
Pickford the tedious task of stand-
ing in front of the camera merely
for the purpose of getting the focus and
height range before even rehearsals can
begin, a search was made for a girl her size,
just to do this and nothing else. The young
person began to regard herself as Miss
Pickford's double or understudy, and one
day showed up with long curls and in a
gingham dress something like Miss Pickford
was wearing in "Pollyanna." She looked
about as much like Mary Pickford as billy-
west looks like Charles Chaplin, and had
quite a lot of photo-
graphs made which she
has been sending around
to various publications.
These are accompanied
by the same sort of de-
claration all other im-
itators make, that she is
not going to do imita-
tions, of course, but will
depend upon her own
originality and talent.
There is nothing more
for Miss Pickford to fear
in this, of course, than
there has been for Mr.
Chaplin to fear from
billy west. As has been
remarked previously in
this compendium of in-
formation and entertain-
ment, it is a simple
matter to imitate a face,
but something entirely
different and more com-
plicated to imitate what
goes on behind that
face.

IT used to be the stars
that the producers
worried about and
locked up o' nights to
keep them from stray-
ing, but now it begins
to appear that players'
contracts are fairly per-
manent affairs, and it is
the directors whose feet
grow uneasy. The latest
controversy concerning
a member of this pro-
fession is between Uni-
versal and Allan Hol-
ubar. Mr. Holubar and
Mrs. Holubar, the latter
better known as Doro-
thy Phillips, said along
in December that they
were leaving the Laem-
mle fold to go it on
their own, but Mr.
Laemmle said such could
not be, and hastened
across the well worn
Santa Fe trail.

At the moment of writing this gem of
prose the question of Mr. Holubar's right
to carry out his plan had not been settled,
so with bated breath, dear reader, you must
wait for the next issue.

By Cal York

ETHEL CLAYTON has completed her
new home in Hollywood and furnished
it elaborately, many of the unique decora-
tions being accumulations of the trip she
made through the Orient, shortly after the
death of her husband, Joseph Kaufman.

OLLYWOOD is to have a parallel to

Coirner used pp be to New York theatrical
fol\. That^nstitution welcomed players
whefr-tb^-'^ofession was regarded as not
quite respectable — back in the eighties. Now
the Rev. Neal Dodd proposes a beautifully
designed and charmingly located institution

This young brunette absolutely refused to smile during the filming

of a picture until Pauline Frederick picked him up and coaxed him

into it. Every scene in which he appeared had to be personally

directed by Miss Frederick.

to be known as St. Mary of the Angels,
primarily for the picture colony, which in-
cludes so many shades of belief and unbelief
that he thinks a broadly conducted church
should be popular. Already a small tempo-

rary building has been erected on property
donated for the purpose, and subscriptions
are being taken for a building fund.

SEEMS that the news that Gloria Swan-
son was engaged was true, if a bit pre-
mature, and if also it allied her to the wrong
man. The Los Angeles gossip, printed and
everything, had it that she was to marry
a Pasadena millionaire or something. Now
the duly authenticated information is re-
ceived that the gentleman's name is Herbert
K. Somborn, who is president of the Equity
Pictures Corporation. They were married
about the first of the year. Miss Swanson
is one of the Sennett
graduates who has
achieved serious star-
dom.

METRO wanted to
make certain scenes
of "Alias Jimmy Valen-
tine" in a real prison and
sent the location grabber
to both San Quentin and
Folsom, the California
penitentiaries. ''Say,
those wardens are just
like Hollywood land-
lords," the agent re-
ported. "They have a
rule barring children,
dogs and moving picture
actors."

J.\CK DEMPSEY,

whose claim to fame
lies in the fact that he
rocked Jess Willard to
sleep last July, is to ap-
pear on the screen in a
picture now being made
at the Brunton Studios.
The first and inevitable
press agent stor>- has to
do with a person on the
lot insulting the pugilist
and refusing to retract,
whereupon he is
knocked down and out.
When he recovers, the
story goes on, he is told
the name of the man
he insulted, whereupon
the reader is expected
to laugh heartily We
nearly laughed at this
when Sullivan was beat-
en by Sharkey. Of
course the story isn't so.

MRS. PAULINE
GARRETTE
KIMBALL, wife of Ed-
ward Kimball and
mother of Clara Kimball
Young, died at her home
in Hollywood Dec. 12.
She had long been ill
but the malady did not
take an acute form until about two weeks
before her death. Mrs. Kimball was born
in i860, and in her early years was one of
the noted beauties of the stage. She and her
(Continued on page gg)

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husband appeared together in numerous pro-
ductions. She played in a number of pic-
tures with Vitagraph and World while Miss
Young was starring with those companies,
but retired from active professional life
several years ago. Her husband, who ap-
pears frequently in their daughter's pro-
ductions, survives her.

THEY used to tell about a brand of
moonshine whiskey that would make
a rabbit spit in the eye of a bulldog. Per-
haps that was what one of the e.xtra men
at the Lasky studio in Hollywood had under
his belt one day in November. Adolph Zu-
kor, head of the Paramount-Artcraft-Fa-
mous Players-Lasky interests, was visiting
the studio and taking life easy. Stretched out
in an arm chair he was watching the making
of a scene in "The Sea Wolf," when the
"extra" charged past from his dressing room,
and stumbled over Mr. Zukor's feet.

"Can't you keep your dogs in their
kennel?" he growled.

Did Mr. Zukor rise in Olympian wrath
and demand the ejection and permanent
banishment of the boor? He did not. He
apologized humbly.

A few minutes later the "extra" learned
■ the identity of the quiet little man — and he
hasn't been seen since.

CONWAY TEARLE has been secured by
Harry Garson to play opposite C'ara
Kimball 'Voung in "The Forbidden Woman."

Plays and Players

(Continued from page g6)

Mr. Tearle last appeared as leading man for
Miss Young in "The Foolish Virgin." Tearle
is reported as being the payee of a $2,500
check every week for his services.

WHILE in France as a member of the
Signal Corps, George E. Marshall, di-
recting Ruth Roland, was captured by Made-
moiselle Germaine Minet. He has returned
to Los Angeles with his bride. Although
pretty and vivacious Mrs. Marshall is quoted
as saying, "I have no wish to enter ze
pictures."

CECIL B. DeMILLE, director-general
of the Lasky Studio, has returned to
Los Angeles from New York and declares
himself more of a Californian than ever.
He says he does not like the scenery, the
climate or the police force in New York
which indicates that there is no immediate
likelihood of the removal of the Lasky
Studio to the east. His company was ar-
rested while working on location in New
York City.

tIc^j ; DEMPSEY, the heavy weight
iJ chjjt^fpion of the world, is at work at the
Rnintoh Studio on his first Pathe picture.
His"~Ieading woman is Josie Sedgwick.

THE George Beban Company is now
working as an individual producing or-
ganization at the Katherine MacDonald
Studios.

EDDIE POLO is going to South America
where he has planned to film the last
three or four episodes of "The Vanishing
Dagger," the serial on which he is now
working at Universal City. Heretofore the
only films made in South America have been
scenics. Besides filming the serial. Polo will
make a personal appearance in every im-
portant theater.

ROSCOE ARBUCKLE has announced his
intention to make New York his fu-
ture producing center.

FRANCIS X. BUSHMAN and Mrs. Bever-
ly Bayne Bushman stepped into the
limelight in Los Angeles in December, choos-
ing for their venture a spokie by Edward
Rose, "The Master Thief." The former film
favorites themselves made a rather good im-
-pression upon the audiences at the Mason
Opera House, and the film colony turned
out in large numbers, but the play — well,
there is a report that somebody is going to
shoot it exactly as is for a roaring comedy.
And it wasn't supposed to be funny.

FLOURING" an elephant is the latest
stunt in photoplay production. The
scenario of Madge Kennedy's picture "The
Blooming Angel" called for a pink elephant.
The owner of Eno objected to the use of
paint or whitewash, so they tried covering
her with flour. Eno developed a liking for
the stuff and kept sucking it off with her

For a long time motion picture men Wave tried to invade the sacred precincts of the 'Waldorf Astoria, one of Manhattan s oldest and

best hostelries. Most of the other famous hotel lobbies of New York have been location scenes at one time or another. But the

Waldorf only capitulated lately, when Owen Moore, Seena Owen and Director Ruggles walked in and set up their lights. Note

the powerful light focused on Moore and Miss Owen, in the center foreground.

lOO

Photoplay Magazine — Advertising Section

Plays and Players

{Continued)

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Commencement Manual full of New Ideas and Plans.
CatalogFree.T,S.Denison&Co.Dept.76 Chicago

What does this mean, Mr. Sennett? Dressing up your best brunette-\vater-baby

in eccentric clothes! Marie Prevost is one comedienne who has some other excuse

for wearing a bathing-siiit than that it becomes her; shs can really sw^im.

trunk. It kept a force of property men busy
all morning applying fresh flour, until she
lost her appetite for it.

CECIL B. DeMILLE is anxious to do
some stage directing once more. He
will take advantage of the first available
opportunity to produce a play by Edgar
Selwyn, featuring Gloria Swanson in one
of the principal roles.

T ACK PERRIN, leading man in the Uni-
J versal serial, "The Iron Man," went
through five months of sensational scenes for
the thriller, and then sprained his ankle go-
ing down the front steps of his new Holly-
wood home, injuring himself so badly that
he had to lay off work for two weeks.

FDWARD CONNELLY has been selected
to play Nathaniel Berry in the Metro
production of "Shore Acres." He played
in "Shore Acres" with James A. Heme for
five years. At the time of Mr. Heme's
death his widow selected Mr. Connelly to
Ijlay her husband's role in an English pro-
duction. It is said that he can play "Uncle
Nat" as Heme played it — every shade of
emotion the same.

RICHARD TU.;KER, now supporting
Pauline Frederick, has the unique dis-
tinction of having been officially "killed"
more than once. Through some unaccount-
able error his name appeared in the "killed
in action" casualty list three times. While
his friends were bemoaning his fate he was
fighting in the Third Division, where he was
promoted to a captaincy for valor under
fire.

LOUIS^XOVELY has been engaged by
Wimzrd Fox to support William Farnum
in alf the"' features he will make on the
coast wext year. Miss Lovely will be the first
leading\wpman to be with Mr. Farnum for
a run ofconsecutive pictures.

LIONEL BELMORE, who has returned
from a lengthy tour of Australia with
the Guy Bates Post company, is now ap-
pearing in Goldwyn productions.

A PRESS AGENT with more nerve than
anything else plastered Los Angeles
— probably other cities have had the same
experience — with a poster looking something
like this:

PROCLAMATION

On and after November 30, 1919, all
women between the ages of 18 and 37 are
hereby declared to be

"COMMON PROPERTY"

(Signed) Ivan Ivanoff,
Bolsheviki Minister.

The thing was,
ment for the film

of course, an advertise-
"Common Property," but
the Los Angeles women's clubs didn't like
this method of publicity, and had the press
agent arrested and fined. But as the fine
was only $S the press agent is still bragging
about it.

OTTIE PICKFORD has filed a suit for
divorce from her husband Albert G.

Rupp, a New York broker,
desertion.

She charges

Etery advertisement In PHOTOPLAY MAG-\ZINE is guaranteed.

Photoplay Magazine — Advertising Section

lOI

Plays and Players

(Cotitmued)

WARNER OLAND, who likes to prowl
around Oriental shops ever since he
played the Japanese spy in "Patria," was in
a store making a purchase, when a flashily
dressed woman of the nouveau riche type
came in and asked for a tin Buddha to use
for a mail box. The Chinese clerk, aston-

^Vliat do hands signify ? This is
Lieut. O. L. Locklear, daredevil avia-
tor who was an aerial instructor at
Kelly Field, where he was arrested
for "deliberately risking his life and
government property ... by leaping
from one aeroplane to another in mid-
air. His daring saved him from more
than mild censure and he continued as
instructor during the war. Some of
his sensational ]umps furnish the theme
for "The Great Air Robbery," a
Universal thriller.

ished, asked her if she knew who Buddha
was. "No," came the answer, "Who is
she?"

SO far as official recognition and outward
appearances were concerned, prohibition
went into effect in Los Angeles several-
months before they paid any attention to it
in San Francisco. Thomas Meighan was in
the city by the Golden Gate doing some
location scenes, and tells this story, which
may or may not be literally true:

"I was in a place where they sell, among
other things, lemonade, when a man carry-
ing a suitcase rushed in, dropped his bag,
and wrote on a piece of paper, "Give me a
drink, quick." The clerk seemed to under-
stand, and handed him the old red-eye
bottle. The man poured out one, gulped it
down, and wrote again, 'Give me another
and the check.' The clerk handed him the
bottle again, and wrote on the paper, 'No
charge to deaf and dumb people.' The
stranger took the second drink, and cleared
his throat:

" 'I'm not deaf and dumb,' he said. 'I just
came in from Los Angeles and I was so dry
I couldn't speak.' "

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When you write to advertisers please mention PHOTOPLAY MAGAZINE.

102

Photoplay Magazine — Advertising Section

Cnmdma Knows
MusterolekBest

Remember the time w^hen
you had that dreadful con-
gestion of the lungs— and
Grandma slapped a stinging,
messy mustard plaster on
your chest? How you
writhed and tossed and
begged Grandma to "take
it off"?

That was many years ago.
Now, Grandma gets the jar
of Musterole, for now she
knows Musterole is better
than a mustard plaster.

She knows that it relieves
colds, congestions, and
rheumatic aches and pains.

And what is best, it re-
lieves without discomfort
or blister.

Musterole is a clean w^hite
ointment made of oil of
mustard and other home
simples.

Just rub it gently over the spot
where there is congestion or pain.
It penetrates down under the skin
and generates a tingling, pleasant
heat. Healing Nature does the
rest. Congestions and pains both
go away.

Peculiarly enough, Musterole
feels delightfully cool a few^ mo-
ments after you have applied it.

Never be w^ithout a jar of Mus-
terole.

Many doctors and nurses recommend
it. 30c and 60c jars. ^2.50 hospital size.

The Musterole Co., Cleveland, Ohio

BETTER THAN A MUSTARD PLASTER

Plays and Players

10 Cents a Day Pays

for This Symphonola

Mays all records, \ictor, Coluiilbia, Edison, Pathe, Little Wonder,
limerson. Take a year to pay, after 30 days' trial. Compare
Its tone for clearness, volume, with more costly instruments
Return at our expense if it fails to make good. Ask today f,.r the
Beautifully Illustrated Symphonola Book FREE
Sliw'Slhis and "tlier SMuplion.'l.i stvles. sold on easy payments,

Symphonola Records 'i::.^^, ;IT., '^lll

Miiuiding. full tuucd disc records. I'la\ able on any Phonograph.
t^rkla Ca. Desk SRB320 Buffalo. N. Y.

Every advertisement in Photoplay is guaranteed
not only by the advertiser, but by the pi

uaranteed I
publisher. I

/■ Continued)

He wants to be a "ser us actor and Ke doesn t think his father is a bit funny on the
screen. Asked if he liked working in pictures, Jimmy Rogers, four-year-old son
of Will, replied, "'Uh-huh and added that he likes ponies better and his ne'w bi-
cycle "better n anythin."

T I HERE was a bank robbery in Los
Angeles not long ago, and after a
dramatic pursuit across the desert the ban-
dits were caught. Douglas Fairbanks hap-
pened around near the jail that day and
a reporter inveigled him into interviewing
the prisoners and having himself photo-
graphed with them. The picture was pub-
lished in an evening paper, and that night
Fairbanks, standing in the lobby of the
Alexandria, heard a woman exclaim excited-
ly: "There's one of those bandits now."
Such is fame!

WILLIAM ALLEN WHITE was a
pleasant visitor to the Hollywood
colony in December, when Allan Dwan was
shooting coal mine scenes for his production
based upon White's novel, "The Heart of a
Fool." This was the first time the noted
Kansan ever saw a picture being made, and
he also confessed that he had seen only half
a dozen movies in his life, and never had
seen Mary Pickford, Charles Chaplin or
Douglas Fairbanks on the screen. "I go to
see a picture about once a year,"' he said,
"as something between a public duty and a
religious rite, and I just see whatever hap-
pens to be handy." He has just sold another
of his novels, "A Certain Rich Man," to
Benjamin B. Hampton.

THE Grand Medal of Honor of Gold and
Platinum set with Rubies and Diam-

with no outside aid, the word "climatador,"
meaning one who throws the bull about the
climate, of whom there are enough in Cali-
fornia to entitle them to specific classifica-
tion.

T ULIUS TANNEN,
J was Los in Angeles

onds for this month goes to Elmer Rice of
the Goldwyn scenario staff, for he invented

Every advertisement in. PHOTOPLAY MAGAZINE is euaranteed.

of the vaudevilles
a few weeks ago,
and visited several moving picture studios,
looking up old friends who are now almost
extras. He found that quite a number of
rather small fry were inclined to look down
upon him as an inferior sort of person be-
cause he was only a monologist in vaude-
vOle. "Now I understand," Tannen com-
mented, "why they can sell 5, coo feet of
that sort of people for a dime."

GEORGE BEBAN'S devotion to realism
nearly cost T. Lloyd Whitlock, a mem-
ber of his company, one bride, while "One
Man in a Million" was being made. Mr.
Whitlock had induced Miss Myrtle Gibsone
to be his'n just as Beban began work on the
production. Miss Gibsone had set the day
and Mr. Beban concurrently decided that for
the role Mr. Whitlock was to play he must
grow a stubbly beard, promising that it could
be removed by the day Miss Gibsone had set.
But various elements interfered, and three
times Miss Gibsone selected another day,
declaring that she would never marry a man
who looked like that, while Beban implored
Whitlock in the name of art to spare the
brush. The fourth time Miss Gibsone set
the date there was something in her eye that

Photoplay Magazine — Advertising Section

103

Plays and Players

(Continued )

said, "Too much is cnouf^h." By a burst of
speed Beban finished the whisker part of the
picture in time, and the wedding bells rang
out.

ALL those who have been SNmpathizing
with Mary Piclvford on account of the
big income tax she has to pay, can now dry
their tears. It has just been learned, througii
Miss Picliford's testimony in successfuUy
defending a suit brought against her for
commission by a theatrical agent, that the
Famous-Players-Lasky organization agreed
to pay her income tax when she was work-
ing for that company. But a curious point
arose in this connection, wliich is that the
government regards tliis payment by the
company as an atidition to Mary's salary,
and she has to pay a tax on her income tax.
Kinda comnlicated.

1 Select the right beans by
analysis.

2 Boil in soft water so the

skins do not tou^hGn.

3 Bake in steam oyens so the
beans remain Whole.

4f BakGin^caledrcontainGrs
so flavor carjE esczipe.

5 Bake the^auce with them.

6 Bake ihen/tso they easily^
dioest. jf

They say "Ke looks like a million" and
that s the reason that Henry Barrows
is cast in so many films requiring the
distinguished presence of a screen capi-
.talist. He has played more brokers
and millionaire daddies of beautiful
daughters than any other actor -we
can think of right now.

DW. GRIFFITH isn't going to do the
. actual directing of Doris Keane, after
all. He will merely supervise the production
of "Romance" in which the famous actress
will appear, and turn over the megaphone
to Chet Withey.

S.\CRED and Profane Love" is the in-
triguing title under which Arnold Ben-
nett's novel, "The Book of Carlotta," makes
its dramatic debut. Elsie Ferguson, while
she appears in it, will continue her screen
work at the same time, — for the present at
least; but it is said the star, having em-
ployed her talents solely before the camera
for three years, feels that she needs a rest
from the studios, before she goes "stale."
And she wants, and hopes, to make a picture
of this new play.

New Rules

For Baking Beans

By the Van Camp
Domestic Science Expert

Scientific cooks have now developed new ways
of baking beans But these new rules require
costly facilities. So modern baked beans can't
he baked at Jionie.

The great thing is to have baked beans easy
to digest. Then to have them mellow, nut-like,
uncrisped and unbroken. Then to have all
flavor kept intact. This is how the culinary
experts do this at \'an Camp's.

The Van Camp Way

The beans they use are grown on
studied soils. Each lot is analyzed
before they start to cook.

The water used is freed from min-
erals. Hard water makes skins tough.

The baking is done in steam ovens.
In no other way can high heat be
applied for hours so beans are fitted
to digest.

The beans are sealed before baking.
The choicest flavor will escape with-
out that.

The sauce they use is a many-year
development. It is perfect in its tang
and zest. And they bake it with the
beans.

In these ways Van Camp's Beans
are made easy to digest. They are
nut-like, mealy, whole. The flavor
is intact.

They cost you less than home-baked
beans. They are ever-ready to serve
hot or cold. And no such beans were
ever baked outside the Van Camp
kitchens. Go And them out.

Pork and
Beans

Baked With the Van Camp Sauce— Also Without It

Other Van Camp Products Include

Soups Evaporated Milk Spaghetti Peanut Butter

Chili Con Came Catsup Chili Sauce, etc.

Prepared in the Van Camp Kitchens at Indianapolis

Van Camp's Soups

— 18 kinds

Based on famous French
recipes, but perfected by
countless scientific tests.

Van Camp's
Spaghetti

The finest ItaUan recipe
made vastly better by these
scientific cooks.

Van Camp's
Peanut Butter

A new flavor due to blended
nuts, toasted exactly right. No
skins, no germs.

WTieii j-ou write to advertisers riease mention PHOTOPLAY MAGAZINE.

I04

Aspirin

Name "Bayer" identifies genu-
ine Aspirin introduced in 1900.

Photoplay Magazine — Advertising Section

Plays and Players

(CoTitiuued)

Insist on an unbroken package of
genuine ' ' Baj-er Tablets of Aspirin ' '
marked with tlie "Bayer Cross."

The "Bayer Cross" means you
are getting genuine Aspirin, pre-
scribed by physicians for over nine-
teen years.

Handy tin boxes of 12 tablets
cost but a few cents. Also larger
"Bayer" packages. Aspirin is the
trade-mark of Bayer Manufacture
of Monoaceticacidcster of Salicyl-

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THINGS are a bit dull in and about
Manhattan, now. The Fifth Avenue
shops are thinking of laying off some of
their help; the theatres aren't doing such a
good business; the Ritz is quiet and as for
the Goldwyn offices— but we had better
pass right over this. Mabel Normand, a
cut-up in her own home-town as well as on
the screen, has left for California. She spent
the holidays in the east, with her mother
and sister and brother Claude, and did not,
as was her company's first intention, remain
to make a picture there. She left New York
regretfully, for, although she loves the west,
it's not "home" to her. She hails from
Staten Island.

CONRAD NAGLE'S wife accompanied
him to California, where he was sum-
moned by Famous Players-Lasky to take
the leading part in "The Fighting Chance."
She was wandering about the Lasky lot one
day, when director Charles Maigne spied
her. "There," he said to his assistant, "is
the type of gifl we want to take that part."
Ne approached Mrs. Nagle, asked her a few
quesljons, ^emingly was not at all dis-
courageO'^when she confessed her lack of
stage or screen experience, and engaged her
for the role. All this without being aware
of her real identity. The next day, the
players were called on the set to go through
a scene. Conrad Nagle assumed his position ;
the other members of the cast went through
their paces. Mrs. Nagle crept on the scene.
Her husband saw her and cried, "Better get
off the set." She only laughed at him, did
her bit, under Maigne's direction, and Nagle
had the surprise of his life. Mrs. Nagle,
who will appear under her maiden name of
Ruth Helms, is a statuesque brunette of most
vivacious expression.

SOMETHING has got to be done about
this right away. There goes another Fol-
lies girl into the movies. Once in, they lose
forever that piquance which characterizes
Mr. Ziegfeld's beauties, and become, instead,
staid aspirants for a "career." Now it is
Kathryn Perry, who had a speaking part in
last year's Follies; she will be Owen Moore's
feminine foil in a new picture.

THE other picture men who have been
hoping and praying that they might
achieve the same shadowy, impressionistic
effects as in "Broken Blossoms" will be
surprised and comforted to hear this. A
certain producer was talking to the manager
of a New Jersey film theatre. "I always
heard that Griffith was so much," said the
manager. "Well, isn't he?" asked the pro-
ducer. "Say," said the manager, "those
close-ups in 'Broken Blossoms' were so out-
of-focus when I started to run that there
print that I had to cut out most of them!"

APHRODITE," as shimmering as when
she steps from her pedestal on
the stage of the Century Theatre in Man-
hattan, will come to us on the screen.
Famous-Lasky has purchased world's right
on the play from the story of Pierre Louys.
While nothing has yet been said to that
effect, there can be but little doubt that
Dorothy Dalton, having played the principal
role of Chrysis in the stage version, will do
the same for the films. The role of "Aphro-
dite," herself, is not burdened with heavy
dramatic requirements; it might well be
filled by any Follies or Sennett beauty.
Dorothy Dalton, it might be mentioned in
passing, is no longer a "Thomas H. Ince
Star." According to a new contract, she's
a Paramount-Artcraft luminary.

SOME high-brows and other low-brows
formed a forum and had a good knock-
down and drag-out fight over the quotation,
"When I was a King of Babylon, and you
were a Christian slave," used as a sub-title
in Cecil deMille's "Male and Female," to
introduce, supposedly, Gloria Swanson's
gorgeous peacock costume. They looked it
up; and it is from a poem by Henley, and
it is correct. That is, it's a quotation, all
right. As to the historical part of it:
Babylon bloomed long before Christ, as we
all learned in our D. W. Griffith celluloid
primers. It was, say the histories, a very
dismal place in Christ's time. The glorious
old city was razed to the ground. It was
rebuilt in later years, but was never so great
again. DeMille, we presume, was merely
asserting poetic license in making his Baby-
lon of the days of the Christian slaves as
gorgeous a panorama as it was in its real
days of grandeur.

ARTISTS are in a serious quandary.
They are hard up for beautiful girls
to pose for them. As usual, the movies
stand in a fair way to take the blame. Of
course, all the artists don't say that all the
girls deserted the pastel studios for the
celluloid, but they do insinuate, in no uncer-
tain terms, that if it weren't for the prece-
dent set by Alice Joyce, Mabel Normand
and other now-famous stars, such as idea
would never have occurred to the pretty
adjuncts of their work. Some models, like
Kay Laurell, left to go into the Follies —
but only came to the screen in the long run.
Of the other deserters, some went to France
to do war-work, and liked it so well over
there they never came back. Still others
have married millionaires, or near-million-
aires. But the fact remains that the dismay
among artists today is like unto the dismay
in the heart of Mr. Zicgfeld. The screen's
to blame.

WILL ROGERS may look like a cheer-
ful guy, but he says that until he
was well along in his life career, he had
something on his mind that worried him.
"When I was a kid — well, it was like this.
I was born in Oklahoma, and I used to hear
about Eastern boys who dreamed of run-
ning away from having to go to the grocery,
and heading for the Indian Territory. I
used to most break my heart to think I
hadn't a place like the Indian Territory to
run away to, having been born there. It
didn't seem fair. I learned to rope steers
at a tender age but what fun is there roping
steers when all the folks are so used to it
they just ride by and yawn? I used to
think it would be fun to rope steers in New
York. But I finally got on the vaudefille
stage, leaving cowboying altogether. My
act was to do tricks with a lariat and
maybe yawn or say 'thank you' once in a
while. But one time I got nervous. My
rope wouldn't behave; my fingers got
twisted and I got red in the face. So I
had to say something. I said, 'Swinging a
rope is all right, when your neck ain't in it.
Then it's hell' I heard a few laughs. I
went on, 'Out west where I come from they
won't let me play with this rope. They
think I might hurt myself.' That got more
laughs. And from then on I decided it was
more pleasant and profitable to make my
tongue wag instead of my lariat."

CARMEL MYERS, brunette beauty who
started with Griffith and starred for
Universal in a series of pictures, is making
good on Broadway. It is her first stage
appearance of consequence, and is a singing
and dancing role in "The Magic Melody," a
musical comedy.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Plays and Players

105

(Concluded)

INA CLAIRE will come back to the cellu-
loids in the screen version of "Polly With
a Past," her greatest stage hit. Production
will be started in the early spring, in a New
York studio. Metro, having purchased
screen rights to the play for the reputed
price of $75,000, induced Ina to play in it —
her first pastel appearance since the Lasky
days of "The Puppet Crown." She is having
a New York run now in "The Gold-
Diggers."

YOU may remember Muriel Oslriche, one
of the first film ingenues. She started
with Thanhouser. She has, lately, been
considerably taken up with a case in the
courts, in which she is the plaintiff against
her parents, Abrarn^jind Miriam Oestriche.
She alleges they/tfave bben holding out on
her. She wants to recover She money she
claims she ga\Je her parents tp sa\'e for her
when she was making large/ sums in pic-
tures. MurielV it seems, djA not have the
full co-operatiorSftLtier iarhily in her career,
until she married. She is now Mrs. Fraiik
Brady. Muriel Ostriche has not done any
picture work recently. Ah well — it all comes
out in the courts.

THE Griffith story is cold now. You
probably read all about it in the papers.
How the producer, with many members of
his company, went down to Miami, Florida,
to make a picture. How he and the com-
pany left Miami for Xassau, Bahama, in
the yacht Grey Duck, and were not seen
or heard from for five days thereafter.
They were without food or water for three
days, with a . heavy sea. The pilot was
thrown from the wheel several times; two
members of the party were swept overboard,
but rescued. Griffith took the wheel, but
the boat was helpless. They floundered for
hours, with engine trouble. Sponge fishers
came to the rescue. Before the news of
the final safe arrival was received, the Navy
Department had ordered all available craft
to search for the Grey Duck. The party
was in the Spanish Main, called the grave-
yard of the ocean, the old pirate sea. In
the company Mr. Griffith took south with
him were Dick Barthelmess, Elmer Clifton,
Clarine Seymour, Carol Dempster, and Kate
Bruce and others. At the time the story
gained circulation, many rumors were rife
that it was "only press stuff." But it was
a sure enough adventure.

At Home and Abroad

ONE of the principal differences I
notice between the moving picture
studios in Sweden and those in
America is the way people address one an-
other," said Miss Thora Holm, publisher of
a magazine in Stockholm, who passed two
weeks in the California film colony recently.

"In the Swedish studios you hear men
say 'Mr. Director,' 'Mr. Cameraman,' 'Mr.
Property Man.' It is all quite dignified. In
your studios it is cjuite different. Mostly I
heard 'Say Bill,' 'Listen Jones,' 'Here you
Jake.'

"Oh yes — and the delightful informality
of the directors in addressing the actresses.
Always they seem to call them 'Dearie.' "

^^^£^ "^"^

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the film which dulls teeth.

This new method is employed on millions
of teeth every day. Dentists everywhere
are urging its adoption. This is to urge
you to test it — free — and see what it means
to you.

Film Dulls the Teeth

A viscous film forms on your teeth. You
can feel it with your tongue. It clings to
teeth, enters crevices and stays.

The tooth brush does not end it. The
ordinary tooth paste does not dissolve it.
So millions find that teeth brushed daily
are still ruined by that film.

The film is what discolors— not the teeth.
It is the basis of tartar. It holds food
substance which ferments and forms acid.
It holds the acid in contact with the teeth
to cause decay.

Millions of germs breed in it. They, with
tartar, are the chief cause of pyorrhea. Thus
most tooth troubles nowadays are traced
to film.

Now a Way to End It

Dental science, after years of searching,
has found an efficient film combatant. Able
authorities have proved it by years of care-
ful tests. Now great efforts are being made
to bring it into universal use.

The method is embodied in a dentifrice
called Pepsodent. And, to show its powers,
a 10-Day Tube is being sent to everyone
who asks.

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Millions have proved this new way by a
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it. Film removal is vitally important.

Pepsodent is based on pepsin, the digest-
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This method long seemed barred. Pepsin
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And now active pepsin can be every day
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Send the coupon for a 10-Day Tube.
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REG US

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supplied by druggists in large tubes.

THE PEPSODENT COMPANY,

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Chicago, 111.

Mail 10-Day Tube of Pepsodent to

Every advertisement in PHOTOPLAY MAGAZINE Is guaraiitfeil.

io6

Photoplay Magazine — Advertising Section

— there is real satisfaction in knowing that your
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STUDENTS M. '^■SfeltS^Pi Publishes I
Jk/~^H cash art as«
Vj^B^Mil signments,
MAGAZINE lessons and
articles on
Cartooning, Designing, Illus-
trating, Lettering and Chalk -Talking,
Criticises amateurs* work. Full of in-
formation for artists and art students*
F Satisfaaory or money refunded. 20c a copy, gl a year.

StnJ $1 AfOW, Thrift Slamfit Taken
G.H.LOCKWGOD, Editor, Dept. 580, Kalamazoo. Mich.

5oi|san(i6irls
Cleartlieskin

witliCu

icura

Dmggisls; Soap, Oinlmeiil. Talcnm 25c. each,

We Are All Musicians
At Heart

How your pulse is quickened by a march-
ing band, a great chorus or an orchestra !
Even now you hear, in imagination, the
swelling harmony, the crashing chords and
blended notes.

The vibrant joy of music is your very
birthright.

The mere sight of an instrument fills you
with music-yearning; whether you know

''Every One a Gibsonite"

GibBon Mandfjlin Orcheatra. Seattle, Wash. Paul Goerner,
Tea(.-her and Director, writes: " Witk one arcorrl we endorse
the ' Gibson' and expect niany more to use tk£m soon.' '

how to play or not, it matters little — you fairly ac/ie to take that
instrument in your hands and make music!

The very thought of music thrills you. But the greatest thrill is
in the music you, yourself, produce. And to play in an orchestra —
to be part and parcel of the great tonal mass — ah! that is the great-
est ecstasy of our music-dreams.

$i^.

WM. PLACE, Jr.

America's Greatest Mandolin Virtu-
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ohtiiinedon the ' Gibsov' thitt are hn-
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nstrumenls

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and companion to every person who has been denied the full realization of his
musical birthright.

We trll more about GIBSONS in the GIBSON Book, and in some
intimate hits of GIBSON romance, which a Postal will bring you.

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"Whiskers^-

King of Charles

Ray's Kennel

HE is as grave as Gladstone and as aloof
as the Mikado. The wisdom of ages
lies behind that inscrutable coun-
tenance. Kings may be dethroned,
nations fall overnight, eggs come down to'
thirty cents — but such events would not
so much as heighten the pulse of this im-
passive Solomon.

Speak to him and, although his hearing
is acute, he will gaze through and beyond
you. He makes no attempt to conceal a
yawn if your presence irks him, and it usu-
ally does. Potentates and property men,
stars and stevadores are one and the same
to this self-sufficient sage. The world is
his marble, and he knows it. In all the
Universe, his lofty mien seems to say, there
is not a soul quite up to his intellectual
plane.

Perhaps you can picture this rare individ-
ual in your mind's eye. But if you cannot,
we might say that lie resembles nothing so
much as an animated bottle brush. That's
about the only thing a blue-ribbon, wire-
haired terrier can look like and keep up
family tradition. His stiff Dundrearys stand
out like iron filings from the ends of a
live magnet, lending a touch of belligerence
to his retrospective expression. As for pedi-
gree, his stretches way back through the
Hound of the Baskervilles to Cerberus him-
self— and mon! — he is as Scotch as Haig
and Haig. When it comes to bench show
points, he's a regular porcupine.

All this unbending dignity about 'WTiiskers,
however, is reserved for the Ince lot, for as
side kick to his master Charles Ray he must
deport himself as befits one of his station.
When in the more intimate environment
of the new Ray home at Bevery Hills,
Whiskers unlimbers and is as "agile as a
gol durn chipmunk."

Every advertisement in PHOTOPLAY MAGAZINi; is guaranteed.

Photoplay Magazine — Advertising Section

107

The Extra Girl

Is Handed
a Few Snickers

By
HELEN G. SMITH

WHEN I first essayed the life of an
"extra girl" in the "movies," I
was told that it was about the
same sort of work as the "walk-
ing ladies and gentlemen" I had once known
on the stage — and it is. Especially the walk-
ing part of it. I found that out when trying
to reach the first of the studios where I had
been told extra work was to be had. I had
two miles to walk to reach the place from
the end of the car line.

There I discovered that I had to play in
a mob scene in the yard before I could even
get a chance to talk to a director. Ellis
Island and its examination has nothing on
the office of the employment manager at a
motion picture studio. His or her little book
has facts — principally anatomical — about me
on record that I hardly knew myself until
they were dragged out of me.

My face not being the sort exactly that
would call a halt to a time piece, I man-
aged finally to talk to a director and ex-
plained my experience on the stage and was
ordered to report the next morning at
eight on stage four, "dressed." I had no
intention of appearing in any other manner
but before I could voice my intention in
this respect, I was handed a slip of paper
by the assistant director which called upon
the wardrobe lady to supply me with an
outfit for a western "cow girl." I was
to get that in the morning and be dressed
in it by eight. "Do you ride?" he asked
me. "I do when I've the price," I replied.
That wasn't the right answer, I found
out next day but it seemed to suffice and
next morning I was on the job in a weird
getup of sombrero and short skirts — very
short — and waist and boots that almost
fitted.

My job with several others was to gather
in a group outside the dance hall and to ride
wildly down the main street to same and
dash in.

I dashed with the best of them and made
a flying entrance when my pony stopped
suddenly on my cry of "Whoa." It should
have been "woe!" Luckily the set was not
a real house or I'd not be telling this. It
was "compo" board and I went through it
like the 20th Century through Skaneateles,
N. Y.

After me and the dance hall were picked
up and put together again the director said
"I thought you could ride!" "I can," said I
— witheringly, I hope, — "but I can't stop
Tiding, that's all." "You can fly, too, can't
you?" he smiled.

After a while we were finished with the
location — rfwlocation, it almost proved to be
for me — and went back to the stages where
the interior of a dance hall was set up and
we were told that we danced with the cow
boys in this set. We were supposed to be
mainly atmosphere as were the cowboys in
the set. Atmosphere was right, on the cow-
boys' part at least; luckily it was outdoors
that the set was staged and there was a good
breeze !

If any one waltzes up and tells you that
dancing in cowgirl boots is a pleasant en-
joyment tell them for me that they are
away off. The talk of dancing raised my
hopes, for I love to dance, but all this dance
raised was blisters on all two of my heels.
And when the fight started — (sure, there 1

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When you write to advertisers please mention PHOTOPI^AY MAGAZINE.

io8

Photoplay Magazine — Advertising Section

The Extra Girl Is Handed a Few Snickers

(Concluded)

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was a fight; a dance hall drama of the west
without a fight would be almost as absurd
as one without anj- booze!) — I was sure
that it was me the hero was fighting and not
the villain. They just mussed it up be-
tween them and battled all over the set and
knocked some of us girls into chairs and
tables, and of course I was right in line for
a right swing that somehow glanced off the
right party, connected with an innocent by-
stander, who caromed off into me and sent
me to the arnica for the count of at least
eleven !

That about let me out and when I stag-
gered out to the office later and collected
my three dollars I felt certain that "extra-
ing" was not my forte. It was more like
"thirty," to use a newspaper expression !

But 'twas not to be. The assistant di-
rector whose main job seemed to be to do
everything except take the picture, called me
over and said, "What else can you do as
good as you can ride?" I smUed sadly be-
hind what remained of my black eye and
said: ''Anything short of murder or may-
hem.'' "I don't know Mayme," he said,
"but if she is any worse than you as a fe-
male cowbov I'd like to. But I can use vou,
I think."

"Thanks, I was used today and roughly,"
I said. "I mean, I can give you the small
part of a maid," said he. "What would I
do with the small part of a maid?" I said, —
"Besides I'm hungry and the small part of a
chicken looks better to me right now." and
off I started. But he stopped me and ex-
plained that there was a small part in the
next picture that I might be able to handle
and so I agreed. But I wondered all the
way back to town what they would do to
the maid ; if they would treat a cow girl as
rough as that, a girl with a gun on each hip,
what would they do to a poor maid with
nothing on her hip but an apron?

But it was all right and there I was the
next day, with a foolish lace cap on my head

and a postage stamp apron, answering door
bells and handing out letters to the mistress
and such like doings that obtain in the
"haute monde."

Of course right away the leading man had
to chuck me under the chin. Why do they
always do that in pictures? I didn't know
he was going to chuck right then and pro-
ceeded to "chuck" him under a lounge, but it
was explained to me that it was in the part
so I had to stand for it.

We worked outside too and borrowed a
swell mansion in the suburbs. It was about
ten times the size of the home shown inside
on the stage but that didn't seem to bother
the director any. He also had me look up
and down the street when I came out to mail
a letter as if I didn't know where the mail
box was! Why do maids in pictures always
do that? Maybe they are new maids. Or
she's looking to see if John the Cop is near
by!

After that experience I got plenty of work
in the studio and played everything from a
nigger cooklady to a boarding-house land-
lady's help. The hours I worked were more
like those of a night watchman for often
after staying around all day we didn't start
to work until late in the afernoon and had
to work most of the night, usually because
some leading lady or man had the peeves or
forgot to leave a call. Once we went sixty
miles out into the mountains to do a scene
and then discovered that the camera man's
assistant had forgotten the crank that
turned the camera. But the director didn't
forget any of the things he wanted to call
him, nor did we I

And thus it went. The life of an extra
girl is just one thing after another and thej
reason why they are called "extra" girls is'
because of the extra amount of work that
one has to do. The only thing that isn't ,
extra is the pay.

But you can live on it — if you can live^
through it I !

The one infallible system for getting Lizzie staiired on her way brisk mornings is to
keep a pachyderm on band in the garage. All A. C. Stecker, chief animal trainer
of the Universal City arena, has to do is call to Charlie Bullepbant, his mechanician,
to back up and swing his tail over the hood so that he can grasp it firmly, then
s-witcn on the ignition, engage bis gear, whistle, and, presto, bis car is off.

Every advertisement in PHOTOPL.iY MAGAZINE is piaranteed.

Photoplay Magazine — Advertising Section

109

piiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiilliiliiiiiiiiiiliiiiiiiiiiP^

I OUR READERS SAY: |

§ Letters from readers are invited by the edi- g

O tor. They should be not more than three ||

£s hundred words in length, and must have s

M attached the ^vriter s name and address, p

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

Washington, D. C.
Editor Photoplay.

Dear Sir — I heard one recently that is too
good to keep.

On F. street in Washinj;ton a sort of dress
parade occurs each afternoon — just before
matinee time.

Yesterday I was strolling down F street,
close behind a couple. The man seemed
well-to-do and was evidently showing a
pretty young stranger about the city. They
were discussing a play they had seen, and
drifted on to the topic of screen players —
Frederick, Moore, Fairbanks. She had never
seen Olive Thomas and Tom Meighan. Then
he mentioned Hayakawa.

The young woman drawled: "Ah've
nevah heard it, but it sounds 'sif it was
pretty. Mos' of those rhapsodies ah, you
know."

That was where I left the parade and cut
down Thirteenth to laugh.

G. Clarvoe.

Birmingham, England.
Dear Editor.

I have taken the liberty and initial joy
to inscribed a few words of gratitude and
good cheer in appreciation for the many
pleasant and delightful hours Photoplay
has given to me during my recent service.
Its fearless unbiased criticism and also its
well seasoned pictorial eruditions of the
"Mirror of Life" of the world's progress
day by day has been very beneficial to me.
I, myself, being an English soldier, am
writing perhaps in an over joyous strain,
and move in rhapsodies mainly perhaps on
account of my day having arrived at last.
Today I packed my kit bag for demobiliza-
tion and said farewell, ''a long farewell''
to the drab garb of khaki and entered upon
a new and revised edition of "The Old
Homestead."

During my three and one-half years ser-
vice Photoplay has ultimately reached me
safely month by month during my wan-
derings like "Ulysses in the Wilderness"
through this international holocaust. The
happy reflections it has purveyed to me
have been a tantamount to the monotony,
sordid and disconsolate surroundings of the
past strenuous few years.

The motion picture is that medium for
all stations that can inspire one and all
that life is a lofty calling and not the
hard and grovelling thing we sometimes
imagine it to be, to struggle through as best
we can.

Let us trust that its lessons will bring
fertile results to every homestead.
With all good wishes and success.

— John H. Burney.

Cherish
yourbeauhj^

aiall
Seasons

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Where The Producer Comes In

IT is authoritatively estimated that the
gross box-office income of picture thea-
tres today in this country is $750,000,-
000. Of this sum the producers and dis-
tributors receive $75,000,000. This, of
course, is exclusive of foreign sales.

In other words, according to these figures
the producer is getting ten per cent of what
the exhibitor receives from the public or
only one dollar in every ten taken in.

CONSIDERATION for the comfort and pleasure of others
in the audience should always prompt you to guard against
coughing in the theatre. A box of S-B Cough Drops will avoid
such unnecessary annoyance, for they relieve coughing. Pure.
No drugs. Just enough charcoal to sweeten the stomach.

Drop that Cough

I SMITH BROTHERS of Paughkespsie
FAMOUS SINCE /B4-7 ,

»iiiisimiiiiiii^iui^iiiuiiuiiiiiii^i\\uimiuuuiii\iimi

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

1 lO

Photoplay Magazine — Advertising Section

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Here is a seldom photographed portion of a film factory.

Mud Mixers of the Movies

How about the people who make the
pictures, the hundreds of artists,
molders, carpenters, writers, artif-
icers, and craftsmen? Did you
ever think of the art department of the
movies?

Merry Kris Kringle had nothing on the
head plaster artist out at the Goldwyn
Studios in Culver City, California. Here
he presides in a large white airy room where
a busy corps of experienced artists work
from early morn until sometimes late at
night, building all sorts of articles from a
Mississippi river steamboat to a Petrograd
street, including things of all metals and
materials, and of all sizes, shapes, and
styles. They can make anything at a mo-
ment's notice, and it will look just like the
original.

If an order comes in for a brick building,
one will be made within the week, so that
the director can go out to the back lot and

shoot a picture supposed to be laid in far
away Madrid — and all this is plaster, bur-
lap, sawdust, and — art.

All the statuary you see in pictures is
usually duplicated from a rented original, or
even modeled after a famous piece. Brack-
ets for all building and architectural work
are of mere plaster Paris. When you see a
lily white marble bust of an Italian genius
smashed on the floor by an enraged million-
aire, you must not hold your breath in in-
tense excitement, but just remember that
this is one of the "prop" pieces of marble.

If a war story is made, helmets are not
of steel, but of papier mache. Soldiers
blown up apparently alive, are only dum-
mies of excelsior, plaster, wax, paint, and
real clothing, cleverly assembled.

The plaster shop is an interesting place as
the men are always making something. Clay
modeling is done here every day, and an ar-
tist is always working in wax or clay.

The Shadow Stage

(Continued from page 67)

even a comedy. For which reason I
thought "Pinto" an over-exaggerated dull
picture, and Mabel Normand's contribution
thereto unworthy a screen star of what I
have been assured is her standing. It is the
story of a wild young thing who was
adopted in the west by five ranch owners.
Coming to New York to visit one of them
she becomes entangled in a love affair with
the boy next door, and finally with society,
which eventually she "cleans up" by giving
a wild west show for charity. The fete is
a great success until one of the westerners,
becoming loco with likker, shoots up the
party. Many of the scenes are well taken,
and the western show is cleverly staged.
The cast, so far as the types are concerned,
is rather obviously actorish, but the straight
parts, played by Edythe Chapman. Hall-
am Cooley and Cullen Landis, are well
played. Victor Schertzinger wrote and di-
rected "Pinto," with some assistance from
Gerald Duffy and George Webber.

THE WILLOW TREE

Pictorially, the Benrimo-Rhodes fantasy
of "The Willow Tree" has been charming-
ly tranfferred to the screen by Metro. But
the love romance has been rather success-
fully eluded by June Mathis, who wrote
the adaptation, a»^--Henry Otto, who di-
rected it. ThaMmpression one has on see-
ing it, or at ((east tht impression this one
had, is that of swatting a beautiful boucjuet
of artificial flowers: the coloring is there,
but the fragrance is nil.

The story is that of an ancient Japanese
legend concerning the princess who was
carved from the heart of a willow tree to
keep a lonely Samurai company in his
hermitage far from the haunts of men.

The story woiild have been immeasurably
improved in the screen version if, in her
life with Hamilton, the love theme had
been more strongly developed. As it stands
there is little regret at their separation and

Every advertisement in PHOTOPLAY MAG.^ZINE is guaranteed.

Photoplay Magazine — Advertising Section

111

The Shadow Stage

(Conthrued)

little suspense as to the outcome. Viola
Dana is a charmingly simple princess.
There are several Japanese natives who
add a touch of actuality to the scenes, and
the scenic backgrounds and costuming are
most attractive.

BEHIND THE DOOR— Ince

Only the other day we made a plea in
Photoplay for tales of the sea, not know-
ing at the time that out in the Thomas H.
Ince studio they were making a grim and
terrific drama of the ocean lanes, "Behind
the Door," made by Luther Reed from the
Gouverneur Morris story. It is a drama
of the sea in its most ferocious mood — the
period when it gave shelter to those pirates
of civilization, the U-Boats. At their mild-
est, the water prairies arouse all the funda-
mental emotions, strip them bare of pre-
tence, and bring men and women into
grips with themselves. Lash this land-
scape into fury, either with the storms of
blustering Boreas, or the storms of human
passions gone awry and the result fairly
wrenches the soul with grandeur or with
tragedy. It is such a tragedy that Hobart
Bosworth, as captain of an American liner
traveling the waters infested by submarines.
is called upon to portray in "Behind the
Door." It took courage to make such a
picture as this, for it is a "he-picture."" no
pap for puling, infants.

MARY'S ANKLE —Ince

Those heavenly twins of comedy, Doug-
las MacLean and Doris May, in "Mary"s
Ankle," have, if— t^ot a perfectly worthy
successor to /nTweiity-three and a Half
Hours Leave, 'I at least a sprightly bit of
fun that will nWp.javet the reputation they
are building.

THE BEST OF LUCK— Metro

Melodramas are of two kinds — those
which remind you of overdone serials, and
those in which the essentially platitudinous
situation is developed in a manner so
gradual, and embellished by so much
realism of character and beauty of scene,
that the climax with its "big punch " finds
a disarmed and eager audience. So in the
latter manner did Albert S. LeVino trans-
pose for the silversheet the Drury Lane
melodrama, "The Best of Luck."' There
is a race in the rain at night between a
motorcycle and two automobiles, some
"submarine stuff," and all the other con-
comitants of Drury Lane, but all handled
with an eye for visual beauty and consist-
ency that take it out of the melodrama
class and make "The Best of Luck" a
spectacle.

HIS WIFE'S FRIEND— Ince-Artcraft

It"s one of those things that, if it were a
"legitimate" play, you^.a:ould, instead of
chewing your progra
rows of figures jotte
— discuss with you
bility of so-and-so'fe g
crime. One of the ""my-dear-whom-do-
you-suspect" plays. Of course, it is not
nearly so much fun attending a murder play
in the cinema, for there are no intermis-
sions in which to make vocal test of your
sherlock-holmsing. Director Joe DeGrasse
made this in New York, where country-
estates-not-far-from-London look like the
real thing. Miss Dalton's rehearsals in
'Aphrodite," which had not yet opened
when this was made, seem to have given
her more poise and certainly less embon-
point.

dding up long

, between acts

or the proba-

ticipation in the

A Dream Come True

Always use Sr.m-i'Hav Fa' k
P<>wi>KR (n combination with
Skm-pRav Jo-ve-nav. It is re-
freshingly good for the com-
plexion and the perfume is
exquisite. The additional use
of Skm-pbav Rou<iP. and Sem-
rKAV Vanishing Cremk com-
pletes a perfect toilet.

QiqH^ion^lw

' If I eoiild only jjet something to really
prevent chappiiiir — " thoiisands ot" lips frame
this (juestion every Minter.

Sem-i'ran Jo-vk-nav will help you to keep
your complexion delicately soft and alluring
whatever the pranks of wind or weatlier.

Si:m-1"Hav Jo-vk-xav is a face cream in cakt- form.
Gently, tenderly, scientificalij' it cleanses the inner-
most pores of the skin and removes the particles of
tlust and dirt that are lotlged beyond reach of soap
and water. For sale at almost all good toilet counters.

MARIETTA STANLEY COMPANY
Dept. 10 Grand Rapids, Mich.

SEM-PRBY
JO-VE-NHY

Sempre Giovine

Send ec for generous samples of Sem-irav Jo-ve-nay
and SKM-fRAY Face Powder.

,>moltimearueili

-,^ )

^«

ALMA RUBENS, Picture Star says:

"/ find the Multiwear Veil most comfort-
able for street wear and motoring. "

"VEILED FACES"

showing how professional beauties increase
their charm sent free if you mention your
dealer's name.

FULD, TRAUBE & CO.

Dept. E., 103 Fifth Ave., NEW YORK

Let the Next Pair be E. Z.

You learn something every day; the day
you first wear the

GARTER

" Wide for Comfort
yovi will have leanie
what garter comfori
really means.
The \\'ide, luxurious
band of oft elastic
clingssnugly to the le'
—not because it is ti„
but because it^''-"^"-
Single Grip E. Z. . 40c and
The E.Z. 2-Grip . 50c
In niediuni, small rind
Prices subject to chan
notice, H > our dealer can
you, send his name and tl

The Thos. P. Taylor Co.

Dept. P Bridgeport. Conn.

Wlien you write to advertisers please mention PHOTOPLAY MAGAZINE.

112

Phojoplay Magazine — Advertising Section

Avoid Lumber Shortage

A14DDIN H^

mmm.
iiini

Lumber shortage— a virtunl famine of lumber-
exists in many i>arts of theconntry. Reports indicate
that it is impossible even now to get material for
certain needs. Stocks were never so low as they are at
present. The demand was never so great as it is now.
This Means Still Higher Lumber Prices. It means thnt
prices will go ni.wardsrapidl>'^that itwill possibly take
NloOin six montlisor a year to buy SlOO worth of luml)er.
Will you l>e forced to pay these prices? Will yonr need
of a home insis months cost you a SO'^i; or a 100% penalty?

T^iillrl TVr^^AT" Early buyers of Aladdin Homes are

*^'-****-* 1^*JW assnrefl delivery. Ataddin l>uyers are

iilso assured a Idg saving— from SliOO to SI. 000. BUT, quick

action is necessary, 'Jl e enormous demand for homes will

soon fill the Aladdin Mi lis to capacity. Your order will possibly

le too late. An important message to every builder is contained

the Aladdin Catalog. It is the message to you from the World's

itest home-building organization. Send for this book today.

National Service

Aladdin Mills aro luoatcd in Michigan, North Carolina.
Mississippi and Oregon. The Aladdin Lumber Yards are
thi- four greatest forests of the United States. Each
has sufficient standing timber to take care of the
eds of the country for many years. The possible
I mber famine predicted in all parts of the country
will notatfect thi. Aladdin Co. EvoryAIaddin Home
manufactured In 1920 will be shipped quickly and
ompletely. No shortage of a few grades of
materials rum the Aladdin House order.

Aladdin Houses are cut-to-fit as fol-
lows: Lumber, mill-work, flooring,
outside and inside finish, doors,
windows, shingles, lath and plaster,
hardware, locks, nails, paints, var-
nishes. Complete material is shipped
to you in a sealed box car. all ready
to eruct. Send
today f'<racopy of
the book, "Aladdin
Homes," No.l.t77,

THE ALADDIN COMPANY, Bay City, Michigan

nojNrups- WilmiistO". North Carolina Portland, Oregon
BHflm,Mtb. Hattlesburg, Mississippi Toronto. Ontario, '

Gray Hair Ended

In From 4 to 8 Days

Science has discov-
ered the way for re-
storing gray hair to its
natural color. It is
offered to women in
u^, Mary T. Goldman's
V?t Scientific Hair Color
li kJ Restorer. And wo-
men use this scientific
hair color restorer
with the same free-
dom they do powder.
Simply comb Mary
T, Goldman's through the hair. In from 4 to
8 days every gray hair will be gone.

'oMmiiaim

Scientific Hair Color Restorer
This Test Convinces

Send the coupon for a trial bottle and our
special comb. Be sure and give the exact
color of your hair. Try it on a lock of hair.
Compare the results and the pleasure of using
with the old way. Send in the coupon now.

MARY T. GOLDMAN

1557 Goldman Bldg., St. Paul, Minn.

Accept »io Imitations— Sold by Druggists Everytohere

(Mary T. Goldman, 657 joldman Bldg., St. Paul. Minn. p

Plea.se send me your free trial bottle of Mary T. |

Goldman's Hair Color Restorer with special comb, ■

I am not obligated in any way by accepting this free J

otter. The natural color of my hair is '

black jet black dark brown '

medium brown light brown.... '

Name |

Street Town '

Co State ■

CJREAlVi

THE FAVORITE OF SIAGE PEOPLE

"Even better than I get in Paris,"
is what the beautiful actress Anna Held
wrote of Magda Cream. Stage folks
know the advantage of using Magda
before applying powder, and for rubbing
out incipient wrinkles in the nightly
massage. Musicians use it to keep their bands
soft and pliable.

Trg it for the Nightly Massage

Jars 25c and 50c

I Japanese Jars 75c J

Large Tins $1

L At DruK r>ept'3or
direct from
Fred C. Keeling S Co. ^
Docklord, III.

Visp.^

Important
as umbrellas
in March

Because Piso's wards
off ill eiTects oi cold,
rainy weathsr. For 55
years it has ended dis-
tressing coughs and eased inflamed, ir-
ritated throats, hoarseness and throat
tickling. Keep it in the medicine
cabinet ready for immediate use at
the very first symptoms.

30c at your druggist 'j. Contains no
opiate. Good for young and old i

iKSU^ff^MSUMB.

Look Us Over!

*^ Here is something you
■ * have been seeking. Gen-
J uine Photos of

Ai Mack Sennett
Bathing Beauties

Size 8 X 10 ~ 18 to a set — various
life-like poses. Decorate your
room or nen with tliem and you
will be envied by your friends.

50ceachs°e7°ori8-$8

This is a special offer for a short
time only, so takequick advantafj-.-
in order to be sure of your set bc-
fore the edition isexhausted. Sen. I
your order today accompanied
by money order or currency to

S. BRAM. Dept. 69.

209 W. 48th St.. HEW YORK CITY

Send stamp for list of photos of
famous Movie Stars.

The Shadow Stage

(Continued)

BECKONING ROADS —Barriscale-

Hodkinson

Bessie Barriscale is such a good actress,
you'd think after seeing herself in this she
would make a resolution never to let it
happen again. It is mechanically built
from a long and comiplicated magazine
serial by Jeanne Judson, with business in-
trigues and flashes of the so-called "night
life" of Manhattan.

MORE DEADLY THAN THE
MALE— Lasky

Perhaps you are one of those persons
who likes trick pictures. We happen to be
in the other class. There has to be a pretty
good excuse for a trick ending, or we don't
like to be fooled. There is, in our estima-
tion, little excuse for the maze of serial
stunts which lead up to the give-away in
this picture. If you are an inordinate ad-
mirer of Ethel Clayton you may, if you
practice the proper spirit, be able to forgive
her for posing with or without a parasol
throughout the picture. She never used to
do that, when she was our favorite domestic
heroine. We suppose Robert Vignola did
his best with the script and Julia Crawford
Ivers with the scenario. Must we blame
the original author, Joseph Gollomb? Ed-
ward Coxen is the young man they took
all the trouble for; Herbert Heyes the
husband. If you come in in the middle
you'll think you blundered into a Pathe
serial.

HEARTSTRINGS— Fox

Here is an instance of a mechanical
theme played upon by a skilled director
and his actorial aides until it becomes
something closely resembling a good pic-
ture. It tells Henry Albert Phillips' story.
The baby in the picture has a lot to do
with it. This baby — and where did director
J. Gordon Edward find him? is funnier
than any baby Sennett ever sponsored, and
more unconscious. Gladys Coburn, of the
films before, is pretty, but affected. The
work of William Farnum is always excel-
lent. But did Pierre ever touch his violin
again? The musical theme is left rather
up in the air.

THE SPEAK-EASY — Mack Sennett-
Paramount

Mack Sennett's people are, more and
more, deliberately setting out to be funny.
For some months, now, the output of the
facetious factory on the coast from which
we expect snappier, more sophisticated fun
than from any one other studio, has been
inclined to be heavy, dull, and ponderous.
The director works too hard; the sub-title
writer tries too desperately to be funny.
This comedy is anti-climatic. It is on
prohibition, and prohibition has got to be
darned funny to make many people laugh
at it. Charlie Murray is there; Ben Tur-
pin, briefly; little Marie Prevost — this child
is beautiful in a bathing-suit; here they
have dressed her up in a costume made to
fit Louise Fazenda or Polly Moran.

FIGHTING CRESSEY— Pathe

"Fighting Cressey" is Blanche Sweet
through and through— a Blanche Sweet in
hoop skirts and mits, a Blanche Sweet in
dainty concoctions of tulle and rose buds
and quaint silk basques and drooping hats,
a Blanche Sweet full of "McKinstry pride",
quick at the trigger, quick to hate or love,

Every advertisement In PHOTOPLAY MAG.^ZINE is guaranteed.

Photoplay Magazine — Advertising Section

The Shadow Stage

(Concluded)

full of fire — and lovelier than the old days.
Blanche Sweet has come back to the screen
after an absence of two years with deepened
powers. You will like "Fighting Cressey". '
It is a glorified early western drama. There
is not a dance hall dive in the picture. You
may have read Bret Harte's story, "Cres-
sey", on which this photoplay is founded.

THE BREATH OF THE GODS-

Universal-Jewel

You will go away from this picture with
a lot of lumps in your throat, and the feel-
ing that you have seen something very
worth while. It will not serve to boost the
ways of international diplomacy any higher
in your estimation, but it will prove that
Tsuru Aoki, here seen in her first starring
vehicle, is of star material. As the bird-
like "Yuki", who is the sacrifice of diplo-
matic baseness and of the traditions of her
country, she proves herself capable of ex-
pressing the great dramatic intensity and
poignancy of emotion.

Tsuru Aoki is like a bewildered butter-
fly in her exquisite gardens. And, oh !
what an assortment of kimonas she wears.

ROARING LIONS AND TENDER
HEARTS— Fox-Sunshine

No joking. There is a crying need for
but it is light, and frothy, and its action
never lags — and what more can anyone ask
of a slapstick comedy? Marvel Rae — you
remember she was one of the blondest and
pertest of the Sennett squabs — is in this
which may be one reason why it appealed
to us.

THE LINCOLN HIGHWAYMAN—
Fox

Automobiles in moving pictures frequently
are used only for the actors to get into and
out of, and do nothing but clog the action.
"The Lincoln Highwayman'' is a brilliant
example of what can be done with a story
in which a great part of the action takes
place in and about the gasoline chariots.
It is a mystery comedy melodrama, dealing
with the trailing of a robber who has been
making the Lincoln highway his stamping
ground. Emmett J. Flynn directed, and
made the story race at terrific speed
throughout. Lois Lee, who entered films
via the Photoplay Beauty and Brains
Contest several years ago, is a chic foil for
the big star.

THE HAYSEED— Paramount

Fatty Arbuckle may be a low comedian ;
he may be vulgar at times; there's no
doubt as to that, but have you ever been
bored by an Arbuckle comedy? And can
you say as much for many other come-
dians? He has his own company now,
and everything; but he still throws pies
and trips up Buster Keaton — now his fall
guy since nephew St. John left the fold —
and eats onions. You may not believe
that eating an onion — to the distress of all
your relatives, friends, and your best girl, is
such a funny proceeding — but you should
see Roscoe, suspected of some petty mis-
deamour or other, turn in despair from one
to another of his supports while they turn
away from him, with even his dog Luke
sharing the general disapproval. Of course
it's all cleared up, when Molly Malone — is
there a prettier and a defter child in
comedy than Molly? — comes to his rescue
and loves him just the same.

Bubble Grains at Bedtime

Foods Easy to Digest

Puffed Wheat and Puffed Rice are not for breakfasts only. Serve them
for luncheons and suppers. Float in every bowl of milk.

These are bubble grains, airy, crisp and toasted, puffed to eight times
normal size. No other dainty in existence makes the milk dish so enticing.

Every Food Cell Blasted

Here is whole wheat made delightful, both in

Digestion is

Consider Puffed Wheat,
texture and in taste.

Under Prof. Anderson's process, every food cell is exploded
made easy and complete.

It supplies whole-wheat nutrition. It does not tax the stomach. It
makes milk inviting, and every child should drink a pint a day.

Serve as a breakfast dainty. Mix with your fruits. But don't forget
that Puffed Grains also form the ideal bedtime dish.

Puffed Grains are the greatest of grain
foods and the most enticing. Serve all
three kinds. Let children revel in them.

Puffed Wheat Puffed Rice Corn Puffs
Also Puffed Rice Pancake Flour

A New Pancake Delight

Now we make a pancake flour mixed
with ground Puffed Rice. It makes fluffy
pancakes with a nut-like taste — the finest
pancakes ever served. The flour is self-
raising. Simply add milk or water. Ask
your grocer for Puffed Rice Pancake
Flour and you'll have a new delight.

Jt\e Quaker 0^^s G>nipany

Sole Makers

3275

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Your Hair Needs "Danderine"

Save your hair and double its beauty. You can have lots o£
long, thick, strong, lustrous hair. Don't let it stay lifeless, thin,
scraggly or fading. Bring back its color, vigor and vitality.
Get a 35-cent bottle of delightful " Danderine" at any drug or
toilet counter to freshen your scalp; check dandruff and falling
hair. Your hair needs stimulating, beautifying ' ' Danderine
to restore its life, color, brightness, abundance. Hurry, Girls!

o^jfrintfent

cMotorCrtam

ybur

Y"^ May Become Several i-v^
Shades Darker in a Day |

— can grow sallow, faded and
dingy before you realize it.

Correct this condition in time.
Use the cream that has been
especially prepared for the sal-
low skin.

Whitening Cream— one of the "Seven
Mannello Creams"— penetrates to the
deeper layers of the skin, where the
coloring matter is located, and effect-
ively removes sallowness, restoring
the rosy glow of youth to the com-
plexion.

How to Use
Whitening Cream

After carefully cleansing your
face and neck each night with
Lettuce Cream, rub in Whiten
ing Cream until every bit has
been absorbed . You will soon
notice a marked improve-
ment—the skin will be sev-
eral shades lighter, fresh-
er, fairer, lovelier. Send 2c
stamp for sample,

Marinello Oomnany, Dept.

616. Mailers Bldg., Ohi-

cago, or 366 Fifth Avenue.

Chart of

Marinello

Seven Creams

Lettuce Cream for

cleansing the skin.
Tissue Cream for a

rough, dry skin.
Astringent Cream for

an oily skin.
Whitening Cream for
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Acne Cream for
blemishes and black-
heads.

Motor Cream for
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Foundation
Cream before
using I

iing Powder, rQ-^

QA ^eautuAid
forEveruJSleed

Moving Pictures and
Big Business

(Concluded from page yd)

bargain here and there, into which he may
put his thrifty savings.

The sound men of the picture industry
today want only one of two things: to hold
all the ends of their businesses tightly in
their own hands, or else to interest truly
regal capital which will set them afloat
upon expansion schemes as solid as they
are imperial.

An unwelcome guest who has appeared at
the picture feast is that sort of middleman
who really represents nothing, yet, while
bringing neither important money, executive
brains nor an original contribution of art
into the picture game yet contrives to
fasten himself upon it and fatten upon it.
He is a leech who extracts enormous pub-
licity, enormous personal attention, and
— too often — an enormous salary. Some-
times he is a super press-agent, sometimes
he calls himself a general manager, some-
times he is a legal representative and some-
times he is merely an adviser. The big cor-
porations have a few of him, but as a rule
he can't stand their searchlights.
Remember These Things —
The photoplay industry is so young that
it has never been systematized — maybe it
never will be, for, after all, it is basically an
art. It is today the most wasteful thing, in
point of money invested, in business circles.
The picture business, in general, is always
somethirig that is going to make money.

Only a few people have ever made any
money, apart from salaries, out of the
picture business.

Those who are making money now gener-
ally do not need any outside money.

Those who are now making money and
reed more money are, generally speaking,
in a position to get it from people in the
money business.

There is no business on earth where the
inexperienced man can lose money faster
or more hopelessly.

Finally, the making of pictures is not a
cheap, flashy venture, in which a few are
"lucky." It is a new, intricate, tricky,
subtle pursuit in trade and manufacture.
Its masters may be counted on the fingers
of one hand.

As a mere matter of investment you can
do better at almost anything else than the
picture business— unless you have money to
go into it on a great scale, and an honest
intelligence to guide your endowing hand.
Finally, do not fall for any get-rich-quick
talk from promoters of new companies.
You haven't even a roulette-wheel chance.
The cards are generally stacked against you.

A $3, COO Whistle

This is a true story. For obvious rea-
sons names cannot be mentioned.

The president of the film company was
in fine fettle. So he strolled into the Los
Angeles studio, whistling, whacking loose
timbers with his cane, and acting Hke a
boy on a holiday. Suddenly a flashmg-
eyed, beautiful fury sped toward him

screaming: , ^ , u

"You — you — you swine! Good heavens,
isn't it possible to have a little quiet around
this studio when I have a big scene going
on? You've upset me so I can't go on.
The star had been devoting all morning
to getting herself keyed up to a terrific
emotional pitch for the climax of her pic-
ture, and her tragedy was shattered by the
president's merry whistle. She went home
and did not return for three days, and her
salary is just !pi,ooo a day.

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Adyeutising Section

115

Jubilo

f Continued from page 38)

fire on the bank a short distance away,
he crouched in the darkness between rocks
to make observations. Two men were
seated by the fire. They were • counting
something on the ground between them.
Jubilo crept closer. When the fire flared
up he could sec piles of money and little
stacks of jewelry between the two men.
As he watched a third came out of the
darkness, jumped off his horse and joined
the group at the fire and the counting
of the loot was resumed. The newcomer
moved around the fire and faced the spot
of Jubilo's concealment. In a flash the
bidden observer recognized him.

"Mr. Bert Rooker, pool shark." JubOo
murmured to himself. "Isn't this interest-
ing?"

Rooker was giving orders. Presently they
gathered up the loot. One of the men
threw a hat full of water on the tiny fire
and they rode away in the darkness.

Jubilo laid low until they were well
away, then reconnoitered the spot. Strik-
ing a match near the site of the abandoned
camp fire he found a streak of white on the
ground. Cautiously he followed it up and
discovered a can of whitewash hidden un-
der a rock. Jubilo uttered a low whistle
of surprise and tucked it back where he
found it. He had something to think about.

Back at the Hardy ranch house affairs
followed their usual routine for some days,
marked only by the increasing attentive-
ness of Jubilo to the subject of housework
and helping Rose in the kitchen. Rose
was not displeased with the attention.

Jubilo and Rose were busy with the
supper dishes in the kitchen in the eve-
ring when glancing up they discovered Rook-
er standing, leering at them from the door-
way.

Jubilo stood amazed as Rooker advanced
familiarly and extended his hand to Rose.
Embarrassed and hesitant, she looked at him,
then refused. Rooker, insulted, snarled back
his anger.

"Who's your friend, Rosie?"

Upset and confused, Rose did not an-
swer.

"So Hardy went away and left his Rosie
with a young fellow around!"

Jubilo stood by, having a hard battle
with his rising temper and watching Rosie
for a cue to action. Rooker continued
his taunting insult.

"Naughty! Naughty! Rosie!"

"Careful there !" Jubilo took a step for-
ward.

"Call off your dog, Rosie," Rooker
sneered.

Jubilo looked at Rose with his eyes beg-
ging permission to throw Rooker out. But
Rose shook her head against violence. She
turned to resume her dishwashing and whis-
pered to- Jubilo.

"I can't explain now, but I don't want to
offend Bert."'

This from Rose left Jubilo more con-
fused than ever, and wildly speculating
what the connection might be between the
fragments of fact he bad stumbled upon.
He feared lest something further develop
to confirm a growing suspicion. Why should
Rose stand so much from the uncouth in-
sulting Rooker ?

Again Jubilo leaned toward Rose.

"I'll chase him if you say so!" Jubilo
pleaded.

"No — but make him sleep in the barn.
Y^ou sleep in dad's room tonight, Jubilo."

Rooker meanwhile was making himself
very much at home. He tossed off his coat
and hat, hdped himself to Hardy^ cigars
and strolled about the house. He opened
the living room door to Rose's room and

peered in, then noted the door to Hardy's
room across the living room. This door
he left open, grinning to himself. Then
he chose a comfortable chair and stretched
out.

Jubilo lingered in the kitchen putting
the dishes away as Rose entered the living
room. Rooker arose with a vast air of
politeness. He seized her hands and held
her at arm's length.

"I'd a hardly known you, Rosie. You're
some kid now."

There was deliberate meaning in her eyes
and voice when she spoke.

"You have not changed, Bert."

"Why should I — in that nice, quiet, re-
tired life where your father put me!"
Rooker retorted. "Sit down, I want to
talk to you."

Jubilo took a seat in the kitchen near the
door, within hearing of the conversation.
Rooker continued innuendo and implication
and talked of a renewed friendship. At last
Rose got up in desperation.

"I am going to bed. You can sleep in
the barn." She was pale with anger.

She started to leave the room. Rooker
rose and stood in her way. Then Jubilo
entered.

"Jubilo, please show Mr. Rooker to the
hay-mow."

"No, I'll take your father's room," Rook-
er insisted.

Jubilo stepped forward and Rooker looked
from him to Rose and back again. A
thought of caution struck him. Perhaps
Jubilo was something else than a mere hired
man. He decided to move carefully. He
must size Jubilo up.

"Say," Rooker broke into the silence sud-
denly, "have you seen any of them train
robbers?"

"Yes, one of them," Jubilo's voice was
cold and casual.

Rooker turned to Rose grinning.

"Remember Rose, he admits he saw one
of them. Your dad may not be back, now. '

Rose looked at Jubilo in astonishment.
What could he mean? Rooker was evi-
dently pleased by this turn of the situation.

"All right, Mr. Jubilo, come on and show
me this barn," he commanded.

As they stood outside Rooker turned
sharply on Jubilo.

"You may have to tell a judge that you've
seen that train robber."

"I'm going to enjoy tellih' all about the one
I saw," Jubilo was smiling from ear to
ear.

When Jubilo reentered the house Rose shot
a direct question at him about his train
robber.

"When I saw the robber your dad was
a long ways off," he said softly in reply.

"Oh, I'm so glad you didn't think he was
mixed up in that deal," Rose exclaimed,
then bid Jubilo goodnight.

Lamp in hand Jubilo stood scratching
his puzzled head.

"I wish I felt that way about it, too,"
he murmured.

It was very dark and still when Rooker
crept from the barn into the shadows of the
house. Silently he dug a hole in the yard
and presently lifted into it a small bag, care-
fully replacing the dirt over it.

This done he tiptoed into the house and
made his stealthy way toward the door of
Rose's room. He was reaching for the door-
knob when Jubilo rose up before him.
Rooker dashed out in a flash.

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other side of the door. "What is it?''

"Oh, nothing, I just got up to look at
the clock — you've got three hours more to
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Jubilo

(Continued) .

Rose's door opened a narrow bit.

"Jubilo, you are a wonderful liar.'

Then the door closed again.

Jubilo went quietly from the house. A
brief investigation assured him that Rook-
er had gone back to the barn. Then swiftly
but carefully Jubilo dug up the loot that
Rooker had buried in the yard and again
piled the dirt back as it was before. He
opened the bag in the moonlight. It glit-
tered with money and jewelry.

"Hardy's bit?" he muttered. "I won-
der?" ■

Jubilo softly entered the house again and
concealed the bag in the piano.

Rose and Jubilo drove into Muskoka the
following day to meet Hardy, due back
from St. Louis. Jubilo's rising curiosity led
him to the marshal's office.

"What you got on your mind, Jubilo?"
that dignitary demanded.

"I was just wondering, " Jubilo said
slowly, "I was just wondering what the
train robbers used to splash that horse to
look like Hardy's?"

The marshal shook his head in scorn of
the theory.

"Don't give us no bum steers — when we
get them prisoners to talkin' —

"All right Mr. Marshal — I was just merely
wondering." And Jubilo went out.

Out on the street he ran into an unhappy
scene. Rooker, back in town and drunk,
had encountered Rose.

"Come on girlie — I know where we can
get a little drink."

"But Bert, I don't want a drink," she
protested.

Jubilo seized Rooker by the arm and pull-
ing him after him removed the offender from
the scene by thrusting him into the pool
hall door. Indoors and released from Jub-
ilo's strong grip Rooker renewed his brag-
gadocio bearing. The sheriff entered and
was buttonholed for husky whispered con-
fidences from Rooker. Jubilo sauntered to
a pool table and idly knocked the balls
about, watching out of the corner of his
eye.

The sheriff was obviously being impressed
with a story from Rooker. Presently he
bustled out. Rooker drew a chair up in
a corner and began loud-mouthed conversa-
tion with the loafers. Jubilo was still lis-
tening.

"Yea Bo! She's some little Rosie!"
Rooker winked meaningly at his circle of
listeners.

There was a snicker of laughter and some
one else spoke.

"Who said anything about marrying her ?
— she'll fall for me anyway."

Jubilo strode in. vibrant with rage.

"Tell them that you lied — tell them that
you lied!" he shouted at Rooker.

"What makes you think I lied?" Rooker
sneered.

In the same flash Jubilo struck and Rook-
er reached for his revolver. A swift blow
on the arm sent the gun flying. They closed
in. The fight went fast. Rooker sent Jubilo
reeling with a blow under the eye. He
followed his vantage too closely and caught
two terrific blows on his chin. Rooker
crumpled and fell, knocked out. Jubilo
swept up Rooker's revolver and put it in
his pocket. Then he seized him by the
throat and shook him back to conscious-
ness.

"Now tell them that you lied — tell them
now."

Rooker gurgled and struggled.

"Tell them, now!"

"It ain't so, fellows. It ain't so," Rooker
choked out.

"And I'll tell you something else, you fel-
lows^-vou're a bunch of bums to listen

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Jubilo

(Continued)

to him." And with that Jubilo strode out
to the town watering trough to wash his
fight-battered face.

Down the street in close confab came the
marshal and the sheriff. They spied Jubilo
and approached.

"What's all this chatter about a horse
that'd been marked?" the sheriff demanded.

Jubilo looked up rather unconcerned of
manner.

"Well, sheriff, if I was trying to catch
train robbers I'd look for a horse that'd been
splashed with whitewash."

The sheriff and the marshal jumped into an-
imated conversation and Jubilo chose this
time to leave. He was due at the station.
As he left the watering trough, he slapped
a big bay horse there to swing him out of
the path. The move caught the sheriff's
eye. Then just a glimmer of something
arrested the sheriff's attention and he stepped
over to examine the bay carefully. Pres-
ently he beckoned to the marshal and they
bent over the horse's flank, looking very
closely and carefully.

Down at the railway station Hardy hur-
ried off the train and up the platform to
meet Rose, who stood there a picture of
worry and despair.

"Don't worry now, honey," Hardy reas-
sured her. "We are ready for Bert now."

Jubilo was waiting in the automobile.

"Hello Jubilo," said Hardy with quiet
cordiality, extending his hand. "You've
done well, I should say."

"Never mind the thanks part of it, now,"
Jubilo responded. He drew Hardy aside.
"I want to take a hand in this thing. I
saw Rooker with the loot." Jubilo told
Hardy the whole story of his river bank
discovery and subsequent happenings rap-
idly. Hardy listened in deep attentiveness.

"Have you told the sheriff?"

Jubilo shook his head.

"Well, I rather you'd keep quiet about
Rooker, if you don't mind," Hardy said.

Jubilo concealed his surprise, but he
puzzled over Hardy's attitude all the way
home.

Jubilo was peacefully resting and puzzling
in the comfort of the flivver's front seat
the next day. He counted the points of
the mystery over to his self on his fingers.

"Rooker planned the job.

"Rooker planted the swag in this yard.

"Hardy is afraid of some one.

"Hardy doesn't want Rooker pinched.

"Why?

"Oh boy, this is deep, too deep for Jubilo,"
he complained to himself.

Down the lane came the clatter of can-
tering hoofs. Rooker rode into the yard,
jumped off his horse and walked up to the
house. Jubilo swung out of his idle seat,
took a hitch at his gun belt and followed.

Hardy with Rose beside him stood in Ihe
doorway. Hardy and Rooker stood staring
at each other. The expression in Rose's
eyes told Rooker of Jubilo's approach and
he looked about. Jubilo stopped and
grinned. He took another hitch at his gun
belt and waited.

Rooker stepped up on the porch and ex-
tended his hand to Hardv,

"■Well Judge, I told you I'd come, didn't
1?"

The word "Judge" caught Jubilo's sur-
prised ears.

Hardy turned to Jubilo.

"You and Rose can go out, if you will."

They lingered in earshot. Rooker's rough
voice grew loud.

"I've got you, Judge — not for any little
five yeais like you handed me — they killed
the express messenger on that train and you'll
get the limit."

Hardy did not make a direct reply. He
spoke slowly.

"I had to do my duty, Bert. You were
guilty and even my love for your mother
could not keep you out of prison.''

A light of understanding crept over the
face of Jubilo as he stood by Rose listen-
ing.

Rooker became vehement, working himself
into a frothing rage.

"When you're behind bars. Judge, remem-
ber I did it — I planted the goods in your
yard — I sent the sheriff up here — and he's
on his way now. And when you are there,
think of me and Rosie — for I'm going to
get her!"'

"You mention her name again and I will
kill you," Hardy shouted. He pushed Rook-
er away from him.

Rooker reached for his revolver. Hardy,
calmer and quicker, shot from inside his
coat and Rooker crumpled up on the floor.

The sheriff's car entered the lane. In a
flash Jubilo ran into the yards and tired two
shots into the air. He stood waiting when
the sheriff and marshal stepped from the
car. •

"Handcuffs for one, sheriff — I've just killed
a man."

The sheriff opened Jubilo's gun, finding
the two discharged cartridges.

"Who'd you get?"

"Rooker — and while I'm about it, I was
the man that rode Hardy's horse in the
train robbery, too."

At this the sheriff and marshal broke into
a laugh.

"Come on with us, we want to see Hardy,"
the sheriff answered.

"No use to pester them — let's go," Jubilo
urged, with pleading in his voice.

With Jubilo between them the sheriff
and marshal marched into Hardy's living
room where Rose and Hardy stood. Rook-
er lay stUl on the floor. The sheriff spoke.

"Jubilo here says he's done for Rooker."

Jubilo hung his head in his most guilty
manner. Hardy could not conceal his aston-
ishment.

"The sheriff here got me before I could
get away — no use to lie — so I told him,"
Jubilo said.

Rose suddenly comprehending Jubilo's ef-
fort at self-sacrifice rushed to his side and
took his shoulders in her two hands.

"Jubilo, you blessed liar!"

Hardy held up his hand for silence.

"Sheriff, I killed Rooker. He pulled on
me and I beat him to it," Hardy an-
nounced.

"There's a lot of competition around here,"
the sheriff snorted.

"But," he continued stooping over Rook-
er's prostrate form. "It looks to me like
you both lied — only a bullet in the shoul-
der."

At this Rooker stirred.

"Hell!" Jubilo exclaimed. "First time I
ever missed!"

Jubilo's attempt at playing the bad gun
man drew a smile from the sheriff.

"Here, Mr. Marshal, take Rooker out
and put him in the car," the sheriff or-
dered, then turned and addressed Jubilo.

"Son, you dry up. Rooker's a bed egg,
tried to lay the blame on Hardy, so I let
on to believe him till the whole truth came
out."

The marshal started out with Rooker.
Rose stepped forward and addressed the
plotting bandit forgivingly.

"Please don't hold malice in your heart
Bert."

He answered only by hanging his head.

Rose's solicitude made Jubilo swiftly view
Rooker as an unfortunate, and as swiftly

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Jubilo

(Concluded)

evolve an idea of sympathy. Jubilo fol-
lowed the marshal out to the car with Rock-
er. The marshal placed Rooker in the front
seat and stepped to the front of the car
to crank it. As the marshal stooped Jubilo
pulled Rooker over to the driver's side,
pointed to the steering wheel and whis-
pered "Beat it."

As the motor started Rooker suited ac-
tion to the command and threw in the
clutch. The car shot forward and the mar-
shal dodged out of the way. As the mar-
shal jumped he bumped into Jubilo nnd
both men went sprawling. The marshal
righted himself first and started shooting at
the fleeing car. Jubilo pulled his revolver
and pretended to join in the fusillade, tak-
ing the opportunity to shoot a puncture
into Hardy's car which stood by.

The marshal and the sheriff ran for
Hardy's car to give chase.

"That darned tire's down again," lamented
Jubilo. "The marshal's such a rotten shot
he aimed at that other flivver and hit this
one."

In another excited moment the marshal
and sheriff were riding hot but hopelessly
after Rooker on a horse and mule borrowed
from Hardy's stable. Jubilo laughed them
out of sight.

Rose, comprehending all, walked out to
JubUo and offered her thanks. They sat
down together and Jubilo began to roll a

cigarette. Rose waited patiently almost a
minute, a mischievous twinkle in her

"Well, Jubilo, if you haven't anything to
say, you might sing something."

"If I did it'd be a swan song," Jubilo
rejoined.

"Why?"

"Because — everything's all right here now,
so I am going away."

Hardy came to the kitchen door and
looked at Rose and Jubilo. Then he smiled
and turned away.

"Where are you going, Jubilo?" Rose's
voice was low and soft.

"Just away." }

"Don't go, Jubilo."

He looked up quickly and Rose turned
her head away. He faced her about and
looked into her eyes. The next moment she
was in his arms.

Hardy appeared at the door again. He
stepped back and emerged beating a call
on a tin pan with a wooden spoon. A
wide smile covered his face, chasing away the
hard lines of worry.

Rose and Jubilo sprang apart and Rose
ran toward the house ahead of him.

Jubilo pushed his hat jauntily back on the
top of his head, shoved his hands deep in
his pockets and came along singing.

"It mus be now de Kingdom comin' an
de year ob Jubilo."

The Prince and the Pictures

(Concluded from page j6)

outing suit which looked like the one the
Prince wore, dressed Doran up in it, and
photographed him fishing up and down a
stream with his back to the camera. No one
who had not been there would have sus-
pected it was not the Prince.

"The Prince did not know anything about
it until the picture flashed on the dining
car wall. He laughed about it and called
it 'very clever', but I never felt quite right
about it.

"The Prince is a great runner," says Mr.
Mathewson. "The royal train often stopped
in the middle of a prairie so that he could
emerge in his running suit, white trunks and
jersey, and go for a sprint. Ten miles at
a time was nothing for him.

"At Regina, after a cross country run, the
Prince's valet hung his trunks on the
clothes line behind the Lieutenant Gover-
nor's house. When he went to get them
again they were gone, lost, no doubt, to
some valiant souvenir seeker under the very
noses of the police.

"He was delighted as a child at the circus
with the Saskatoon, Saskatchewan, stam-
pede. And it was truly a wonderful affair.
There were cowboys and cowgirls there from
many of our western states, as well as from
Canada.

"Several incidents occurred which set
every one roaring.

"Sam Alford, after bull-dogging a steer
in record time, was congratulated by the
Prince. As he was shaking hands he realized
that all was not as it should be with one
of his trouser legs. Looking down, he dis-
covered that he had torn it. Immediately
he turned to His Royal Highness and asked
the loan of a pin. The Prince did not have
one, but he commissioned Lord Claude
Hamilton to find one. The pin held things
together very well until Nora Wells, the
hard-riding cowgirl from Calgary, had a
chance to do a little mending.

"When it came time for the Prince to
leave, a Texan cowboy took up a large
megaphone and announced that the crowd

was to remain seated while 'the Royal
Prince's Highness' left the grounds. When
corrected, he called again, 'Please keep your •
seats while the Royal Princess leaves the
ground.' And when told that the Prince
was a man, not a girl, he took up his mega-
phone disgustedly again and shouted, 'Keep
your seats while this here Royal He Princess
leaves the ground.'

"You can know that the Prince of Wales
is keen for motion pictures, when I tell you
what happened at Revelstoke. The royal
train was held up two or three hours after
the announced starting time. None of US
could find out what was the trouble till the
next morning.

"The Prince had been so intrigued by the
posters he saw outside a motion picture
theatre, that he had gone in to see the show.

"There was practically no one in the
house.

" 'Where is everybody,' Edward asked the
usher. 'The seats are nearly empty.'

" 'They're all done around the royal train
looking for the Prince of Wales, I guess,'
the boy answered.

'' 'I'm afraid they won't find him there,'
the Prince laughed.

" 'Oh, I guess they will. They say he's a
nice fellow,' the boy said.

" 'But he's here. I'm the Prince,' chuckled
Edward, while the boy nearly fainted from
embarrassment."

It would not do to end this story with-
out acknowledging that the Prince of
Wales is devoted to American chewing gum,
and that he chewed it frequently as he sat
on the observation platform of the "Killar-
ney." Though we shall probably call down
a storm of censorship from mothers who
have been trying to break impressionable
daughters of the habit without success.

Mr. Mathewson saw him one day com-
ing out of a tiny "general store" in some
bleak western town delightedly fingering a
fresh package, and admitting, to the utter
enchantment of everv' one within ear shot,
"Now I feel like a regular guy!"

Every adTertlsemont in PHOTOPLAY MAGAZINE Is euarante?.i.

Photoplay Magazine — Advertising Section

Clothes and Good Taste

(Concluded from page j8)

harmonize with them, making the furs the
motive in the color scheme. A hat should be
chosen which will look well with the furs
and the costume, followed by shoes, gloves,
and other accessories with this same thought
in mind.

For a limited wardrobe one should be most
careful about the choice of all things, es-
pecially, I might say, in the selection of the
articles which should give good service and
contribute towards the tout ensemble of
beauty and harmony. It is always wise to
choose dark colors if one must wear one's
garments throughout the season. In fact,
dark colors are always attractive and restful
against a background of riotous blues, reels,
and yellows. Nothing is more striking in
the evening than a simple, well-made gown
of black velvet or lustrous satin, which is
bound to stand out against the groups of
gay colors which fill every drawing-room.

If one wishes to add a touch of color to a
sombre toilette, nothing is smarter than a
lovely flame-hued fan of ostrich feathers, or
a novelty French fan created from net in
shades of green or orange, mounted in am-
ber sticks. A fan does not look well with
an elaborate gown, but if one wishes to ob-
tain service and beauty, one cannot go wrong
by selecting a simple black evening gown,
and adding one's own touch of gaiety with a
fan or jewel.

Wear jewels for their beauty, not because
you own them and desire to display them.
Be discriminate in their selection. It is better
by far to wear one ring which harmonizes
with the costume, than several odd pieces of
jewelry which destroy the effect. Pearls or
diamonds, when nicely mounted, look well
with almost any evening costume, but it is
unwise to wear sapphires, rubies, or emeralds
unless they happen to harmonize with the
color scheme. Never combine odd stones like
a ruby and emerald, or a sapphire and em-
erald.

One's coiffure is a most important item.
Not only should the hair be dressed to be-
come the face, but the style of one's cos-
tume should also be considered. Some
gowns demand a very high coiffure; others
look best with the hair dressed low. AH
these details should be carefully studied in
advance. The art of being well-dressed does
not come naturally to all persons and even
if it does, it is worth studying.

Because there have been no radical changes
in hair-dressing in the last few years, the
head-bands are still popular for the theatre
and the opera. Women have never had such
a wide and rare opportunity to dress to suit
their own personalities, as at the present time.
Fashion does not demand a special type of
coiffure, and the manner in which one wears
one's hair is entirtly a matter of choice, not
custom. Looking about in the theatre one
will observe almost every style of coiffure,
and whether it is dressed high or low, or
bobbed at the ears, if it is becoming to the
person wearing it, it is smart. Personally, I
prefer simplicity in the arrangement of the
hair, and I do not believe that we shall ever
return to the exaggerated styles in pompa-
dours or puffs.

When all is said and done, it is the art
that conceals art, which applies to fashions as
well as to all other creative pursuits. Some
women acquire the trick of knowing what is
smart, and others are blessed with an mnate
sense of style, but no one who really desires
to be attractive and well-dressed can take
chances without careful thought. Impulsive
selections often prove costly and useless.
Make a regular campaign of it; map out
your feminine defenses and attacks; and buy
your clothes accordingly.

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Photoplay Magazine — Adyertisixg Section

Enemies of the Screen

(Continued from page 4j)

Makes
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Featured in Jack Norworth's "Odds and Ends'

Adopted by-Screen-Stage-Society

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fashionable style— straight back— any way you want it. Hair-
Dre?s will also give tn your hair that beautihil lustre so much
in vogue with men .in<l women ol the stage, the screen and
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that it lias a right to be happy in its own
way.

It is for these niiUions that the moving
picture was made and flourishes. Consider
tins fact, tliat unless a company produces
pictures which the millions approve, not all
the wealth of Standard Oil and Morgan
combined could keep it from bankruptcy.
Pictures there have been which have meas-
ured quite up to the standard of the inlcUi-
gemia but there was no audience for them.
Where were you cultured ladies and gentle-
men when "The Blue Bird" flitted across the
screen and too soon disappeared? Where
when "Prunella" tripped past and was next
day forgotten? Wnere when "The Gown
of Destiny" shimmered subtly a moment
and faded out? Where when William Fox
offered to visualize for you all the world's
fairy lore begjining with "The Arabian
Nights" in pure spirit of play, and did so
until it was clear that the effort was not
appreciated? These productions contained
much that was finest art — not heavy and
academic, but sparkling, vibrant, often
touched with keenest humor and satire.

The trouble with these highbrows is the
same as that of the various organizations
which arise from time to time to uplift the
stage — they are trying to dictate what
others shall enjoy, not offering an audience
for that better entertainment. They forget
that $50,000 is not an unusual cost price
of a feature picture, and that stockholders
want dividends. I have not heard of any
wealthy members of the inlclligensia offer-
ing to spend .f^sojooo to show what they
consider the proper realm of the moving
picture. The sole investment they offer is
good advice, which, according to one of the
oldest proverbs, is the cheapest of commodi-
ties.

But the spokesmen of the iiUelligensia
hold one trump card in reserve, and as you
tell them that the public will not support
the sort of things they demand of the pro-
ducers, they pull it from their sleeves tri-
umphantly :

"How about Griffith? He has proved
that the highest possible screen art is the
most profitable."

How about Griffith? Let us see just what
he has proved.

The first Griffith picture I ever saw was
"The Escape," and the thing I remember
principally about it was a terrific fight.
There was also the shooting of a father by
his son and the beating of a wife by her
husband. This sounds crude and vulgar, but
it was all handled with consummate skill.

Next came "The Birth of a Nation,"
which established Mr. Griffith's fame for all
time. And how? The two novels upon
which this picture was based were "The
Clansman" and "The Leopard's Spots."
Never has greater craft been combined with
greater craftsmanship than in the produc-
tion which emanated from them. Mr. Grif-
fith called his picture "The Birth of a Na-
t'on," this title being responsible for fully
half its success.

What, then, is the universal appeal that
has made "The Birth of a Nation" the big-
gest financial success in pictures? Simply
the same appeal that is to be found in the
same producer's "Intolerance." "Hearts of
the World" and "Broken Blossoms." He
uses the fundamental human emotions in
just the same way that John Philip Sousa

uses the trombones in the chorus of his
marches. In the clunaxes of "The Birth of
a Nation," "Intolerance" and "Hearts of the
World," you will find exactly the same sit-
uation. The "sympathetic" characters are
in grave danger and relief is on the way.
A girl is m the arms of a brute, and the
clans are riding to save her. Babylon is in
peril and a girl is driving a chariot across
the desert to warn the city. A man is about
to be hanged unjustly, and his wife in an au-
tomobile races with a train to procure his
pardon. A sphntered door is giving way
and a German officer will soon have the
heroine in his power unless the French
troops arrive first. It is in the handlmg of
these violent scenes that Griffith proves his
craftsmanship. In "Broken Blossoms" the
scenes are sickeningly cruel, but are glazed
over with a visual beauty that soothes the
quivering nerves. In other words, Mr. Grif-
fith has employed exactly the same material
that is used by his contemporaries, but he
has handled it in the mode of the goldsmith,
not that of the blacksmith. This is crafts-
manship, and even the intelligensia have
been fooled.

The success of Mr. Griffith on the screen,
it might be noted, is precisely parallel to
that of David Belasco in the theatre. Both
have discovered that the public is best
pleased by the presentation of the familiar
in elaborate form.

For the vast majority of mankmd, things
must be stated plainly and simply. Nor,
perhaps, would it be wrong to add that un-
less a thing can be stated simply it is not
worth stating at all. It is only when art
has degenerated that it becomes complex.
The limpid phrases of the great masters of
music make the horrendous clamor of the
moderns seem like debauches of sound, be-
cause the masters sang in simple phrases.
Great poets like Shakespeare and Whitman
are easily understood because they touch
the fundamentals of feeling; it is only when
writers have little to say, like the imagists
and vers librists of to-day, that they weave
intricate phrases to be impressive. Who
will dare to say, then, that the moving pic-
ture, with all its faults, is not great art? It
is truly simple. At least it must be consid-
ered seriously, for that which is hungrily de-
voured by the millions cannot be entirely
unhealthy food.

The enmity toward moving pictures has
been generated among the erudite and semi-
erudite because of a misconception of art.
To them whom Tolstoi called "the cultured
crowd," there can be no art except that
which appeals to the person of education.
In other words, only the educated can ap-
preciate art. If this be true, then moving
pictures are not art, nor will they ever be.
But if Tolstoi was right, if it be true, as he
declared that —

"Art is a human activity, consisting
in this, that one man consciously by
means of certain external signs, hands
on to others feelings he has lived
through, and that other people are in-
fected by these feelings, and also expe-
rience them,"
then the response to the moving picture in
seventeen thousand theatres in this land,
daily and nightly, proves that this is indeed
an art, not yet come to its full flower, but
nevertheless the one beautiful thing in mil-
lions of lives otherwise drab and colorless.

/'^LEOP.\TRA: a queen who died that Theda Bara might live.
jV/JAXY a perfectly formed leading man owes his fortune to his tailor.

Ercry adrertiscment in PHOTOPI.AT jrAOAZINT; is guaranteed.

Photoplay Magazine — Ad\ertising Section

121

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If Christ Went to the
Movies

(Concluded from page jo)

A friend of mine says that there is no
theatrical production which is worth more
than fifty cents to see. Prices of a dollar
or more makes movies a recreation for the
well-to-do. These advanced prices of ad-
mission destroy democracy. All people have
a yearning for something fine. Big theatri-
cal people, the state and the church must
meet this need. What we have got to do
today is to present clean, fine, interesting
performances for people of small means,
people who need to have their burdens
lightened.

Christ taught his followers by "Pictures."
Parables, we call them. He used that mar-
velous pictorial element which is part and
parcel of human life. What is the parable
of the Prodigal Son but a series of pictures
divinely presented? We must think of
Christ as an ideal personality having vital,
ethical ideas bearing on our life today,
not as the vicarious offering perpetuated in
the sacraments of the church. Christ lived
and walked among the men of his day. He
shared in the life of the common people.
He ate at the Pharisee's house. He took
part in the marriage celebration at Cana of
Galilee. He labored and taught among the
people. Were the Lord to descend upon the
earth today can we doubt His approval of
this form of education when we consider
His own method of pictorial teaching?

If Christ went to the movies would he
not say, "Let my people enjoy this thing.
Let my Church employ it. Blessed be that
which uplifts, restores, and refreshes the
weary souls of men."

Are You Doing Your Part?

WHEN you go to see a photodrama
you demand, and rightfully so,
that the star be a good actor, the
director be a good dramaturgist,
the builder of scenes be a good artist, the
author be a good story-teller — and so on.

Did it ever occur to you that each one of
these individuals who are contributing to
your entertainment has the right to ask reci-
procity from youi You expect to be enter-
tained. Therefore you should be willing to
be as capable in your function as the makers
of the picture in theirs.

Your part is to be a good spectator.

This does not mean merely to be a silent
spectator, not to read the titles aloud, not to
chew gum audibly, not to leave the the-
atre in a tense moment of the drama, not
to carry on an audible conversation with
your companion. These are all negative
qualities. To be a good spectator calls for
a more active attitude on your part.

It means that instead of going to see a
picture with that sort of superior state of
mind that defies anything or anyone to
please you, you should go expecting the best,
not the worst. For, strange as it may seem,
there are thousands who get more delight
out of noticing that the hero's clothes were
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Photoplay Magazine — Advertising Section

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Questions and Answers

(Continued jrom page 82)

ception and the thickest ink. I like you
better, anyhow, as you are: a little Junior
in high-school — than if you'd posed to me
as a "very modern vampire" as was your
first praiseworthy intention. I'm not afraid
of the boy who sits across the aisle; he
couldn't be jealous of a pen-and-ink gentle-
man. I am sorry you didn't ask more
questions but I have already told others
all I know about Dick Barthelmess.

H. S. Lewis, Atlanta, Ga. — I can't give
you Dorothy Gish's personal address except
to tell you that she lives in Maraaroneck,
with her mother Mae and sister Lillian and
parrot John and that she works at the
Griffith studios — address of which is given
elsewhere. That is all I know; I don t
know any more.

F. A. P., Frisco. — I don't know much
about these things but I should say you
were in love. And take my advice; don't
count on the leap-year spirit; do the asking
yourself. Enid Bennett played in "Step-
ping Out." She may be reached at the
Thomas H. Ince Studios, Culver City, Cal.
She is married to her director, Fred Niblo.

S. G., Indiana. — You don't mean Dick
Martin, do you? There's a young actor by
that name, who has appeared in Johnny
Dooley comedies. June Elvidge and Edwin
August productions, and with Agnes Ayres.
Gladys Leslie is no longer with Vitagraph;
new plans not yet announced. Married.

Reyes P., Manila. — I may be single, but
I lead a double life. To all you people who
write in to me, I am cross, and sometimes
sarcastic; but after office hours — ahf
Charles Spencer Chaplin is his real name.
He lives and works in Hollywood, Cal-
ifornia. He is a member of the same organ-
ization as Miss Pickford and Mr. Fairbanks;
also D. W. Griffith : the United Artists. He
first appeared on the screen in Keystone
comedy.

Inez Twilight. — I'm no star-gazer; evi-
dently you are. There are shades of love;
for instance the difference in feeling in a
man when he first meets the girl he falls
for, and when he first meets the girl's
mother. 'S a great thing, love. Theda
Bara was "Salome" in the Fox version.
Wallace MacDonald is in California, play-
ing opposite Anita Stewart right now in
"The Fightmg Sheperdess." Write to him
care Los Angeles Athletic Club.

E. K. G. C, Granite City, III.— Don't
call me Apollo, you Granite-City goddess.
I am no Apollo or Adonis or anything like
that. Frances Ring is really Mrs. Tom
Meighan. I would be content with what
fate gave me, if I were you, I have a good
disposition, among other assets, and I am
exceedingly glad and proud about it. Well,
it's great to be satisfied with yourself. Cleo
Madison in that old Universal serial, "The
Trey of Hearts,"

Eric Scavdrett, New Zealand. — Who
can tell — Mildred Harris might be inter-
ested in corresponding with you in far off
New Zealand, considering you have no ro-
mance-shattering grey hairs — but, whist,
man look out for friend husband, Charlie
Chaplin. In real life he may be more fierce
than he is in reel life. Married as Mildred
is, I dare not give you her private address,
but a letter sent to her at the Lois B, Mayer
Studio, Hollywood, Calif., might bring
that much desired photo.

Every advertisement in PHOTOPLAY IiIAGAZINE is euaranteed.

Questions and Answers

(Continued)

Dot Ferguson. — I do hope you finished
knitting that sweater in time for Xmas.
Who was the lucky fellow? So you and
your classmate had an argument over Fannie
Ward's age. Why argue over the span of
time when she is acknowledged to be blessed
with perpetual girlhood? Of course we
think Herbert Rawlinson is wonderful. His
address is Hotel Algonquin, N. Y. C. For-
tunately for some lucky fellow Constance
Binney is not married. That joy is yet to
come to someone. You could tell her you
met her at dancing school by writing her at
the Realart Studio, N. Y. C. "The Coun-
try Cousin" was Elaine Hammerstein's first
Selznick picture, but did not mark her de-
but into filmdom.

Photoplay Magazine — Advehtising Section 123

NING riPIIilO zl^*"^ ' ^^/^yT i 80 TO 100 W(2R03 I

ACCURACY -^gJEwWAY EFFIClEMCY^;^p5'rR'^p£^_'^ |

LI-:55 PHYSICAL STRAIN I

G. H., Kansas City. — I'm quite fussed
that you think me learned, and dodge the
invocation ! And now about your queries.
Richard Barthelmess is twenty-four years
old. He is working on a new picture which
up to this time has not been named. Keep
your adoring eyes open, and it will soon
be skipping along. It is possible that he will
play with Lillian Gish at some time in the
future, but the gods do not decree it so
just now. Just let your questions rip along.

J. Grace, Nantucket. — Bless your heart,
I'm never too busy to answer your ques-
tions. No, Harrison Ford is not married —
now, which is another way of saying he is
divorced. I see you have a sneaking fond-
ness for Constance Talmadge. Write her
care of the Talmadge Studio, 318 East 48th
St., N. Y. C, and Uncle Sam may deliver
her photo to you. And the same procedure
may bring you Nazimova's photo. Write
her care the Metro Studiio, Hollywood,
California.

Blue Eyes. — A high-school education es-
sential to radiating the screen? Certainly
not! You seem to have everything in your
favor — height, weight and tender years — to
say nothing of those big blue-eyes. But, on
the other hand, I would finish high-school
if I were you; a little extra learning never
goes amiss.

Rose Keith, Atlanta. — Lest your grand-
mother, mother and self have been having
more knock-down-drag-out fights, I am dis-
tressed that your queries have not been
answered before. No, Herbert Heyes, who
measures six feet two in altitude, did not
play with Virginia Pearson in "The Love
Auction." Neither did Harold Lockwood
star with Alice Brady in "The Death Dance."
I hope that this information will bring peace
to the family.

E. M., St. Augustine, Fla. — I should
love to correspond with you, little E. M.,
but alas my days and nights are one long
stretch of correspondence. So just be con-
tent with my desire rather than the fulfill-
ment, won't you? Douglas MacLean is
married, although probably he doesn't shout
about it from the housetops. A letter sent
to the Ince Studio, Culver City, Calif., will
reach him.

Rocky Mountain Goat. — So you think
me the nuttiest of nuts. Good! That, at
least, is a distinction. Am I an actor?
Yes, in a way; we are all players in the
Great Drama of Life. I'm not ashamed of
my age, but as time is infinite why mention
its passing? The diminutive Marguerite
Clark may be addressed Famous Players,
4^Flfth Ave., N. Y. C. Dorothy Daven-
pottfe address is 1822 Morgan Place, Holly-
woo(V OaKf. I think she would welcome
a tribute from Montana. It's a great state.

5 LIGH"

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Ask your exhibitor when he is going to
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Supplement — glimpses of the players in real life.

124

Photoplay Magazine — Advertising Section

Questions and Answers

{Continued)

Georceana, Long Beach. — How can you
sign yourself "As ever" when this is the first
time you have written to me? Alice Lake
is Norah in "Lombardi Ltd." I'll have to
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PHOTOPLAY MAGAZINE

350 N. Clark Street CHICAGO

C. L. C., St. Louis. — I'ew-comers are al-
ways welcome. Tom Mo. re, Goldwyn stu-
dios, Culver City, Califoi lia ; Alia Nazi-
mova, Metro, Hollywood, John Barry-
more, Famous Players, New York; Norma
Talmadge, her own company. That's a wig
Dorothy wears ; you'll see her without it
on the screen for the first time in a year
if you go to see Photoplay Macazine
Screen Supplement Number Eleven.

Therese F. S., Hempstead. — At twelve
you have an amazing sagacity. You realize
that you should be concise and brief. In
a woman-child that's a rare attribute — but
maybe you'll outgrow it. Creighton Hale is
an Irish blonde; June Caprice is blonde but
not Irish. Hale is married but has no child-
ren that I know of. Miss Caprice has never
been married and is not engaged that I have
heard.

Sara G., Germantown, Pa. — Gladys Les-
lie is married, I think, but I haven't the
name of her husband. Her contract with
Vitagraph is up and I hear that she will
not renew. Miss Leslie was born in New
York City, March 5, 1899; educated at
Washington Irving High School and Colum-
bia University ; began her screen career with
Edison — she never was on the stage; won
prominence as Thanhouser's "Girl with the
Million Dollar Smile"; then went to Vita-
graph — and the rest you know.

Brown Eyes, New York. — Don't hesitate
about writing Dick Barthelmess for his
photograph. Insist upon an autographed
one — a personally autographed one. Do not
accept a print, but protest unless he sends
you an original. And if he doesn't answer
within the fortnight, don't go to see him
any more. (Now I have repaid Richard
for the loss of some of my dearest corre-
spondents.) Dorothy Phillips-Holubar has
one little girl.

C. M. W., Pittsburgh. — Of course it isn't
quite true that a girl must come from Pitts-
burgh to succeed in the Follies but it is true
that many pretty girls have hailed from the
smoke city or environs. Let me mention
Olive Thomas, Kay Laurell and Hedda Hop-
per— all Pennsylvania girls. That Lubin pic-
ture is too old; I can't find it. Besides your
data is very indefinite.

The Lightning Raider. — I think you're
in love. So I won't give you any advice
at all. It's so unnecessary. Girls always do
as they please anyway. I'm with you hop-
ing that Pearl White will get some good
pictures, or features as you call them. Ad-
dress Miss White in care of Fox, now.

Kathleen McL., H. S. — So you want to
send Dorothy Gish a birthday present in ap-
preciation of her having been born. Send it to
her care the D. W. Griffith studios in Mam-
aroneck, New York. The Gish girls and
their mother Mae are living in Mamaron-
eck near the new studios erected on the Flag-
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at the same address. Bobby Harron and
Dick Barthelmess, too. Having told me to
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Photoplay Magazine — Advertising Section

Questions and Answers

125

(Continued)

Miss A. H., N. Y. C— Why are all of you
so determined to marry oft Dorothy Gish ?
She's a nice little girl and she very likely will
get married sometime but she isn't even
thinking about it now so why should you
worry? I myself have appealed to Dorothy
to do something about it so 1 wouldn't have
to answer all these questions but she says
she gets just as many letters that she has to
answer so if she doesn't mind why should
I? I like her pretty much myself.

Mrs. E. B^ Austin, Texas. — Any of the
companies will buy a scenario or a synopsis
if it comes up to their requirements and suits
their needs. You must study the needs of
the various producing concerns, build your
stories accordingly and send them to the
proper people. 1 have never written scen-
arios .so I can't sympathize with your state
of perturbation over having had some re-
turned.

Babe, Spokane. — Don't blame my sten-
ographer for this department's levity. I
have a new one now — a stenographer — and
she is a very grave young woman who dis-
approves of colored stationery and of my
puns. Theda Bara isn't dead ; Harrison Ford
isn't married now, and Montgomery and
Rock are a comedy team who work for
Vitagraph on the west coast.

E. S. Emerson, Nebraska. — True art in
dress may be acquired only by careful study.
I like to see a woman dressed in the utmost
simplicity— the simplicity which costs her
husband his whole income and much mental
anguish. Eva Tanguay once wore a dress
made of bills; it would be more appropriate
for most women if they wore dresses made
of unpaid bills. But I'm not married; why
should I complain? Madge Evans' World
contract was taken over by Prizma, the na-
tural color company and you may see Madge
in their pictures. Ruth Roland has been
married but she obtained a divorce.

Two Little Picture Fans. — You didn't
sign your full names but you flattered me
so successfully I'm answering you anyway.
Of course I don't really believe that I am
an old darling but it's nice to kid yourself
once in a while. "The Midnight Patrol"
was, I think, made by Thomas H. Ince; but
it was not released by him. Walter Mc-
Grail was Pearl White's leading man in
"Pearl of the Army."

Ruby J., Huntsville. — So you would like
my job very much. I'm sure you wouldn't.
You would answer enough questions for one
month's issue an'd then decide you'd rather
be almost anything else, — even a movie ac-
tress. Eddie Polo is married but his wife
isn't Peggie O'Dare. Marie Walcamp is Mrs.
Harland Tucker; he is her leading man.

M. E. W., Augusta, Ga. — Mary Miles
Minter is about nineteen now, I think. I
have a hard enough time keeping track of
my own age without worrying about Mary
Miles'. She has blue eyes and blonde hair.
Her new picture is "Judy of Rogue's Har-
bor.'

R. S., New Orleans. — Oh, I don't get
discouraged very often. What's the use;
start the day with a smOe instead. That's
easy when a little blonde waitress serves your
breakfast. Wc do print something every
month about the actress's home life. I do
not care to make any statements on morals.
An actress doesn't have much home life
but I am sure what she does have is good.
Olive Thomas, Selznick, New York; Mary
Thurman, William S. Hart company, Los
Angeles.

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126

Photoplay Magazine — Advertising Section

Questions and Answers

(Continued)

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Dearie, Ontario. — So, you admire me for
not losing my temper over some of the silly
letters I receive. There are so many larger
things to lose my temper over; and my tem-
per is not to be lost for everybody. No,
Eugene O'Brien hasn't been married since
the last time I answered your question in
the negative. Neither has Dick. Barthelmess.
with D. W. Griffith working in a new pic-
At the present writing Dick is in Florida
ture.

G. S., Lexington. — It's a mystery to m.
why women must make themselves uncom-
fortable for the sake of style. I notice,
sometimes, that the most modishly dressed
ladies have the most uncertain dispositions.
I could not be pleasant, either, if my feet
hurt. Elsie Ferguson has an apartment in
New York, the address of which 1 am not
at liberty to divulge. The studio address
will reach her all right.

K. K. R., BuENA Vista, 'Va. — The young
have anticipation; the old have only mem-
ory and, sometimes, regret. You are young;
and I know that the prospect of getting
a picture from Theda Bara is a part ot your
life. Alas, Theda is no longer with Fox;
but she is somewhere in New York and if
you write her there, Fox will probably for-
ward it for you.

P. E. M., East Liverpool. — You say,
"Please don't try to fool us any longer. We
all know you are one of these up-to-date
young men with smart answers to every-
thing." I have succeeded at last; that is
what I've always wanted to be, ever since
I was of age. I am, too, one of the young
men who goes into Childs and upon leaving
says, putting on an overcoat, "I hope I got a
good one." You see I am wearing last
year's overcoat so I'm not as smart as you
think. Comedies are most popular with
some people; drama, with others. I like a
well-balanced program with both.

.■\nother Girl's Club, Jamaica. — A sub-
scription will take care of you fine. Write
to that department. Lillian Gish's latest
picture to be released is "The Greatest Ques-
tion"— another Griffith •'rural" drama with
Bobby Harron playing opposite. Lillian is
really beautiful off the screen and entirely
worthy of your admiration. Bobby Harron
is a mighty nice chap. Mary Pickford has
no home in New York; she lives in Holly-
wood.

E. A. L., Pittsburgh. — So you don't want
to be a movie actor; you'd rather be a de-
tective. Can't say I blame you. But I won-
der, too, if detecting is really all it's cracked
up to be? Mildred Manning was Mary
Jane in "Mary Jane's Pa." She was lately
seen in "The Westerners." John Bower is
with Mary Pickford in "Hulda from Hol-
land."

L. B., Milwaukee. — You are not very
complimentary but it does me good to be
called down once in a while. Not often.
You'll think I'm trying to bribe you if I
answer all your questions, won't you ? Anita
Stewart, First National; she works in Cali-
fornia. Bob Warwick's latest is "Jack
Straws." Carroll McComas from the legit-
imate is his leading woman.

\". M. and F, K., Corsicana, Texas.— I
can't help you to get a picture of Pearl
White except by giving you her address and
telling you to write to her. If I knew the
secret of winning Pearl's regard I'd use it
mvself.

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Photoplay M vgazink — Ad\eriising Section

Questions and Answers

((ontimted) )

Betty Jane McKay, Saginaw. — It's great
to be lonesome sometimes. Great thoughts
are never thunk in crowded cabarets — al-
though I suspect some song-writers of com-
posing their jazz there. Lillian Walker is
the star of a new serial called "Ten Thous-
and Dollars Reward" or something like that.
A few thousand dollars more or less doesn't
matter. Viola Dana is the widow of director
John Collins. She hasn't married again.
Her sister Shirley Mason of Fox is married
to Bernard Durning, a young actor who
used to be an assistant director. You may
have seen Durning in "When Bearcat Went
Dry."

127,

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J. W. Sellv, England. — So you admire
Florence Billings. She's versatile enough
to be a writer and actress, and her latest
picture is "The Woman's Game". Write
her at the Selnick Studio, Fort Lee, N. J.,
and I am sure she will be glad to know
you are among her admirers. Admiration
is the nectar of life. Nell Shipman has
her own company now — Canadian Photo-
plays, Calgary. Canada.

Roaring Harry Hale, Washington. — I
trembled a little when you told me you
were a fast guy but regained my poise
when you added you were a taxi driver.
Thanks for your phone number. I'll use
it when we transfer our headquarters to a
real town like yours. Harold Lloyd may
be Irish from another generation but he
hove into the world in Nebraska. You
bet I read the Dere Mable letters. Did
you know they are going to be screened?

J. D., Indiana. — I like your suggestion
of being a cover, but durn it all I'll bet
the editor couldn't see it. I'll wait until
he's in a receptive frame of mine and then
spring it on him. But if he springs some-
thing at my head, I'll hold you responsible.
Casson Ferguson is the man you have in
mind, Lasky Studio, Hollywood, California.

Kathleen B. Mattos, Brooklyn. —
Thank you for the nice thinks you say
about Photoplay, and in return let me say
I am delighted to answer a query from
Herbert Brenon's sister. Sorry I'm not
familiar with the cast of the English pro-
duction of "The Gay Lord Quex". Motion
pictures keep me busy enough. Goldwyn
screened this play with Naomi Childers
playing the Duchess and Tom Moore in the
lead.

E. G., Evanston, III. — That was a
healthy-sized letter you sent me and just
teeming with things scholastic and things un-
scholastic. You flit from French jib-jabs
to nasty flu with the happy abandon of a
flea. But then you ask so little in return
that I beam as I dash off a reply. .Alec B.
Francis is the man you admire and he is
with the Goldwyn Studio at Culver City,
California.

M. S., Philadelphia. — A woman is al-
ways young as far as romance is concerned.
The older they grow the more romantic they
feel. Marguerite Marsh has a little daugh-
ter, Leslie, who is eleven years old and some-
times works in pictures. You'll see her in
a new Dorothy Gish picture.

Raymond Wood, Portland. — I don't see
what good knowing the works of an air-
plane is going to do you in pictures. You
might wait a few years, because fourteen is
a rather awkward age to break in anywhere
in the dramatic line. Keep up those out-
dor exercises, though ; and niaybe some day
vou'll have a chance.

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Photoplay Magazine — Advertising Section

Questions and Answers

(Continued)

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S. T., Charleston. — Another subject of
which I am wary is the real age of a child
actress. One is so apt to run up against
them when they're grown. Harrison J:'ord,
Lasky, Hollywood. Theda Bara is not mar-
ried. Baby Marie Osborne'is pictures are still
being shown. Fannie Ward is in England,
with her husband Jack Dean; while over
there she will act in some French and Eng-
lish photoplays.

K. M. M., Birmingham, — The themes of
literature, art, music, economics and travel
are not nearly so interesting to some people
as Mush and Slush, those two dear old stand-
bys of the modern drama. We all know tlie
plot of "The Dame in Room 31" or "The
Woman Nobody Knew," or the chief musical
motive of revues such as "Everybody Loves
Me" and "How Can I Help It?" Mark
Twain's conception of the "Royal Nonesuch"
absolutely describes some of these hokum
horrors. Marguerite Clark in the Famous
Players film, "Cinderella." Miss Clark is on
a vacation as I write tliis, with her husband
at their home in New Orleans.

R. H., Atchison. — Anita Stewart's pic-
tures since her return have been "The Mind-
the-Paint Girl" (made at Vitagraph and pur-
chased by First National) ; "Virtuous Wives,"
"A Midnight Romance," "Mary Regan,"
"Her Kingdom of Dreams," "In Old Ken-
tucky." For Vitagraph, she used to do such
films as "A Million Bid," "The Wood
Violet," "The Goddess," and "The Girl
PhUippa." She was educated at Erasmus
Hall high school, in Brooklyn. Married to
Rudie Cameron. Mahlon Hamilton is now
playing with Blanche Sweet in "The Deadlier
Sex."

Unsophisticated Sue, Schenectady. — If
you want an interview with Bert Lytell so
much that you will make me a box of fudge
if I can bring it about — you certainly deserve
to have one. I will see the editor about it.
It's a good thing I can see the editor, because
he can't see me at all. Lytell is, as I have
told some of your curious sisters, married to
Evelyn Vaughn. They reside in Los Angeles.
His latest is Sir Gilbert Parker's "The Right
of Way."

Edith H., Brookline. — You say you have
often wondered whether men prefer blondes
or brunettes. It depends upon which one he
married. I am impartial. I like blondes,
when they look like Phyllis Haver; I like
brunettes of the type of Alice Lake and
others. And I daresay I should like a
neutral-tinted girl if she had a few freckles
and a good disposition. I wont attempt to
send you the address of the most popular
^^ctress in pictures; there are too many of
them.

Bobbed, Carlinville, III. — Another
irenecastle controversy. How should I know
which way I like bobbed hair to be fixed?
I thought it all looked alike. Now that I
have succeeded in evoking the wrath of every
woman who has emulated Mrs. Robt. Tre-
man, I will say that, really, I prefer mine
parted on the side and fluffed about the ears,
giving one, I should presume, the general
appearance of a newly washed pomeranian.
Corinne Griffith's hair gives off a look of be-
ing bobbed but I think girls can fix it that
way without really having it cut, can't they ?
Pardon me while I run out and get a hair-
cut.

never say thes; things about myself except
when ckiven to it.) I am sure Mary Pick-
ford will send you her picture, ana perhaps
write you a little letter, when she hears what
a loyal friend she has in you. Maurice Cos-
tello is with Vitagraph, Brooklyn; Conway
Tearle with Clara K. Young's company in
California.

A. S., Easton. — The Misses Gish are not
married but I hardly think they have the
time or inclination to correspond with a
itrange young man. Their mother might
abject. However, I daresay they would an-
swer you if you wrote them a letter of ap-
preciation of their work. They are not rivals
in any sense, but very good pals. Dorothy
thinks Lillian is the most beautiful big sister
anyone ever had, while Lillian is convinced of
Dorothy's ability as a great little comedienne,
whether at home or in the studio. And
neither of them is the least little bit con-
ceited about herself. There is a page of pic-
tures in this issue, showing Lillian directing
Dorothy in the latter's latest picture.

S. B., New York — I think if you will look
up and read again the answer I made to the
movie aspirant in the September issue you
will find that . I did not pretend to insure
success for anyone merely because they hap-
pen to be living in New York, the city of
studios, or Los Angeles. I can only advise
you to steer clear of the so-called "schools
of acting" unless you have plenty of time
and money to expend. The best way to do,
as I have told countless others, is to apply at
the studios.

Frances Oliva, Washington. — Harold
Lockwood's memory still lives. His leading
woman, May Allison, is now a lone star for
Metro. She has appeared lately in "Fair and
Warmer" and "The Walkoffs". Lucille Lee
Stewart is Anita's sister; Lucille is Mrs.
Ralph Ince.

Micky, California. — I wish I were a free-
verse poet; then I would do a mad poem
railed "Purple Paper and Green Ink."
Micky; some day I may forgive you, but not
now. Jack Kerrigan and Lois Wilson are
not married. She is no longer his leading
woman, but acts for Lasky now. Viola
Dana's leading man in "Please Get Married"
was that clever youngster, Antrim Short; in
"The Willow Tree" Pell Trenton was her
chief male support.

Oei Tjong Yong, Java. — Constance Tal-
mage was the wild girl in Griffith's "Intoler-
ance." It was her first big role. D. W.
Griffith has been back from Europe a long
time; "Hearts of the World" was the main
fruit of his labors over there. Mitchell Lewis
and Mabel Julienne Scott in "The Barrier."
I'll be very glad to have you call again; I
liked your letter.

B. M., Maryland. — So you have broken
your engagement. You are, then, no loneer
a bride-to-be, but a tried-to-be. Life is like
that. Douglas MacLean is married. One of
bis late pictures is "Marv's Ankle," in which
he co-stars with little Doris May. No — he
is not married to Doris.

Lilamani, Melbourne. — If you think
Photoplay is a grand Magazine you have
nothing on me. It has gorgeous pictures,
excellent interviews, and quite the most
fetching Answer Man in the business. (I

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

I. KissuM-GooDE. New York. — My dear,
if all you girls didn't write me, business
would be what a traveling salesman would
call rotten. Tom Forman was a Lieutenant
in tbe war. Dorothy Gish has worn a black
bobbed wig in all of her pictures since
"Hearts of the World," including of course
the two you mentioned. Lillian wears her
owTi hair; Dorothy's real hirsute adornment
is the same shade as her sister's. May Giraci
was the little girl in "For Better, For Worse."

Photoplay MAGAZiMi — Auveutising Section

129

Viola Dana

in The Willow Tree"

Probably those Jap kiddies are
wondering how on earth Viola
contrived such an honest-to-good-
ness Oriental makeup without los-
ing a particle of her American
charm. That's just one of Viola's
little screen secrets.

Metro Picture

PHOTO BY
EVANS

When I sit at my dressing table,
Ingram's Rouge is right at my
elbow. It has its own particular
spot, which nothing else is permit-
ted to occupy. Its perfectly nat-
ural glow, and the fact that it
doesn't run, even in the heat of the
studio, gives it first place in my
esteem.

yC<^l!ra-^-^ .

Itigtiim's
B^uge

Beauty is not even skin deep. The outer cuticle of your
skin — the visible surface — spells the difference between
daintiness and plainness; between loveliness and homeli-
ness. Ingram's Rouge makes ^that difference; gives that
last touch of elegance.

While its coloring does not penetrate the skin, and is,
therefore, not harmful, Ingram's Rouge does not streak
or run, even when you perspire freely. Being made in
solid cakes, its use is more economical than that of loose
powder. Sold in three perfect shades. Light, Medium and
Dark, daintily scented. Price 50c.

Ingratn*s

Yso\

eiveola,
Souvcratne

FACE POWDER

A complexion powder especially dis-
tinguished by the fact that it stays on.
Furthermore, a powder of unexcelled
delicacy of texture and refinement of
perfume. Four tints— White, Pink,
Flesh and Brunette— 50c.

IngrrQm's

MUK^ed

CtSam

"There is beauty in every jar." It
clears clogged pores, banishes slight
imperfections, soothes away redness
and roughness and keeps the delicate
textureoftheskin soft and smooth. Its
exclusive therapeutic properties keep
the complexion toned up and healthy
all the time. Two sizes, 50c and $1.00.

Windior, Ont.,
Canada

FREDERICK F. INGRAM CO.

Established 1885 _ 102 Tenth Street

DETROIT, U. S. A.
Foreign Dittributori

Pbllippinea: F. A. Thompson Africa, South: C. A. Bolus Trinidad: L. C. Wharton

Commercial Co. Inc. Stey tiers Bide., San Fernanda

La Campana Bldg., Manila Johannesburg

Auftralla: T. W. Cotton, Pty., Ltd. Africa, British E.: A. Ambrose Smith China: Mustard & Co.
Melbourne Standard Bldgs., Nairobi Shangrhai

Canary Islands: Mendel Bros., Veira y Clavijo 2t Las Palmaa, Santa Cruz de la Palma

^ROUGE^

Superfine Perfumed. Invisible.
Makes dainty pink cheeks

50 CENTS

F F. Ingram G.

DETROIT. MICM.

K-,

'^OsoP °^

(225)

Coupon

(Look for proper address at left)

I enclose 6 two cent stamps, in return for
which send me your Guest Room Package
containing Ingram's Milkweed Cream.
Rouge, Face Powder, Zodenta Tooth
Powder, and Ingram's Perfume in Guest
Room sizes.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I30

Photoplay Magazine — Advertising Section

Mellin's Food

33oif

i4l|^

-v\

is^"- ■

^aw-es c/t.^ortes,
^Bristol, tJe«.rt.

Send today for a Sample Bottle of Mellins Food
and start your baby right.

Mellin's Food Company, Boston, Mass.

^^--^rr:::^

orietif

powers of the Orient

bif dfh Imf^ar-tlcuL Juru of^dUcrwuacdirva -womav

One can almost hear the conversation
swing from husbands to hats — then from
hats to complexions — and then from
complexions to perfumes.
" Yes, my dear," remarks the girl in
blue, "I thought the same until I made
'The Perfume Test'. Then I found that
it isn't the foreign label or the elaborate,

The Test by an impartial jury of
women compared three popular for-
eign perfumes with threeof Colgate's.
There were no names or labels— the
perfumes wet-e judged by their
quality alone. More than half of
this jury chose Colgate's— Florient
being the favorite.

fancy bottle that makes a perfume what

it should be."

" How did you ? " asks the hostess.

" What is it then?"

"The character of it," comes the answer.

"'The Perfume Test' showed me that

my own taste — which I think is good — ■

guided me straight to Florient."

Florient delightfully prepared also in
toilet water, face powder, etc.
Full details of the Test and materials
for making it yourself will be sent
for 2c in stamps. Address Colgate
& Co., Dept. 8, 199 Fulton Street,
N. Y.

'*■*

'-if**.'

>.<

i^ *■*

•4

,^ ^^: M^'-r

^>!^-

'PtarZ White

'•^^'•J'A^* '

«>>

ICflL

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.N less than seven years
the Sheaffer Fountain Pen
has come to be the leading
seller in America's prominent
Stores because it has sur-
prised the most skeptical,
proving to be positively non-
leakable and to maintain a
perfectly even flow of ink,
which starts the very instant
the pen-point touches paper.
This fulfillment of the theory
of fountain pen writing has
been achieved only through
Sheaffer inventions fully pro-
tected by patents, which make
this pen absolutely air-tight.

Fountain Pen illustrated is Number 2MC with
gold-filled Chatelaine attachment on cap, 23.50

Write for Booklet illustrating
styles at all prices.

Pencil No.CB.
straight line,
eold niled. {4;
eaine stylt,
sterling .silver.
No. UB, $.1.60

W. A. SHEAFFER PEN CO.

200 Sheaffer Building, Ft. Madison, Iowa
New York Chicago Kansas City San Francisco

$250

$5Q00

^'.

V^^

W7^

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5 •l\«!UlUlllinHllll >-

"I'f-

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'*<..

Photoplay Magazine — Advehiisixc. Srrnov

The Quartet
from. Kigoletto

Absolute faithfulness of reproduction is the one essential the
greatest artists demand in the making of talking-machine records.

Because of their dominant position in the world of music,
because of the pride they take in their art, it is a prime requisite
that their interpretations shall be reproduced in all their original
beauty.

It is highly significant that the world's greatest singers and
instrumentalists have entrusted their art to the Victor and
Victor Records as the one medium through which they them-
selves wish to be heard.

There are Victrolas in great variety of styles from $25 to
$1500, and arvy Victor dealer will gladly play any music you wish
to hear. New Victor Records demonstrated at all dealers on
the 1st of each month.

Victor Talking Machine Co^

Camden.

New Jersey

f^j:^:^:^:^::^.^^^^^^^

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

'Td like to see it

right over again

y '9 O MAKE you say that it's got to
( f be a pretty good picture. But these
1 pictures are not so rare as they
used to be. You've noticed that.
More and more often you run across
them. Genuine portrayals of human virtues
and ventures and follies and perils that are
all the more fascinating and thrilling because
so clipped-from-life as it were.

The kind of motion picture that carries you
off like an aeroplane — and you've no desire
to get back to earth till the journey's end.

The kind — as you've probably noticed
also — that bears the brand name Para-
mount.

In every Paramount Artcraft Feature,
Famous Players-Lasky Corporation recog-
nizes no limits on the scenes but the earth.
No limits on the machinery but machinery.
No limits on the cost but money. No
limits on the cast but artists. No limits on
the plot but clean, new and thrilling.

And that's what brings the encores
from you !

paramount ^Iciures

Latest Paramount Artcraft Features — Released to March 1st

"Wanted— A Husband"
"The Amateur Wife"

Billie Burke in
Irene Castle in

Marguerite Clark in

"All of a Sudden Peggy"

Ethel Clayton ill "YoUNG MRS. WiNTHROP"
"The Copperhead**

With Lionel Barrymore
Cosmopolitan Production

"The Cinema Murder"

Cosmopolitan Production

"The Miracle of Love"

Cecil B. De Mille's Production

"Male and Female"
"Everywoman** With All Star Cast

Elsie Ferguson in "COUNTERFEIT"

George Fitzniaurice*s Production

"On With the Dance"

Dorothy Gish in "TURNING THE TABLES"

D. W. Griffith's Production

"Scarlet Days"
■^ Wm. S. Hart in "John Petticoats"
Houdini in "The Grim Game"

"Huckleberry Finn*' With All Star Cast
Vivian Martin in "His OFFICIAL FlaNCEE"
Wallace Reid in "DOUBLE SpeED"

"The Teeth of the Tiger"

With David Powell
Maurice Tourneur's Production

"Victory"

George Loane Tucker's Production

"The Miracle Man"
Robert Warwick in

"The Tree of Knowledge"

Bryant Washburn in

"The Six Best Cellars"
'■' A Thomas H. Ince Production

Thomas H. Ince Productions

Enid Bennett in

"The Woman in the Suitcase"

Dorothy Dalton ill "BLACK IS WhiTE '

Ince Supervised Special

"Behind the Door"

Ince Supervised Special

"Dangerous Hours"
Douglas MacLean and Doris May in

"Mary's Ankle"
Charles Ray in "Red Hot Dollars"

Paramount Comedies

Paramount-Arbuckle Comedies
Paramount-Mack Sennett Comedies
Paramount-De Haven Comedies

Paramount Short Subjects

Paramount Magazine Issued Weekly

Paramount-Burton Holmes Travel

Pictures Issued Weekly

w-^s^^^^^M^^^^^M^m^m^^^m^^^^^M^^s^m^^^^mm^s^^m^i

Every advertiseraont in PHOTOPLAY MAGAZINE is guaranteed.

"THE NATIONAL MOVIE PUBLICATION"

Rt sintered U. S. Patent Office.

PHOTOPLAY MAGAZINE

JAMES R. QUIRK, Editor

Vol. XVII

Contents

April, 1920
Cover Design

From the Pastel Portrait by Rolf Armstrong

Rotogravure :

No. 5

Pearl White

Mildred Harris. Robert Warwick, Marjory
Daw, Marie Walcamp, Alice Brady, Herbert
Rawlinson, Doris May and Agnes Ayres.

A Letter to a Genius

Editorial

Mary, the Well Beloved Randolph Bartlett

Revealing One of Miss Pickford's Beautiful Life Interests.

The New Stage-Door Johnny

Drawn by Ralph Barton.

Dr. Jekyl and Mr. Hyde

John Barrymore Brings It to the Screen.

They Both Came Back

Mildred Reardon and Hobart Bosworth.

(Illustration)

(Photographs)

Allan Corliss and
Randolph Bartlett

( Photographs )

The Camera Chase

The Movie Photographer Stalks Everywhere.

The Toll Gate (Fiction) Paul Hubert Conlon

Told From the Latest Hart Photoplay.

The Buck's Progress

A Parable Including Mr. Bazingus.

"Who's Your Tailor?"

Max Linder Visits Charlie Chaplin.

Charles E. Whittaker
(Phonographs)

(Contents continued on next page)

27
28

40
41

Executive and Editorial Offices, 25 W. 45th St., New York City
Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111.

Edwin M. Colvin, Pres.

James R. Quirk, Vice Pres.
W. M. Hart, Adv. Mgr.

R. M. Eastman, Sec.-Treas.

Entered as second-class matter Apr. 24, 1912, at the Posloffice at Chicaeo, 111., under the Act ol March 3, 1879.

Pictures Reviewed

in the Shadow Stage

This Issue

Save this magazine — refer to the criticisms be-
fore you pick out your evening's entertainment.

Make this your reference list.
Page 64

Pollyanna United Artists

Page 65

Overland Red Universal

Stronger Than Death

Nazimova-Metro
Page 66

Desert Gold Hodkinson

Six Best Cellars Artcraft

Page 68

Slaves of Pride Vitagraph

Page 106

Tree of Knowledge Artcraft

The Garage Arbuckle

Mary's Ankle Ince-Paramount

Page 107

The Lone Wolf's Daughter. Hodkinson

The Beauty Market ...First National

Page 108

A Modern Salome. . . . Hope-Hampton

Page 109

His Royal Slyness Rolin

Respectable by Proxy Blackton

The Woman in Room i3..Goldwyn
Page 110

The Fear Market Realart

Nothing But The Truth

Holmes-Metro

Double-Speed Lasky

The Star Border. .Sennett-Paramount

All-of-a-Sudden Peggv Lasky

Page 111

The Walk Offs Metro

Luck of Geraldine Laird

Robertson-Cole
Page 112

The Blooming .^ngel Go'.dwvn

On With the Dance "

Fitzmaurice-Artcraft

Starvation Fred Warren

Other Men's Shoes Pathe

Page 113

Treasure Island Artcraft

The Beggar-Prince Haworth

Copyrieht, 1920, by the PHOTOPLAY PUBLISHING COMPANY, Chicaeo.

C o n t e n t s — Continued

•

Enemies of Society (Photographs) 42

Deportables as the Screen Typifies Them.

■vnH

Rescued From the Bar ! 44

Agnes Ayres Nearly Became a Lawyer.

Kr^a

Complacent Husbands Emma-Lindsay Squier 45

■VF

Men Who Let Other Men Make Love to Their Wives.

The Return of Jim Kirkwood 47

One More Director Drops His Megaphone.

The Message

West is East Delight Evans 48

Meeting An Editor, and Jack Pickford.

in Your

Photoplays We Don't Care To See • Illustration) 49

Palm

Drawn by Norman Anthony.

Fire Prevention (Photographs) 50

Film Propaganda Reduces Fire Losses.

T^O you realize that you can
J^ tell the crook from the

Owed to the Pictures Truman B. Handy 52

philanthropist ; the idealist from

The Evolution of the Nickelodeon Piano.

the materialist; the weakling

"Mean Bob" 55

from the strong man by the

Meaning Robert McKim.

shape and thickness and the

lines of his hands ?

Close-Ups Editorial Comment 56

Do you know that what you do and

The Girl on the Cover Julian Johnson 57

think every day — the character you are

Pearl White— Star of Fame and Ambition.

building — writes itself in your hands.'

Rotogravure : 59

In the

Geraldine Farrar, Mary MacLaren, Pauline

Frederick's Fans, and Mildred Reardon.

May Issue of

Ethel Clayton at Home (Photographs) 63

You May Enter Without Knocking.

Photoplay Magazine

The Shadow Stage Burns Mantle 64

Reviews of the New Pictures.

ALON BEMENT, the noted student

of character, will tell you all about

Make Your Own Hats? (Photographs) 70

Constance Binney Can— Oh, Look!

hands, illustrated by the pictures of

hands of some of the leading players

in Filmland.

School for Extras (Verse) Jane Bernoudv 72

Learn About Movies from Her.

'iBiaH

Questions and Answers The Answer Man 75

Photoplay Magazine's Second Letter Contest - 76

BFT!

Another Chance to Win a Cash Prize.

Polly of the Storm Country (Fiction.) Nanon Belois 78

Btyf^^jH

The Story of Mildred Harris' New Picture.

Plays and Players Cal York 86

News and Anecdote from the Studios.

The Squirrel Cage A. Gnutt 96

The Twelve

Here's a Chance to Make Some Money!

Why Do They Do It? 99

Best Pictures

The Readers' Own Page— Jump In.

Believe It or Not— 105

Where Roosters are Alarm Clocks.

The twelve best you have
seen — what are they and

Too Many Subtitles! Harcourt Farmer 117

But It Makes Thrilling Reading.

why? PHOTOPLAY will pay
for the best letters written

Movies as Cure for Bolshevism 128

on this subject.

Drawing by Clifford Knights.

(Addresses of the Leading Moving

Turn to page 76

Picture Producers appear on page 124)

for full details.

Photoplay Magazine — Advertising Section

. Which is the Mother?

THE fresh, lovely coloring of youth makes them both beau-
tiful. They are loving rivals, sharing the admiration of
their friends, yet one is the Mother and one is the Daughter.
Can you tell which is which ? Both know the secret of Instant
Beauty — the complete "Pompeian Beauty Toilette."

First, a touch of fragrant Pompeian DAY
Cream (vanishing) , to soften the skin and hold
the powder. Then apply Pompeian BEAUTY
Powder. It makes the skin beautifully fair and
adds the charm of delicate fragrance, hlow a
touch of Pompeian BLOOM. Do you know a bit
of color in the cheeks makes the eyes sparkle?

These three preparations may be used sepa-
rately or together (as above), as the complete
"Pompeian BeautyToilette." At all druggists, 50c
each. Guaranteed by the makers of Pompeian
MASSAGE Cream, Pompeian NIGHT Cream,
and Pompeian FRAGRANCE (a 25c talcum
with an exquisite new odor) .

Art Panel and Samples

This 1920 panel is entitled "Sweetest Story Ever Told."
Size, 26 X 8 inches. In colors. Night Cream and three
Pompeian "Instant Beauty" samples sent with the
Fragrance sample for 10c. Please clip coupon now.

The Pompeian Co., 2131 Superior Ave., Cleveland, O.

Also Made in Canada

The name Pompeian on
any package is your guar-
antee of quality and safe-
ty. Should you not be
completely satisfied, the
purchase price will be re-
funded by The Pompeian
Co. at Cleveland, O.

"Don't

Envy
Beauty —
Use
Pompeian'

The Pompeian Co., 2131 Superior Ave, Cleveland, O.

Gentlemen : I enclose a dime for a 1920 Pompeian Beaaty
Art Panel and Instant Beauty samples. Also samples of
Night Cream and Fragrance (a talcum).

Name-
Addre:

City

Flesh Beaaty Powder sent anleES Emother ehade raquested

-.State-

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

f; - ■

P PICTURES ^V

OLIVE
THOMAS

THEATRES

WHERE

QUALITY

RULES

ELAINE ^
HAMMERSTEIN

XTATURALNESS is a
characteristic of every
Selznick Picture. TAey are
rea/— real in plot, in acting
and in every other artistic
element.

why

ND their naturalness is
only one of the reasons

IlK'K,,^,

EUGENE
O'BRIEN

OWEN
MOORE (31

Create
Happy
Hours

Every adTertisement in PHOTOPLAY JIAGAZIVE is oiiarantj^vi

Photoplay Magazine — Advertising Section

LEM EM:E AU

gKe TIGER
OF FRANCE
known as the
mightiest man
m the world has
written this
drama of the
battle of two
men over the
soul of a wo^
man •

It is the great-
est story ever
told in motion
pictures *

THE STRONGEST

CZ^t alParKctiiyr

y WINTER 6^ SPRING PRODUCTIONS

THE STRONGEST '^ WILLIAM EARNUM in HEART STRINGS "
PEARL WHITE in THE WHITE MOLL ^ TOM MIX in THE DAREDEVIL ->
BUCK JONES mTHE LAST STRAW ^ ^iss SHIRLEY MASON ia HER
ELEPHANT MAN - WILLIAM RUSSELL in SHOD WITH EIRE -
VOY. SUNSHINE COMEDIES - MUTT &- JEFF and.

FOX NEWS , ROUND THE WORLD IN MOTION PICTURES *>

FOX

E N T E KTA I N M E N T S

\ttcnd the theatre that presents them

FOX FILM CORPORATION, WILLIAM FOX, President

WtaeD you write to adrertisers please mention PHOTOPLAY MAGAZINS.

Photoplay Magazine — Advertising Section

You, personally

V/OU — personally — Wiitd above the
-'■ clouds and only a step away from
daredevil Locklear, whirling, diving,
hanging at rope's end as with death-
defying nerve he makes that transfer
from plane to plane a mile above
the earth!

"COMETHING worth going a long
'^ way to see'\ says Photoplay. "It
introduces a genuine new sensation in
drama, with the world itself a vast
picture below you as you swing back
and forth in the heavens. Next to
aviating yourself, this is it/'

Carl Laemmle presents the amazing Universal - Jewel Production de luxe

"The Great Air Robbery"

Etery advertiseraent in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Pafhe Review

SAfilm mciaa%ine -^ £ifam%ly faiJoriU

THERE is a motion picture
that disarms criticism. It
has no story nor stars; it needs
neither the one nor the other.
It is a film magazine — the
Pathe Review.

In each number Julian Ollendorf
has "The Spirit of the Dance," with
the world's most famous dancers inter-
preting the various dances of ancient
and modern times.

In each number is Pathecolor, a
revelation in beauty ; films showing
the scenic loveliness of the earth's
wonder spots, in natural colors.

Slow Motion Photography has made
a sensation; you yourself have been
impressed with the pictures of the
galloping horse, moving at a snail's
pace, every muscle, every movement
clearly revealed; with the record break-
ing sprinter who seems to swim across
the tape, and other such amazing and
instructive things.j

Path6 first presented] Slow Motion
Photography, and you'll find it in the
Pathe Review, some in Pathecolor,
some by the Novograph.

In Pathe Review are also charming and
instructive nature pictures, taken by we
known naturalists, such as Dr.R.L. Ditmars ;
pictures revealing the secrets of science;
pictures making clear the arts, etc., pictures
for you — for the whole family.

Once a week and always interesting.

Ask the manager of your fa'vorite theatre I he
days on ivhich he shoius the Pathe Revieiv.

PATHE EXCHANGE, IncYfip

25 West 45th Street, New York V^

Drawings Copyright, 1919, by Julian Olhndorf.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

HOPE

HAMPTON

Productions, inc.

■v7ill give $3,000 in casK to tKe motion picture audiences
of America for tKeir opinions about Miss Hampton
and Ker initial stellar screen production

"A Modern Salome"

TOU can be one of the 37 prize winners
Tour tKeatre will snow

"A Modern Salome"

a colorful Twentieth Century version of the romantic tale of
King Herod, Salome and St. John the Baptist conceived and
directed by Leonce Perret from the famous poem, " Salome,"
by Oscar Wilde distributed by Metro Pictures Corporation.

HOPE HAMPTO^J

When you see the picture, write your essay
about it and hand it in to your local
exhibitor; he will forward it to the judges.
Here is your chance to get in on the screen
debut of a new star — and to enrichyourbank
account at the same time.

tK.

4^^

rd.

PRIZE
$500 in Cash

PRIZES
5 winners of $100 each

mrrr

PRIZES

10 Avinners
of $50 fc \

PRIZES
[20 winners of $25 each

37 prizes totalling $3,000 in cash

VSLll

CONTEST
RULES

All essays must be submitted
by August 15th, 1(520. Essays
must be less than 500 words
long and must be submitted
^ through your local exhibitor.

Answer the following five questions:

Why do you tKink Hope Hampton will become one of the

really great screen stars ?
^^.?\ is , Hope _Hampton"s fnest dramatic

"A Modern Sa

moment in

3-
4-
5-

What is the

mZ riir" t'"'^^ ^'^ Hampton's type of beauty?

Which of M,ss Hampton's gowns did you admire most?

lesson taught by ' A Modern Salome?"

are:

The judges of the HOPE HAMPTOM Prize CONTEST „._.
Mr. Eugene V. Brewster, editor and publisher of Motion Picture

Magazine Motion Picture Classic and Shadowland
Mr Burns Mantle dramatic critic of the New York Evening

Mail and contributor to Photoplay Magazine.
Mr. Penrhyn Stanlaws, one of the foremost artists of Ar

vmerica.

rju-*^^

Watch the New Comet Flash Across
the Screen Firmament!

Every advertisement in PHOTOPLAY MAGAZINE, is guaranteed.

Phoioplay Magazine — AnvEinisiNo Seciion

D J LAVIN

EDW. V. BREWER

M ■\»— -^-^ • • -

■ ' V < ; *>* 1 /AY fi^-'i r, \ * ■

«iooo.oo

FOR A SINGLE DRAWING

THINK OF IT ! Leading illustrators and commercial artists are
frequently paid $1,000 and more for single illustrations or
designs — and their work is eagerly sought.

Everyone may not achieve such remarkable success — but the opportunities before
you nowr in this splendid profession have never been excelled. Commercial artists — both
men and women — who have developed their ability through proper training readily
earn $50, $75, $100, $150 a week and up.

Millions Paid Yearly for Commercial Art

The demand for high-class commercial art is growing by leaps and bounds. Thou-
sands of advertisers, periodicals, and publishers buy millions of dollars' worth of designs
and illustrations every year. Good commercial art is vital to modern business — and
artists who can produce it earn extraordinary incomes.

Develop a High-Salaried Ability
Through Federal Training

If you like to draw, learn in your spare time through the Federal homestudy method
— a proven result-getter by the success of hundreds of Federal students. No previous
study or experience is necessary. The course is fascinating, easy to learn, to apply to
practical work, and endorsed by leading illustrating companies, designers and com-
mercial artists as America's Foremost Course in Commercial Designing.

On the Federal Advisory Council are
such nationally recognized artists as
Charles E. Chambers, Magazine and Story
Illustrator, whose drawings for "Get-Rich-
Quick Wallingford" in Cosmopolitan are
familiar to millions; Franklin Booth,
"Painter with the Fen" whose wonderful
line drawings are constantly appearing
in magazines; Harold Gross, for many
years Designer for the Gorham Co.;
D. J. Lavin, formerly head of the Chi-

Send Today for "YOUR FUTURE"

What about your future? The well-prepared reap the rewards of life. Send today
for "Your Future" a 56-page book beautifully illustrated in colors, showing remarkable
work by Federal Students, telling of their successes, and of opportunities in this field
that will open your eyes. Why hesitate? If you would succeed, every day, every
hour is precious to you. Get this book — send the coupon NOW without obligating
yourself in any way. Be sure to state your age and present occupation.

cago Tribune Art Department; Edw. V.
Brewer, of "Cream of Wheat" fame;
Matlack Price, an authority on Posters;
Charles Livingston Bull, the well-known
animal painter, and others. You can
profit by the experience, advice and
success of men who have produced
and sold hundreds of thousands of
dollars' worth of commercial art, and who
are authors of exclusive original lessons in
the Federal Course.

COUPON FOR "YOUR FUTURE"

Federal School of Commercial Designing, 3215 Warner Bldg., Minneapolis, Minn.

Gentlemen: Please send me " Your Future " without any obligation to me.

Age Occupation. .^

r>aync .

I 'W'r te your n lilrcvjs plainly in margin.

CHAS. E CHAMBERS

»m%: mmw fji''- '"V ""
mmr -.■■.'^kTyv" .-^ '.■•

■ ■'' •■fca^SBr^ilaa

HAROLD GROSS

'{•■riv: --•• r^

L. M, PHOENIX

^ JOHN MITCHELL

■ ■■■■r' 1^ ■'/£(■■■■

■ ■ ipS*;, /!,*"• »ISI

\ j"OS ALMARS

__ .^BMaainB*

■ •!]■•*■■_ 'vscar^ ■■

■ ■fitav vaill ■■

■ at4tBH«*««aaaiTSaa

•■■■■■■■■■■■■kjaa

■■■■■•■■■■■■■■■■a
■«■■■«■■«■■■■■■•■
■■■•■■■■■■■■■•■■a
»■■■■■■ B ■■aeajuig

When you write to advertisers t'case mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Auxeutising Section

IHiSN SCHOOt^
COURfEIN

TWO rEARS

you ARE BADLY if you lack
HANDICAPPED ?Snfn°gl

You cannot attain business or social
prominence. You are barred from
a successful business career, from
the leading professions, from well-
paid civil service jobs, from teaching
and college entrance. In fact, em-
ployers of practically all worth-while
positions demand High School train-
ing. You can't hope to succeed in
the face of this handicap. But you
can remove it. Let the American
School help you.

FIT yOURSELF FOR A

BIG FUTURE

This Course,
which has been
prepared by some of America's leading pro-
fessors, will broaden your mind, and make
you keen, alert and capable. It is complete,
simplified and up-to-date. It covers all sub-
jects given in a resident school and meets alt
requirements of a High School training.
From the first lesson to the last you are
carefully examined and coached.

USE SPARE TINE ONLY

Most people idle a'viay fifty hours a week.
Probably you do. Use only one-fifth of your
wasted hours for study and you can remove
your present handicap within two years. You
will enjoy the lessons and the knowledge
you will gain will well repay the time spent
in study.

you RUN NO

Check and mail the coupon NOW for full
particulars and Free Bulletin.

AMERICAN SCHOOL

OF COnnESPONDENCE

Dept. H-714 Chicago, Illinois

TRAINING-THE KEY TO SUCCESS

Explain how I csn qualify AAwvJ
for the position checked.

RISK

.High School Graduate
.Hlectrical Hngineer
-Elec. Light A: Pov\crSupt.
.Hydroelectric Engineer
. Telephone Enginecr
. Telegraph Engineer
. Foreman's Training Course
.Architect

. Building Contractor
Civil Engineer
.Structural Engineer
.Mechanical luigineer
.Shfip Superintendent
. Steam I-ngineer
..Draftsman and Designer

. . . . L;i\vyer

....Business Manager

. ...Certified Pub. Accountant

. . . . At cimntant and Auditor

Bookkeeper

....Photoplay Writer

. ..Fire Insurance Expert

Sanitary Engineer

Employment Manager

Heating & Vent. Engineer

. . . , .\utotnoljiIc Engineer
....Automobile Kepairnian

Airplane Mechanic

....General Education Course
....Coinmcn School Branches

J^a>ne .

CLASSIFIED ADVERTISING

Rate

35 cents

per

word

MJ^ylJJUiMJ

All Advertisements

have equal display and
same good opportuni-
ties for big results.

PHOIDRlaMf

This Section Pays.

84'c of the advertisers
using this section during
the past year have re-
peated their copy.

3j;U:ug^uu^MU-U'UU:UU^^U'J-4'

FORMS FOR JUNE ISSUE CLOSE APRIL FIRST

HELP WANTED

WA.NTED iji.mi;diati:i-v

over .

-\li:..\.

WOMEN 18 OH

I' S. (luvenmu'iit I'usitiulis. Besinncrs gi't
•$1100 to $1300 year. Quick raise to $1800 and
ovei". Periuaiient i.osilions. Common education :^uf-
fieient Influence imnecessary. List iiositiuns open,
free Write inimetliately. FranlUin iDstitute, Dept.
I' 204, Roellester, N. Y,

BAHN $12.") MONTH AS DllKSS DESIGNERS.

Fascinatintr work. Saniple le^i,nrt tree. Write im-
mediately. Franklin Institute, Dept. l*-866, Kix-hester,
X Y.

»K A DETIXTIVE:— EXCELLENT OPPORTUNITY:
good pay ; travel. Write C. T. Ludwig. 307 Westover
Rldg. , Kansas City. Mo.

WOMEN TO .SEW. GOODS SENT PREPAID TO
your door: plain sewing: steady work: no canvassing.
Send stamped envelui)e for prices paid. Universal Co.,
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WANTED— 5 BRIGHT. CAPABLE LADIES TO

travel, demonstrate and sell dealers, $2,"), 00 to
$,'■.0.00 per week. Railroad fare paid. Write at
once. Goodrich Drug Co.. Dept. 59, Omaha. Nebr.
RAILWAY TRAFFIC INSPECTORS ; ' $T 1 0 , 0 0 A
njonth to start and exi>ense.s: Travel if desired; Un-
lin.ited advancement. No age limit. Three moiitlis'
home study. Siiuatiun arrantjed. Prepare for per-
manent jwjsition. Write for booldet CM26 Standard
r.iisiiiess Training Institute. Buffalo^ N. Y.

BE A DETEcnVl^-EARN BIG MONET; EASY
work; write Wagner, ISti East 7 9th St.. New Y'ork,
Dept, 583.

WOMEN, 18 UP. WANTRD. $100 MONTH,

Government office positions. List free. Write imme
diatolv. Franklin Insiilnte, l)c|it. P-203. Rochester,
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JIA.NUSCHIITS TYl'EWItlTlEN, COKHIXTLY
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terion .Service. West New Yoi-k, New .Jersey. '

SCENARIOS. .MANUSflilPTS TVPI'HJ TI^N CENT.S

page. Carbon included. Spelling, punctuation cor-
roc:ed. Seven years' experience. Marjorie Jones, ti08
Reaivr Block, Chicago.

JMANTjSCHIPTS TYl'EWRlT're.N", FIVE CENTS

luindred words. M. .Marsh. 2.M Seynmur, Fond dii
h<\i: Wis.

MANl'SCIUPTS" CRITICIZED FRKE. ALL WORK
typed and arranged correctly by professionals. Fewer
reiections. Strit confideni-c our watchword. Thomson
Lit.KMV Buieaii, Sta, F, Box: 120. .New York,

.MANl'SCBIPTS OF ALL KLVDS NTCATLY TYPED,

Tliirty cents per thousand words, one carbon copy.
Promi>tnes9 and satisfaction jniarantced. M, G. Ilegg,
Ostrander, Minn,, Box "> S .

AGENTS AND SALESMEN

TELL THE READER.S OF I'UUTOl'LAY WHAT

you liave of inlele:.l to ilicni. Ynu ran icach llieni
at a very .small cost througli an advertisement in too
classifieii section. 84*/(^ of the advenisers using this
section dunn;; iho past year have repeated. Tlte seclion
is reaii and lirings results.

$40 TO $100 A WEEK. FltEE SAMPLES. GOLU
Sign Letteis anyone can put on windows. Big demand.
Liberal offer to general agents. Metallic Letter Co.,
431-K N. Clark, Chicago.

.SALES.MEN— CITY OR TltAV IXLING. ENPERI-

ence tnniecessary. Seinl for list of lines aiul full
particulars. Prepare in siare time to eain the big
salaiies— $l,.')no tio $10,000 a year. Emplo.vment
services rendered Members. National Salesmen's Train-

■ ng A.qsnciation, Dept, 1381'i, Chicago, 111.

.MIRACLE .MOTOIt^C.AS A.MAZES -MOTORISTS.
3o worth efiuals gallon gii.soline. Eliminates carbon.
300%. profit. Isom, Idaho, wires; "Ship 000 pack-
ages. Made $70 yesterday." Investigate. Chas. Y.
Butler Co., Toledo, Ohio,

INSYDE TIKE.S— I.NNER ARJSIOR FOR AUTO.MO-

bile tires: iirevent pmictures and lilowouts; double tire
mileage. Liberal profits. Details free," American

.\('i-essorits I'-i Cincinnati Ohio I>ci)t, 120,

MOTION PICTURE BUSINESS

$35.00 PROFIT NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by government institutions. Catalog
free. Atlas Moving Picture Comrpany. 438 Morton
Bldg.. Chicago.

MAKE .MON-EY FAST— START "MOVIE" WITH
small caiiital. Buy complete outfit on easy pay-
ments. Oiiening everywhere. No exjiei-ience required.
Catalog free. National Mnving Picture <\i,, I>ept. 16,

Mlsuiir'h Bldg,. Chiiago.

OLD COINS WANTED

THOI'SA-NUS PAID FOIt OLD COINS, SAVE AI^L
before ISHH and send for 10 20 premium b'>ok, ten
cents, V ith large copiht cent fifteen cents, it may mean
your foi'ttuie. E. F. Harr, Nora Springs, Iowa,

WB PAY VV TO $100.00 EACH FOR CERTAIN
dates of (Jold Dollars, Premiums ipaid on some coins
as late as 11*16. Tliousands of coins wanted. Many
are in circulation. Watch your change and get posted.
Send 4c. (iet our large illustrated Coin Circular.
Send now. Numismatii' Haidi. Dept. 75, Fort Worth.
Texas

PATENTS

I'ATE.NTS. WRITE FOIt FREE GUIDE BOOK
and Evidence of Conceiition Blank, Send model or
sketch for opinion of its patentable nature. Highest
References. Prompt Attention, Reasonable Terms.
Victor ,1. Evans & Co., 703 Ninth, Washington, D. C.

£^ y£A/fS The STfiNOf^RD TRfllVI/^O
SCHOOL rOR THEATRd ARTS

AJUVTE^^ SCHOOI/
I>R/LMAX^C ARTS

FDUI? SCHOOLS IN ONE. PRACTICAL STAGE
TRAINING. THE SCHOOL'S STUDENT'S STOCK ""O
THEATRE AffORO PUBUC5TACE APPEARflNCES"

Write for catalok' i

iui'>ning siiidy desired to

A. T. IRWIN, Secretary
225 W. 57th St. New York City

DOYOU LIKE TO DRAW?

CARTOONISTS ARE WELL PAID

will not give V'fU any grand prize if you

answer this ad. Nor will we claim

111 make yi>ti rich in a week. But if

yni are anxjuus to (Jevelop youi

talent with a rucoessful cartoonist,

s'l you can make money, send a copy

of this picture, with 6c In stamps for

portfolio of eartonnsand sample lesson

plate, and let us explain.

The W. L. Evans School of Cartooning

850 Leader Bldg., Cleveland, O.

Publishes
cash art as*
_^ ^^^ ^ signments,

rMAGAZiNC lessons and
articles on
Cartooning, Designing, Ulus*
trating, Lettering and Chalk -Talking.
Criticises amateurs* work. Full o f in-
formation for artists and art students*
^ Satisfactory or money refunded. 20c a copy, $1 a year*

Ser^d $1 NO^, Thrift Stamps Taken
G.H.LOCKWOOD, Editor, Dept. 5^1. Kalamazoo, Hiclu

Like Finding Money

We pay you the highest prices for niamonds, Watches,
old or broken jewelry, old gold, silver, platinum, magneto
points, old false iceih. War Bonds and Stamps — anything
valuable. Mail Ihem lo us today. Cash by return mail.
Goods returned in 10 days if you're not satisfied.

THE OHIO SMELTING & REFINING CO.

204 Lennox Bldg. CLEVELAND, OHIO

:NE«yE^

': ; lJIikul^Iii] \

STRONG NERVES

is what you need to endure the "Mile a Minute Life" of today, with its

worry, grief, strife, business pressure and thousands of other Nerve Strains.

Are you tired and depressed? Can't you sleep or digest

your food? It's your NERVES— they have become exhausted.

This valuable 64-page
taook explains every

possible phase of nerve abuse and teaches how to calm, soothe and care

for the nerves. It contains hundreds of health hints, especially valuable

to people with high-strung nerves.

The cost is only 25c (Coin or Stamps). Bound in Cloth, 50c

Read the Book NERVE FORCE

If after reading this book you do not agree that it will mark the turning
point in your life toward Greater Power, Mentally as well as Physically,
your money will be refunded without question, plus your outlay for postage.

PAUL VON BOECKMANN, Studio 56, HOW. 40th St, New York

iCvery ailrertlseraent in PEOTOPLAY M,\GAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Dr-EscnVetn

liiriijriii Mi_»»ir«c:MirMi -MI-MI •» tirii

training jor /TuHiorship

HoWioWrite, v?hatto Wriic,
and where io sell,

^^^ CultiVale your mind. DeVelop

^^S^i^S^^\ your literary gifts. MasfcrfKe

, art of self-expression. Make

your Spare HmG profrtoble.
' lum your ideas into dollars.

One pupil has received over $5,000 for stories and
articles written mostly in spare time — "p'*y work," he
calls it. Another pupil received over $1,000 before
completing her first course. Another, a busy wife
and mother, is averaging over $75 ft week from
photoplay writing alone.

There is no other institution or agency 'doing so much
for writers, young or old. The universities recognize
this, for over one hundred members of the English
faculties of higher institutions are studying in our
Literary Department The editors recognize it, for
they are constantly recommending our courses.

We publish The Writer's Library, 13 volumes; descnptive
booklet free. We also publish The Writtr'a Monthly, the lead-
Ing magazine for lilerary workers; sample copy 20 cenis, annual
subscription $2.00. Besides our teaching service,_ w^ offer 8
manuscripi criticism Service.

150-Page illustrated catalogue free. Pleaae Addrets

tfie Home Cbrrcspondence School

CSTflBLPSHED I097

NCORPORATBO I90*

HMrjglJirJBrBTIHTlHIJNilJHTlHTlHDg

Copy this Sketch

and let me see what you can
do with it. Many newspaper
artists earning $30.00 to
$125.00or more per week were
trained by my course ot per-
sonal individual lessons by
mail. PICTURE CHARTS
make original drawing easy
to learn. Send sketch of j ,
Uncle Sam with 6c in stamps k.^'^ ijj2
for sample Picture Chart, list ^""^^Km
of successful students, ex- **"

amples of their work and evidence of what YOU
can accomplish. Please state your age.

^Ae Landon School

of CARTOONING and ILLUSTRATING
1207 SchofieM Bldg. Cleveland. Ohio

NINE MONTHS tO PAY

ImmeHiate possession on our lib-*
•ral Easy Monthly Payment plan'
—the most liberal terms ever offered
on a hi(fh prade bicycle.

FACTORY TO RIDER prices save
you money. We make our bicyciea
in our own n«w model -factory and
Bell direct to you. We pnt real
quality in them and our bicycles
must satisfy you.

44 STYLES, colors, and sizes to
choose from inour famous RANGER
line. Send forbig beautiful catalog.

Many parents advance the first
payment and energetic boys by odd
jobs — paper routes, de:ivery for
stores, etc., make th« bicycle earn
money to meet t he small monthly Payments.

DELIVERED FREE on Approval and 30 DAYS .,
TRIAL. Select the bicycle you want and terras^

thatsuit you— cash or easy payments.

TIDCC lamps, horns, wheels, sundries and parts for all
llllkv bicycles— at half usualprices. SEND NO MONEY
but write today for the big new catalog, prices and terms.

CYCLE COMPANY
Dept. W40, Chicago

MEAD

$1800 for a Story!

•T^ECENTLY %n American writer was paid $1800 for «^
|J[\ Bingle ahort story. By learning to tell the 6tories of her^f
dreams this woman has found her way tn fame and for- *
tune. You can learn to write, to.i. A new practical course of
inBtruction will give you the trainintf right in your own home
durmB your spa'-e time. Endoraed by emiooDt writers in-
cluding the late Jack London,

Wriit^ Tnilriv ^^^ "c booklet "How To Write. ••
TTiiiC AUUay No obllarations-tbo booklet Is free,
pedal offer now being made. Write Today— Now I

HOOSIER INSTITUTE, Short Story Dept.
Dept. t534 Ft. Wayne. Indiana

Wrestling Book FREE

Be an expert wrestler. Learn at home from the
world's undefeated champion and his famous trainer

Frank Gotch and Farmer Burns

I Quickly learned by mall at home. Know the art
I of eeli-defense and jiu-jitsu. Have perfect heaith.

lT]irDT7<f^ * Learn how to defend yourself. Handle big men

l/**tESTLlNG|with Feaee. Send for free book. State your age.
Ijor HEALTH f Farmer Burns. 1534 Ramge Bldg.. Omaha. Neb^

I Teach Piano a Funny Way

So people said when I first started in 1891.
But now, after over twenty-five years of
steady growth, I have far more students
than were ever before taught by one
man. I make them skilled players of the
piano or organ in quarter the usual time
at quarter the usual cost.

Investigate by writing for my 64-
page free booklet, "How to Learn Piano
or Organ."

My way of teaching
piano or organ is en-
tirely different from all
others. Out of every
four hours of study,
one hour is spent en-
tirely aivay from the
keyboard — learning
something about Har-
mony and The Laws
of Music. This is an
awful shock to most
teachers of the "old
school," who still think
that learning piano is
solely a problem of
"finger gymnastics."
When you do go to
the keyboard, you ac-
complish t IV i c e as
much, because you un-
derstand ivhat you are
doing. Within four
lessons I enable you to
play an interesting
piece not only in the
original key, but in all
other keys as well.

I make use of every
possible scientific help
— many of which are
entirely ttnkno--wn to
the average teacher.
Mypatented invention,
the COLOROTONE,
sweeps away playing
difficulties that have
troubled students for
generations. By its use,
Transposition — usual-
ly a " night-mare " to
students— becomes easy
and fascinating. With
my fifth lesson I intro-
duce another impor-
tant and exclusive

''fe

m. ■'! ..^_,

JL«

F^: 1 ssmJ/^-i

I'/ .i^'-„w"-~i

fmjm

L^MM

^fe^-^

iJmaiB^M

Wtr^^tm^s'^ '^

WVkc^^^^jj^.

,(g'liraH

■r^^^^i

eSBBS^I:

'rWm

^^^f

mH'mpB

S«_.

'X™ ^

*>'

DR. QUINN AT HIS PIANO

Frotn tlic Famous Sketdi by Sclineider, Exhibited
at the St, Louis Exi)osition.

invention. QUINN-DEX. Quinn-Dex is a sin.ple, hand-
nperaled moving-piciure device, which enables you to
see. fight hrfore your eyes, every movement of my hands
at the ke>board. You actually see the fingers move.
Instead of having to reproduce your teacher's finger
movements from MEMORY -- which cannot be always
accurate — you have the correct models before you during
every minute of practice. The COLOROTONE and
QUINN-DEX save you months and years of wasted efJori.
They can be obtained only from me, and there is nothing
else, anywhere, even remotely like them.

Men and women who have failed by all other methods
have quickly and easily attained success when studying
with me. In all essential ways you are in closer touch
with me than if you were studying by the oral method —
yel my lessons cost you only 43 cents each— and they
include all the many recent developments in scientific
teaching. For the student of mod e rate means» this
method of studying is fur superior to all others, and even
for the wealthiest student there is nothing better at any
price. You may be certain that your progress is a. all
times in accord with the best musical thought of the
present day, and this makes all the difference in
the world.

My Course is endorsed by 'distinguished musicians
who would not recommend any course but the best. It is
for beginners or experienced players, old or young.
You advance as rapidly or as slowly as you wish. All
necessary music is supplied without extra charge. A
diploma is granted. Write today, without cost or obli-
gation, for 6-1-page free booklet. How to Learn Piano
or Organ."

I FREE BOOK COUPON

S (iUIXN CONsERV.vroRY. Studio I'D

■ Social Union Bldg., Boston, Mass.

S Please send me, without cost or obligation, your

■ free booklet. "How To Learn Piano or Organ," and
5 full particulars of your Course and special reduced

■ Tuition OtVer.

^.^ ^ ■ Name...

Marcus Lucius Quinn :

Conservatory of Music j Address

Studio PD, Social Union Bldg. Boston, Mass. i

ilARN PiANO TOMtNl

MAKING TRIALS
bF TRUE TONE

.tUlK^A. . .^#

We furnish our accurate teaching device with tools.
Action Model, lessons, and analysis of business adver.
tising which makes you a master of the tuner's art.
Diploma given graduates. 16 years' experience in teaching
the mostindependent nnd lucrative profession by cor-
respondence. SIMPLER aiid BETTER than oral Instruction.
Write today for FREE illustrated booklet.
NILES BRYANT SCHOOL OF PIANO TUNING
402 Fine Art Inst.. Battle Creek, Mich.

afn'35tol00aWi^

BECOME A PROFESSIONAL

PHOTOGRAPHER
Big Opportunities NOW.

Qualify for this fascinating
profes.sion. Three months*
course covers all branches:

Motion picture — Commercial — Portraiture

Cameras and Materutls Fui nished FRRK

Practical instruction; modern equipment. Day or
evening classes; easy tei'ms. The school of recog-
nized superiority. Call or write for catalog No. 37.

N. Y. INSTITUTE of PHOTOGRAPHY

141 W. 36lK St., New York 505 Stale St., Brookyin

When you write to advertisers please mention PHOTOPLAY MAGAZINB.

Photoplay Magazine — Advertising Section

Wanted THIS Year

A grave dearth of story plots now confronts the motion picture industry.

Producers will pay you well for any suitable story-ideas. Literary ability

not a prime factor. Learn how you can write for the screen

3,000 New Story-Ideas for Motion Pictures

The above figure does not include material needed

SOMEWHERE in America this year,
scores of new motion picture writers
will be developed. (For the motion pic-
ture industry must have a continuous
supply of- good, new story-ideas if it is
to survive.)

Most of these new photoplaywrights
will be men and women who never wrote
a line for publication. They will be people
with merely good ideas for stories, who
are willing, during spare hours, to learn
how picture directors want their plots
laid out. Producers will pay them $ioo
to ifsoo each for clever comedies, and
$250 to $2,000 each for five-reel dramatic

for religious, commercial and educational films.

scripts. They will pay these prices be-
cause they must have stories. 95% of
book material is unsuited to their need,
and as yet not enough people are writ-
ing for the screen to supply the demand.

The above is a statement of fact con-
cerning the motion picture industry. If
you have a story-idea as good as some
you have seen produced, this opportunity
is wide open to you.

There is plenty of proof that producers
really do pay the prices stated above.
For they are paying these prices con-
stantly to people we have taught to write
for the screen — people who never saw a
motion picture studio.

ADVISORY
COUNCIL

¥-#lF

Cecil B. DeMille

Director Gen., Famous
Players-Lasky Corp. 1

Thomas H. Ince

of the Studio that bears
his name.

In Two Short Years .

It was a little over two years ago
when the famine in story plots tirst
became acute. Public taste changed.
I'lay-goers began to demand real
stories. Plenty of manuscripts were
being submitted, but most were un-
suitable. For writers did not know
how to adapt their stories for tlie
screen. Few could come to Los
Angeles to learn. A plan for home
study had to be devised.

Frederick Palmer (formerly^ !.talt
writer of Keystone, Fox, Triangl-
and Universal) finally assembled a
corps of experts who built a plan
of study wliicli new writers could
master through correspondence.

The Palmer Course and service
has now been indorsed in writing by
]iractically every big star and pro-
ducer. Back of the Palmer Plan,
directing this work in developing
new writers, is an advisory council
composed of the biggest figures iii
the industry. It includes Cecil 15.
DeMille, Director ■ General nt

Famous Players-Laskv Corporation;
Thomas H. Ince, head of tin-
Thomas H. Ince Studios; Lois
\\'eber. America's greatest woman
jiroducer and director; Rob Wagner,
well known motion picture writer
for the Saturday Eveniner Post.

In two short years we have de-
veloped dozens of new writers. We
are proud of the records they have
made, and we prefer to let them
speak for us.

A Co-operative Plan-
Not a Tedious Course

Our business is to take people who
have ideas for stories and teach them
to construct them in a way that
meets a motion picture producer's
requirements. W'e furnish you the
Palmer Handbook with cross refer-
ences to three stories already suc-
cessfully produced. The scenarios
come to you exactly as used by the
directors.' Also a glossary of studio
terms and phrases, such as "Iris,"
"Lap Dissolve," etc. In short, we
bring the studio to you.

Our Advisory Service Bureau
gives you personal, constructive
criticisms of your manuscripts — free
and unlimited for one year. Criti-
cisms come only from men ex-
perienced in studio staff writing.

Special Contributors

Twelve leading figures in the motion picture
industry have contributed special articles to the
Palmer Course. These printed lectures cover
every phase of motion picture production.
Among others, these special contributors in-
clude: Frank Lloyd and Clarence Badger,
Goldwyn directors; Teanie MacPherson, noted
Lasky scenario writer; Col. Jasper Ewing
Brady, of Metro's scenario staff; Denison Clift,
Fo.\ scenario editor; George Beban, celebrated
actor and producer; Al E. Christie, president
Christie Film Co.; Hugh McClung, expert
cineiUiitographer, etc., etc.

Our Marketing Bureau is headed by Mrs.
Kate Corbaley, formerly photoplaywright for
Mr. and Mrs. Sidney Drew. In constant touch

Lois Weber

America's greatest wo-
man producer and di-
rector.

Rob Wagner

motion picture writ,
Saturday Evening Pos

Nuuie.

Adllrrv
City...

with the studios, she knows their
needs, so that when our members
so desire, we submit their stories in
person for them. Thus we not only
train you to write; we help you to
sell your story-ideas.

$3,000 for One Story Plot

Our members come from all walks
lit life; mothers with children to
support, school teachers, clerks,
newspaper men, ministers, business
men, successful fiction writers. In
short, we have proven that anyone
with an average imagination and
story-ideas can write successful
photoplays once he is trained.

One student, G. Leroi Clarke,
formerly a minister, sold his first
piiotoiilay story for $3,000. The re-
cent success of Douglas Fairbanks,
"His Majesty the American," and
the play, "Live Sparks," in which
J. Warren Kerrigan lately starred,
were both written by Palmer stu-
dents. Many students now hold staff
positions, four in one studio alone.

We have prepared a book, "The
Secret of Successful Photoplay
Writing," which will inform you of
the Palmer Course and service in
greater detail. If you desire to
consider the unusual o]>i)ortunity
in this new field of art seriously —
this book will be mailed to you free.

At Least Investigate

For there is one peculiar thing to
consider in the Palmer Plan, One
single successful effort immediately
repays you for your work. Not all
our members begin to sell photoplays
at once — naturally. But most of
them do begin to show returns with-
in a few months. And the big ma-
jority are not literary folks. They
are people who have simply made
up their minds to make money out
of story-ideas they have in the back
of their heads — and incidentally,
perhaps, to gain some reputation.

The way is open. Producers are
making every effort to encourage
new writers. The demand is grow-
ing greater every day, and the op-
Iiortnnity is rich in its rewards
because it is young. If seriously in-
terested, mail the coupon.

Palmer Photoplay Corporation

Unmrlmcnt of Educalion
S10 I. W. Hellman BuildinE, LOS ANGELES, CAL.

Palmer Photoplay Corporation
Department of Education

510 1. W. Hellman Building, LOS ANGELES, CALIFORNIA

Please send me. without obligation, your new book,
"The Secret of Sucressfiil Photoplay Writinsr." Also
"Proof Positive." containing Success Stories of many
Palmer members, etc.

State

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a thin

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Photoplay Magazine — Advertising Section

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Photoplay Magazine — Advertising Section

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MO'rill'jRHOOD lias not only k'lit licr a nior(' mature charm, l)ut it has jjiven
Mildred Harris, the jiirl who married Charlie (Ihapiin, a dramatie depth she
iipver had before. It wasn't long ago that Mildred was a ehild aetress for lielian<e.

HartHook

Y^/E know liiin as Major Robert Warwick, wlio gave his best services in the war.
' ' witliout telliiiji evervliodv about it. A romantic actor of considerable renown
uii the sta<rc, Warwick jjceniK to have found bis true nu'tier in the silent drama.

Alfrefl Cheney .lohimton

*^CEE SAW, MAKGEKY DAW!" The ol<i nursery rhymv supplied Margaret
^ House, then an extra girl, with a screen name. Margery is a sincere youngster
who, now that she has attained stardom, is determined to work liarder than ever.

MARIE WAL-
CAMP went
to Japan to make a
strial. And while
she was there >lie
tell ill love with
Harland Tucker,
her leading man.
and married him.

/-aU T S I IJ K .) i
^-^ working at the
studio all day. star-
ring ill a stage play
in the evening, and
doing a little shop-
l>ing, Alice Brad>
has absolutely noth
ing to do.

_Z5i ">. ^^^-

Apedn

piKRBERT HAWLINSON was the original Raffles. Having learned all the
tricks, he took the part of Craig Kennedy, scientific detective. Now that
lie has fully reformed, Herh can answer his fan letters with a clear conscience.

Bvans

1~^()KIS MAY, better- ha If of tlie team of McLean-May, those heavenly twins of
'^ comedy. She is just the sort of girl everybody knows : a sub-deb with a sense
of humor. Thomas Tnce made her leading woman for Charles Ray, and then, a star.

Alfred f^honoy .Fohnslon

CUE graduated in the same i^creen class as Gloria Swaiisoii, ti\is Chicagoeniio who
"- by slicer persoverance was given parts to play at Essanay. Agnes Ayres canir
tn N'(>w York, and made good. She is a free-la neette, and is now in California.

^DTii World's Leading C^^ovin^ ^i6iure cjyia^azine

PHOTOPLAY

Vol. XVII

April, 1920

No. 5

CA Letter to a Genius

CHARLES SPEHCER CHAPLIJi- —
It is a daring thing to call any man a genius, for that word, li\e fame,
is a tremendous description, almost always absurdly applied. But we will
venture to call you a genius, for your performances are unique and your
renown has girdled the world in an inflammable band embroidered with sproc\et'holes.

Yet, we must call you a genius-on-vacation. And we must add that it is time
your vacation were over. How many people are wishing that now !

We haven't really seen you since "Shoulder Arms." "Sunnyside" was anything
but sunny. "A Day's Pleasure" certainly was not pleasure.

Perhaps your contract is ir\some — you may thin\ it unfair. Perhaps your
remuneration seems very little as an emolument to your illustrious talents and a
recompense for those diamonds, your wor\ing hours.

But you didn't thin\ that agreement unfair when you made it, not so long ago.
To most of us, who have to grub and grind for what is a pittance to you, it seemed a
very wonderful thing. But that is not for us to decide — pardon!

What 15 plain to anyone is the manly alternative in such a cdse. Be quit of
your self-made fetters by honest, sportsmanli\e effort. If your present ties are
shacl^es, brea\ them with your best blows — these wea\ ones are not only unavailing,
but these half4aughs you have created recently hurt no one half so much as the)/ hurt
your truest friend. The Public. And the half4aughs must hurt you also.

Charlie! — we have no part in your quarrels; we have no will to meddle in your
business. But all of us, from 7S[orth, East, West and South, from as many sides of
the water as there may be, are imploring, because we are doleful and bewildered in a
bewildered and doleful world. Give us again those magic hours of philosophic forget-
fulness, that you once set out so charitably, li\e beacons of a \indly neighbor.

We are. not commanding nor advising nor even criticizing ; we spea\ because we
need you — because you made this turbulent God's marble a better thing to live on —
because since you have been out of sorts the world has gone lame and happiness has
moved away. Come bac\, Charlie !

^m^f-

3».

'!*■■

Its meal time and the
pKotographer is tying
things up considerably.
Sister Cecilia in the rear;
Sister Patricia at right.

Mary,

In which the wishes
of Miss Pickford are
ignored, and one of
the most beautiful
of her life interests
related.

RANDOLPH
BARTLETT

A quiet hour often
comes when Sister
Superior, Cecilia,
gathers about her a
group of the older
girls and reads to
them. The curly-
haired child on the
piano stool ntiight
have stepped from an
artist s canvas of
young-girlhood.

WE stood at a sun-flooded window on one of the upper
floors of the Los Angeles Orphan Asylum, standing
on a high knoll and overlooking a lovely California
valley toward the snowcapped peak of San Antonio.
Sister Cecilia did not at once answer the question I had just
asked. It was the sort of question a reporter is always asking
because it leads toward facts and comparisons, and gives him
a solid nail upon which to hang his story. The Mother Superior
looked out across the valley, but she could not have seen much
of its beauty through the film of moisture I could see gathering
in her eyes. At last she turned and spoke:

■"How much money in a
year? I have never counted it
in that way. We do not think
of INIary Pickford in terms of figures, but in terms of the love
she brings. If some great misfortune should remove her from
us, we would miss her splendid benefactions, of course, but we
would miss still more — infinitely more — 'herself. We might
find some man or woman of great wealth whose checks would
accomplish what Miss Pickford's charity does for us, but
where is there to be found another heart like hers? Do you
remember Lowell's poem, 'The Vision of Sir Launfal,' in

the Well Beloved

which Christ appears to the impoverished knight who has shared
his last crust with a leper, and says,

Who gives himself with his alms, feeds three —
Himself, his hungering neighbor, and Me.

It is because Mary gives herself with her alms that she
means so much to us. Do not think that I am minimizing the
importance of her financial help. That has been magnificent.
But even if she were to come to us empty handed, we could
not love her less."

We turned from the window and entered a little room — a
recreation room, where there were books, pictures, a piano, but
most noticeable of all, two large frames of various portraits
of Miss Pickford, and two smaller pictures of her in separate
frames.

"The children simply cannot get enough pictures of her,
from those who are so little that they just call her 'Mawy' to
the older ones who are a little more backward about expressing
their affection, because they know something of what a noted
personage she is."

It is nearly five years since Mary Pickford discovered the
Los Angeles Orphan Asylum and took it to her heart. It was
here she conceived the story which was later put upon the
screen as "The Foundling," and it was here that she made the

MARY PICKFORD did not know this story of one of t'r.e biggest
interests in her life was being written. If she had. she would have
done everything in her power to keep it out of print. She has. over
and over, told those who knew the circumstances, she was anxious the matter
ghould have no publicity.

But PHOTOPLAY believes that justice to one of the most bfautiful
characters in public life today demands that her splendid efforts in behalf of
several hundred little orphans be made known, not merely that the public
may kno-w Mary Pickford a little better, but also that others whose hearts
are not so open to the cry of the little children may be inspired to go and do
like^vise.

orphanage scenes for "Stella Ma-
ris." And Mary must have
smiled inwardly at the curious
contradiction of portraying the
downtrodden slavey in sur-
roundings where the children all
reflect such unalloyed happiness.
The first days she appeared at
the institution to play in these
scenes, all made up with her
funny twisted features and
(Continued on page ii6)

"It's a funny
time to have
your picture
taken, ' says
Bobbed - rlair,
in the "wasb-
room.

Plint"£rr.'ipIlV

A corner of one of the hospital wards ■with two of the little invalids
partaking of bean porridge hot, under Sister Cecilia's kindly supervision.

Drii" n by Kalph Harton

THE NEW
STAGE DOOR JOHNNY

"The show's been over —
hie — an hour and she^ —
hie — hasn't come out yet!"

EVEN if you have never read
Robert Louis Stevenson s
"Dr. Jekyl and Mr. Hyde," or if
you never saw Richard Mansfield
interpret this famous dual char-
acter on the stage, you know the
story is shivery. There probably
has never been a story written
w^hich made so many people afraid
to go up the dark stairs alone.
Right now John Barrymore is
jekylandhyde-ing all over the
Paramount-Artcraft lot. Get out
your shivers and dust them off.

WHO but those of us who
know ^vould ever guess
that the stringy-haired, wicked
eyed, talon-fingered beast above
and the kindly gentleman in top
hat across the way are one and
the same John Barrymore. A fe'w
years ago peopl'.- thought that John
Barrymore could play only light
roles — then came that amazing
Galsworthy drama, "Justice,
which proved him a master of
■woe. He has been adventuring in
dramatic depths ever since.

Dr. Jekyl and Mr. Hyde

Mildred was a blonde embel-
lishment of DeMille's "Male
and Female. " Here, with

Raymond Hatton

"LL come back here famous
some of these days,"
said sixteen-year-old Alil-
dred Reardon when she
said goodbye to the folks at the
station at Ottawa, III, three
years ago. At that time her
name was Lou Riordan. The
rechristening was due to the
difficulty of some people in
learning that Riordan was as
much Reardon as is Reardon
and to the additional fact that
Lou is generally used as a male
appellation.

At any rate Lou, or Mildred,
shook the dust of Ottawa from her dainty
pumps and went to the big city, viz.: Chi-
cago. Through the good offices of a friend
she got a job in a film comedy cannery at
three-and-a-half a day. Being informed
that she was to wear pajamas in the scene,
Mildred invested the huge sum of twenty
dollars in a suit of silk nighties. The first
scene consisted of a comedian heaving a
blueberry pie at the newest girl on the set
and the silk pajamas were a total loss with
no insurance.

Mildred's next move was to New York.
Manhattan, the mecca of all brains and
beauty; Manhattan, where there are more
pretty girls to the square inch than to the
s(|uare mile in any other city in the world,
perhaps, and where they are most appre-
ciated. And Manhattan, where IMr. Florenz
Ziegfeld maintains his national institution
— the Follies.

Now. a pretty girl like INIildred was des-
tined for the Follies. At least, for a fling
at them. Besides, she had had some ex-
perience posing for pictures — the still kind.
She had acquired some prominence as a
photographic model. Being, into the bar-
gain, genuinely young and agile and grace-
ful, she naturally gravitated into the Follies.
She wore her gorgeous costumes with more
than ordinary grace and put into her per-

MILDRED
REARDON

ALSO

"FATTY" ARBUCKLE and
MARGUERITE CLARK

Already — in her home town paper
at least — she has been featured
over greater luminaries. Below- —
as "Fatty" Arbuckles leading lady
in "The Sheriff. "

They Both

Mildred Reardon came
back with fame at 19.

By
ALLEN CORLISS

performances a little more pep and
spontaneity than did some of the other
girls.

Result, the fate of all Follies girls of
real talent: there was the usual siege of
big cinema guns. The call came from
California; and as Mildred had always a
soft spot in her heart for the flickering
irelatines she didn't even attempt to re-
sist the call. The comedies caught
her again, too; she wanted to do
something a little bigger and more
serious, but an agility such as hers
appeals greatly in pie-farce, and so
<he was, for a while, a beautiful '
target for custards. She did a num-
ber of funny films with indifferent
success, earned her salary and just
performed to suit her director, with
no satisfaction to her own ambitions.
Then — Fatty Arbuckle saw her, and
engaged her for a couple of pictures.
"The Sheriff" and "Camping Out."

.'\nd that's how she came back to
Ottawa, famous — and the papers ad-
\ertised her in bigger letters than
they printed "Fatty's" name, or that
of Marguerite Clark who was also
on the bill.

And after that — success came her
way. and stopped over. Back in
("aiifornia, Cecil DeMille cast her in
an important role of "Male and Fe-
male." No sooner had she finished
in this picture, than she went to the
Carson studio to play opposite
House Peters.

Came Back

Hobart Bosworth came
back to health at 52.

By
RANDOLPH BARTLETT

IN the early days of the present
century a young man in his prime
was sentenced to death — not the
swift clean death of knife or gun,
nor the equally swift though more
sordid death of rope or chair — but the
horrible, lingering, painful death of
what has come to be known as the
Great White Plague. The young man
was just a little past thirty, a brilliant
success on the stage, apparently a
young giant physically, but the doctors
shook their heads and remarked, "The
bigger they are the harder they fall."
That was about twenty years ago.

Last week, in the projection room
•of the Thomas H. Ince plant at Culver
City I saw a picture in which this
same man, now middle-aged, fought a
terrific fist battle for about half a
reel, and performed thrilling feats on
land and in the ocean. It was not
trick stuff — it was the job of a 100 per
cent man. I knew Hobart Bosworth
had fooled the doctors but I had no
idea that he had developed so that at
fifty-two he looks capable of chasing
Jack Dempsey into limp obscurity.
Let any frightened individual, scared
half to death by a hacking cough and
a pessimistic doctor, consider well the
magnificent comeback of Hobart Bos-
worth and know that tuberculosis can
be roped, hogtied, flung into the limbo

Below — a study of Bosworth twenty years

ago, ^vhen he was a brilliant success on the

stage — before he fooled the doctors.

Photograph by Morrison

Hobart Bosworth has al'ways played fighting roles,

from his "Sea \Volf" to his present film part in

"Behind the Door." He puts up a better fight at

fifty than he ever did before.

of things forgot, and remain nothing but a
family jest.

Bosworth was born in Marietta, Ohio,
in 1867, and without much preliminary
sparring for position, made his way to the
stage. Step by step he climbed the ladder,
from stock company to leading parts with
Julia Marlowe, Amelia Bingham, Blanche
Walsh, Minnie Maddern Fiske. It was the
chroni'cle of a young man of brains and am-
bition, rapidly reaching the top. And as
the big prize seemed within his grasp, the
medical trombone in B flat minor told him
he had only a short time left to live.

"You will live longer in Arizona than
anywhere else," they told him, so he went
to Arizona.

■ Curiously enough, when Bosworth reached
Arizona he did not feel like a dying man.
He looked about, rather enjoyed the novel
scenery, and decided he wanted a job. He
found employment guarding irrigation
ditches, riding about the semi-desert coun-
try, living in the open, and forgetting that
he was sentenced to death. Then, because
this did not keep his mind sufficiently occu-
pied he tried painting, and turned out a
(Continued on page 118)

b-.-4

:^.dr

Here is one camera, for instance, discovered right in the act of registering the "sunset finale. It has been said that the thing that
makes a dictatorial cameraman maddest is his inability tohold back old Sol for a retake Eugene OBrien and Lucy Cotton are the

couple. The dog is probably a sun-setter.

Chasing the Camera

As the Follies-fiend sitting in the gallery admitted,
you cant always tell from where you sit. On the
screen this shows Elsie Janis in a police bus, rattling
down the street. You wouldn't have realized that
this old oaken annex rattled along behind her, creak-
ing under its load of director, cameraman and assistants.

Cameramen rush in where even flivvers
fear to tread. On mountain -tops and
bus-tops, under the water and over the
clouds — they leisurely grind the silence.

This scene is warranted to make any anti-movie critic and pro-
sneaked a camera onto the stage! If this be treason, let's film the

New York. Elaine is just about

'Photographs by
cA. T. %iiiJom

Although the cameraman
cannot make the sun stand
still, he can arrange to turn
it around and make it shine
the other -way. The white
reflectors achieve this, in the
hands of the property men
for Ruth Rolands com-
pany. Ruth is holding the
megaphone.

A cameraman has to feel at
home any place, in a mil-
lionares garden, a tenement
fire-escape, or. as in this
case, atop a Fifth Avenue
bus, where he carted his
camera at George Baker s
direction, to shoot villain
Anders Randolf, at the left,
and heroine Marion Davies.

It must give a horse a -wonderfully superior feeling to

observe an automobile giving way before him. In th

machine are Will Rogers cameramen and director

Will is on -generally speaking -his horse.

.^'sn.^yOyOJ?^',

legit, hound mad. tlaine Hammerstein s director, Alan
most of it. This is the interior of the Manhattan Opera
to do some silent singing.

The TOLL gate)

By J

PAUL
HUBERT
CONLON

THERE were men in the West and they made it
A home for a man and his gun.
They called life a game, and they played it
Clear through with their face to the sun.
Some stole from their fellows, then sowed it
In drinking and sinning their share.
But the meanest damn outlaw that rode it,
Had a streak in his soul that was square.

IN the early 'eighties, an outlaw band, known as the raiders,
ranged through the Southwest. Man's law sought them for
three years — in vain. The best trackers failed, the best man-
hunters failed; yet the raiders never failed. They did their
unlawful work and escaped hke some elusive mist of the mountain.
The one great reason for their uninterrupted success was the man,
Black Deering, their leader. He was hunted by thousands; yet no
man outside his own followers knew his face. It was his power and
personal fearlessness that held the band together and made their
depredations possible.

Not only was Black Deering an outlaw; he was a thinker. There
came a day when he realized that the whole Southwest was up in
arms against him. Ranchers on all sides had loaned the sheriff their
riders, the commander at the fort had given his scouts. In fact,
three counties had quit work to rub out Black Deering and his gang.
•They were worth about five thousand dollars a head and nobody
was particular how their heads were brought in.

When the supreme efforts of the law made the chase too hot for
even the wily outlaws, Black Deering led his men to a rendezvous
which had never failed to shield them in the more perilous times.
A water trail was the reason all trackers failed. Swimming their
horses through a river to the edge of a waterfall, the bandits dis-
appeared as though the river had clutched and swallowed them in
its icy maw. By the waterfall. Nature concealed the huge cave
which ser\'ed as the raiders' rendezvous. In these strange, weird
surroundings the worst band of outlaws that ever terrorized the
Southwest assembled to hear the latest plans of their chieftain,
Black Deering, — the man who had carried them through a daring
existence without the loss of even a single member.

"Boys, get settin' easy," announced Black Deering, after he had
assembled his men safely in the subterranean abode; "I'm figurin' to
make a talk." From their lounging places, rude bunks around a
small campfire, the men joined the new arrivals in a tense group, the
dim light from primitive pine torches playing softly on hardened
faces.

"We've been workin' together for a long time," continued the
outlaw leader. "We've been chased by sheriffs' posses, vigilantes
and even United States soldiers. We've always made a clean get-
away, but this here country is gettin' too populated." Throwing
down a bundle of reward papers before .the eyes of the puzzled men,
he warned them: "Boys, there's three counties that has quit work
to run us out. We're worth about five thousand dollars a head an'
they ain't particular how they bring us in. I don't figure to lead
into nothin' I can't lead you out of, and this here meetin' is for the
purpose of a split-up. Boys, we've made our last haul."

Black Deering's words struck consternation among the outlaws.
To all but one, — Jordan. This man was "lieutenant" of the gang:
he worked on the "outside." It had only been his fear of Black
Deering that had kept him from attempting to double-cross the chief
before this moment. Possessed of a certain, rat-like courage and a
crafty mind, Jordan, — white man gone "Mex"— seized this golden
opportunity. The outlaws were confused. Black Deering had ahvays
led them right. They wanted to obey him, but — sure at last that
his time had come, Jordan stepped across in front of the men to
face Black Deering.

"An' I say different," he blustered, with a fair show of courage.
At this defiance, into Deering's face came a cold, murderous expres-
sion which gradually faded into a half-whimsical smile as he faced
his opponent, and demanded: "Well, say it all." Greatly relieved
by Deering's attitude, Jordan had his say.

"I've planted a job. for Monday on a mail train that carries forty
thousand in gold," he stated, and then added significantly, "What I

say is, one more haul an' then we can quit with a
stake." Well did he know that the men had very little
saved and that the plan must therefore appeal to tliem.
He was quick to follow his obvious advantage. Despite
Deering's warning that "if we don't quit now, we're all
liable to be standin' on nuthin' an' lookin' up a rope,"
the gang sided with Jordan. They voted to make one
more haul, — and quit. The chief, alone, voted against

this plan. But Jordan, imbued with the triumph of his
scheme toolc the chance of taunting the defeated leader by
assuring him nastily, — "Of course, if you want to quit now — ''
which was as far as he went. A smashing list fairly drove the
insult back into his mouth before he crashed to the floor of the
cave unconscious.

"You boys have made your pick an' it goes — we can start

making plans for Mon-
day,'' calmly stated BlacU
Deering, which was hi-;
way of telling the men

" 1 m a-goin'
to kill you,
Jordan — for
two reasons!"

that even if they did go against
his w'ishes. he was with them to
the end.

The (lay of the hold-up came. A stretch of railroad track
just in front of a tunnel had been selected. Dressed as section
hands. Jordan and three Mexicans who worked with him.
flagged the train from a hand-car. In the brush and rocks on

the slopes above the tunnel the ambushed outlaws waited
Jordan's signal. And, when the mail train came to a full
stop, — they charged.

It was the raiders' last hold-up. The mail train was tilled
with United States soldiers — cavalrymen. When the outlavs
came swarming down the slopes upon the train, volley after
volley of withering lire poured from the windows and plat-
forms upon them, literally cutting them to pieces. Jordan antl
his three Mexicans joined the soldiers in shooting down their
former companions, whom they had betrayed for the big
rewards.

But one outlaw escaped the slaughter. It was Black Deer-
ing, who had been stunned by a blow from the butt of a heavy
musket. He was dragged into a baggage car where the tri-
umphant Jordan revealed his identity. But, when a grizzled,
old army sergeant tore the hat and mask from the fallen out-
law's face, the soldiers received a shock when they gazed for
the "first" time on the features of Black Deering, — outlaw.

Some of them, particularly the Major, remembered a lonely
army post in the Apache country. To their memories came a
rider who one day flashed through the gates on a stumbling
horse, himself exhausted, but in time to warn them that the
dreaded Apaches had put on the war paint. They remembereii
the terrible onslaught of the bloodthirsty savages; the women
huddled in the interior of the fort but who gave them the
courage to make the fight they had made; — and they had not
forgotten that unknown cowpuncher who had fought like a
demon. — and who had disappeared when the fight was over
without giving them a chance to express their gratitude.

The lone rider and the unmasked outlaw were the same man
— Black Deering.

When Black Deering regained consciousness a
Wells Fargo agent was paying Jordan his reward
for betraying the gang. The fallen outlaw's eyes
'^wept over the scene, and he then clearly under-
stood those ripping volleys of fire that had
cut down his men.

Like some wounded animal he sprang, his

clutching fingers gripping the craven

Jordan about the throat as they crashed

to the floor of the baggage car. The

_> soldiers hurled themselves upon the

struggHng men but as they tore Black

Deering away from his

betrayer his burning words

shriveled the soul of the

traitor —

"In my baby days my
mammy told me about a
man named Judas, an' I
reckon you're him."

When Deering had been
securely tied up, the
coward Jordan poured
abuse at him, and even
attempted to strike down
the defenceless man. but
the soldiers, filled with
loathing and disgust for
this traitor, threatened to
turn Deering loose.

It was hard for the
Major to send Black
Deering, the man to
whom he and his kind
owed a great debt, to the
gallows, but duty was
duty.

An outlaw believing in
no man, and a woman
who trusted him, to-
gether learn the great
lesson of renunciation.

Photoplay Magazine

When he came
out, the lad in
his arms, the
young mother
was trembling
happily on the
bank.

"There ain't nobody," said Deering, grimly, "but there's a
Pinto horse in that outfit, an' I'd thank you to keep him for
yourself." The officer assured him that he would care for the
Pinto always, and gripped the outlaw's hand in farewell, — a sign
of one man to another. The officer gone, Jordan again tried
his baiting, but the grizzled old sergeant thrust him aside with
a carbine: "Get out, you traitor," he commanded, "an' let a
game man alone. This car is for white men."

When the mail train again resumed its journey the soldiers
held a whispered conversation in one corner of the baggage
car. To a man they agreed that it was nasty work, shooting
men down like sheep. They fell to reminiscing on the old
Indian days at the post — and silently they decided. A crap
game was started, the door of the car was opened because the
sergeant claimed the air was so close it interfered with the
game. Apparently they paid no attention at all to their
prisoner, but when the train was going up-grade, the sergeant
hinted that it was going "awful slow." And Black Deering did
not need a second tip. He maneuvered to the door, rolled out
onto the steep slope and went hurtling to the bottom. Strange
to say, the soldiers were so absorbed in their crap game that
they never noticed the escape of the prisoner.

Considerably nearer the border than the scene of the hold-up
was the town of Rincon,-^where a man could do a killing and
get either a decent hanging or a vote of thanks, the punish-
ment depending wholly upon the quality and local status of
the deceased. There was a saloon called "The Ace" which had
been Rincon for a long time — a sort of melting pot for ranchers,
cowpunchers, gamblers and border ruffians. Here they drank
and gambled and fought. But, in Rincon there was another
drinking place, recently built and labeled — Jordan's Place —
Cantina. The traitor, Jordan, had gone into business. He
had bought his chance with the blood of his own fellows. A
peculiarity of the town of Rincon was that it had never housed
a white woman; there were Mexicans, squaws, but a white
woman never entered.

On a high ridge overlooking the town of Rincon, waiting the
coming of night was Black Deering — ^broke, half-starved and

hunted in his attempt to escape across the border. He was
riding a stolen horse and his gun held but two cartridges. He
realized that it was necessary to enter the town, but as he
expressed it to his four-footed friend: "Horse, you're bor-
rowed an' it's best we ain't seen together 'till night."

Night was the only time in which Rincon really hved, and
as the little town took up its activity of the darkness. Black
Deering stole in, tied his horse in an available position, and
entered "The Ace." His last two-bits went for a drink, and the
opportunity to inquire if there were any ranchers present.
The bartender directed him to a group of boisterous cowmen.
Singling out a man Deering applied for work, although he was
broke and afoot. The genial gentleman addressed inquired
the location of his last job, and unfortunately Deering picked
a ranch that had a representative present. "Ever meet up
with Hank Simmons over that way?" asked the genial cowman,
and when Deering admitted that he knew the gentleman the
entire group of men burst into boisterous laughter. "Pardner,
I'm Hank Simmons an' I never did see you before," said that
worthy, but they had a desperate man to deal with. He called
them: "My geo'gr'phy may be bad but I ain't aimin' to be
laughed at." The mirth ceased at this dare to go for their
guns, but finally the cowmen decided that although the stranger
might be a liar, he certainly was not a coward.

Before the outlaw made his departure from "The Ace" he
caught a flash of the well-filled money bowl which was used
as a cash register in those days. Outside in the night, Deering
came to the bitter realization that the road of the outlaw closed
all others. Determined to take one last desperate chance, he
spied through a side window to get the exact lay of the saloon
— and his astonished gaze fell upon the man he called "Judas,"
— the traitor who had sold him for thirty pieces of
silver. Then and there, Black Deering became killer.
Capture meant nothing now, revenge everything.
But Jordan had experienced an equally elec-
tric shock for as he had entered "The Ace"
with his Mexicans he had glimpsed Black
Deering departing. It was with a vast re-
lief that he learned from the bartender th^t
the dreaded Deering had not been seeking
anyone special.

"Jordan, you're goin' to pay now."
Out of the darkness these words came as
a bolt of hghtning to Jordan who had made tracks with his
followers to the sheriff's office where he intended to reveal the
outlaw's identity. Jordan acted for his life. He hurled a
Mexican in front of him just as a flash spit out in the gloom,
and still another unfortunate Mexican got the lead intended
for him with the second shot. Jordan made his cantina safely.
The avenger had had but tw; cartridges. They were gone,
but he had matches. While Jordan collected his Mexicans at
the scene of the tragedy, the avenging outlaw crawled beneath
the cantina. Carefully he set it afire in many places, fanning
the flames until they insured the doom of the newly-built
structure.

Jordan and his Mexicans could get no satisfaction out of the
Sheriff, who was an icy-proposition of a man, square-jawed
and not afraid of anything that walked. He loathed Jordan
— a white man gone Mex. "Jordan," he stated coldly, "I'm
figurin' the more killin' you have among yourselves the less
trouble we'll have later on." With this he turned on h's heel
and went back to his office.

"Cantina's burnin'," sounded the cry throughout Rincon.
And while jabbering, excited Mexicans .were scurrying to
safety with Jordan threatening and fuming, but powerless,
Black Deering secured his horse, threw on his black coat, and
masked, held up the first man he met and took his gun. The
Sheriff's laconic comment as he took one brief glance at the
doomed cantina was to the effect that the fire did everybody
a good turn. The patrons of the bar in "The Ace" rushed to
the fire but the gamblers stuck to their tables — much to their
sorrow, however, because there came a grim command from a
masked man who suddenly entered the side door.

"I aim to drop the first man who reaches for anything but
the sky."

After the bandit had collected the money bowl, he made
each man walk past an open trap door where they tossed their
hardware away. In a second, the bar lamps followed — and
"The Ace" was on fire. The masked outlaw left as suddenly as
he had arrived, vaulted from the steps into his saddle, whirled
his horse about and was gone in the night. The spell in "The

Photoplay Magazine

N-^

Ace"' was broken. Men rushed for their guns but the gaining

flames through the trap door drove them back. "Black Deer-

ing held up 'The Ace' and set it afire,"' shouted a breathless

messenger to the Sheriff This news was different and the

Sheriff acted pronto. He called

for a posse of twenty men, and he

got them quicklj'. But a few

moments after the posse rode out

of Rincon, Jordan and a larger num- |;;

ber of Mexicans followed, bent on '

revenge.

Two days later, the horse-kijlin;,'
chase towards the border was still.
on. The outlaw had discovered
that the Sheriff who followed him
was the cleverest trailer he had
ever matched wits with. Again and
again the Sheriff had fathomed his
tricks to elude pursuit. Close be-
hind the Sheriff's posse came Jor-
dan, working craftily. He was
letting the Sheriff do all the work,
while he saved his own men and
horses. |

Now that they were closing in on
the quarry, Jordan was ready to
beat the Sheriff to the catch. When
the two outfits finally confronted
each other, both sidcF fingerinu

their guns, Jordan prt'iended friendliness. He very kindly
offered to go ahead and get Black Deering, if the Sheriff and
his men were all in. But the doughty Sheriff was not to be
tricked.

"We're huntin' a white man." he stated, coldly, "an' we'll
do all the huntin' that's done this side of the border." And,
when Jordan incited his Mexicans to insist, the Sheriff threw
down the gauntlet; "Jordan, keep your dirty bunch out of this,
or I'll let the boys do the country a real favor." The shifting
of a horse or the flicker of a hand towards a gun would have
precipitated a general killing. But Jordan was in front of the
She'riff, and he knew the latter's gun-play. He backed down
—and the Mexicans rode off to follow the hunt as best they
could.

On the high cliffs overlooking the border Black Deerinc
sought cover where he could make his la.st stand. But his
roving eyes caught a sight that made him forget even the pur-
suit. At the border river's edge there sat a little, rough-
board cabin. A woman worked in the yard, and a little boy
played at the water"s edge with bow and arrow. So interested
was the little fellow in playing "Injun"' that he did not feel
the dirt bank crumbling beneath his feet, and as the outlaw
watched from the high cliffs, the boy fell screaming into the
river.

Black Deering did not hesitate a moment. He was risking
capture by showing himself, but he took the long chance.
Leaping from a sixty-foot crag into the water his powerful
strokes carried him to the boy in time. When he came
struggling out with the lad in his arms, the young mother was
trembling happily on the bank.

"Little feller got too close to the edge and
tumbled over," he explained after he had carried
the boy into the cabin. He was receiving the
mother's gratitude modestly, when the "little
feller" opened his eyes and suddenly asked his
mother: "Is this daddy?"

The woman was badly confused, and the
situation revealed to the outlaw that they were
alone in the cabin. It might be his one chance,
— and somehow, he was becoming strangely in-
terested m this woman, the "little feller" — and
the missing husband.

IMar>' Brown was a woman who had kncjwn no good
man.

Black Deering was a man who had known no good
woman.

After he had explained that he had lost his horse and
outfit in a quicksand, the woman offered him her husband's
clothes until his had dried out. As he gained her confi-
dence, the woman, unafraid, told her simply tragedy. Her
husband had disaopeared a year before; she reckoned he
must have been killed. Her obvious purity brouuht the

.x;-.-/-- 4i«<»c,<

The Toll Gate

^ATED by permission, from
thu photoplay of the same name,
written by William S. Hart and
Lambert Hillyer, directed by Lam-
bert Hillyer, and produced by the
William S. Hart Company, for Art-
craft, with the following cast:

Black Deering William S. Hart

Mary Bi'O'.oi .\nna Q. Nilsson

Jordan Joseph Singleton

The Sheriff Jack Richardson

'■The Little Feller"

Master Richard Headrick

man shining out in Black Deering; he believed that no man
could have deserted such a wife and baby. Even as they talked
came unmistakable sounds of pursuit. The man disappeared,
and his place stood the outlaw, hunted and desperate, cold and

merciless.
■■ . -. ., • = "Lm an outlaw," he told her,

gripping her cruelly, "an' them men
comin' are after me. I figure to
use your husband's clothes an' his
name. When you talk to them, I'm
your husband. Get that straight
an' tell it straight."

Mary Brown realized that this
man was fighting for his hfe. He
had saved her son. He was a
branded outlaw but she was in his
debt. But when the outlaw was
changing clothes she hugged the
"little feller" to her breast as she
cried: "Little son, are all the men
in the world outlaws and murder-
ers?"

When the Sheriff and his posse
rode up to the door of the little
cabin, a man and his "wife"' stood
in the doorway. To all the
Sheriff's queries came the rebuff-
ing answers of the usual sour, can-
tankerous squatter. The Sheriff
doubted but he could do no more for the present. Once
alone. Black Deering warned the woman: "Remember," he
said, "I'm watchin' every move you make." "You can
trust me," she promised, fearlessly. He studied her cynical-
ly. He had had his fill of trusting people. Right now he
was bucking terrific odds. "I ain't trustin' nobody." he told
her.

There weren't enough boot marks around the yard to con-
vince the Sheriff that everything was all right. So. when the
outlaw in keeping with his role as husband, came out to chop
wood, the officer tried a new dodge. His horses and men were
all in. They had even left so hurriedly that they had forgotten
l)lankets so they would have to "bed down"' on the floor of the
cabin for the night — if their host had no objections. There was
nothing else ^or Black Deering to do but accept the test be-
cause he knew the Sheriff, surely suspected that something was
wrong.

When the outlaw returned to the cabin he experienced a
new emetion — the woman was instructing her little boy to
call him "daddy." Again came the flash of manhood. He
confessed to her that he was wrong w-hen he said he trusted
nobody. And Mary Brown, somehow, smiled and believed in
this man.

The Sheriff and his men had bedded down in the cabin. As
they slept. Black Deering sat before the log fire completing
the making of a bow he had promised the "little feller." who
slept so peacefully in the next room. The outlaw knew that
the Sheriff was not asleep. He knew that they were wait-
ing for him to enter the little room where slept the woman
and her baby. His whole frame stiffened as
at last he turned the door knob and entered
the room. Softly he tiptoed
to the "little feller's" bed
and laid the bow quietly

Photoplay Magazine

"The little fellow
Tvants to go with
you, she said,
"and — so — do —
I!"

as he rose to his feet, his hand went to his

pocket and he dropped a roll of bills under

the cover. He went over to the window

and peered out. He had decided to go

that way, to take this desperate

chance — buti silhouetted against

the moon he saw a motionless

rider sitting guard upon his

horse. There was to be no

escape.

The test had come.
In the outside room the
Sheriff and his men had
raised themselves to
convenient positions.
They were ready.
As Black Deer-
ing's hand dropped
from the window it
fell upon the pages
of an open book. Un-
consciously, at first,
the outlaw looked down
and saw — the Holy
Bible. A line struck
his eye; it burned its
message into his brain: —

"By their fruits ye shall
know them."

He made his decision. It
was good. But even as he
moved his eyes caught glimpse
of a photograph laying on the
opposite page. Idly, his eyes took
in the faces. He could not believe his
sight. Long did he gaze at this photo-
graph,— and then came the transition from
the man who was going through hell's fire for the
woman he loved, to a bad man, worse than outlaw and
killer — a man who believed that he had every right now to
betray this woman — for the faces in the photograph were those
of Mary Brown — and Jordan.

Here was the wife of "Judas"^ — the man who had sold him
for thirty pieces of silver. He had vowed to kill this traitor.
The respect and consideration he had felt for the woman and
beside the sleeping boy. He passed on into the httle cubby- her child was gone. They were wife and offspring of the man
hole where he had first transformed himself to the "hus- he hated beyond anything else in the world. Black Deering
band." had become a machine set in motion for vengeance; he was

When he emerged he turned to Mary. In appearance he was about to extract payment for his own suffering from another,
once again — Black Deering. He gazed down at the sleeping because they were allied to the one who had caused his
girl, knelt and kissed her golden tresses reverently, and then (Continued on page Ji6)

The Buck's

ress

By CHARLES E. WHITTAKER

(With respects to Hogarth)

YE Buck, at an early age, goeth into a Motion Picture
Studio, having an appointment with the Boss. He ask-
eth, "Is Mr. Boss in?" The Janitor saith, "Noe."
The Telephone Operator heareth and saith, "Is this
Mr. Buck?" Buck saith, "Yes, it is indeed." The Operator
saith, "You are to go right in and wait." The Janitor saith,
"You told me to say Mr. Boss was not in." The Operator
saith, "I never said anything of the sort."

MR, BOSS, hearing the noise of Buck waiting in the waiting
room, telephoneth to the Operator and saith. "What the

h do you mean by telling Buck I am in?" The Operator

saith, "You told me you wanted to see him." Boss saith,
"Nothing of the sort. I said if I wanted to see him I would
telephone to him." Then he goeth into the waiting room and
saith to Buck. "We are waiting to hear from New York about

that matter. My representative there
But go on the stage and look around."

Ill

is arranging things.

ON the stage Buck findeth a Director quarreling with an
Extra. The Director saith, "Ye came in with your hat on
because ye are a detective." The Extra saith, "But, sir, I took it
off in the hall scene and laid it on a table." The Director growl-
eth, "Send for the print of the scene." The Cameraman saith,
"It is not yet printed." The Director saith, "Whv not? To-
day is Wednesday and we shot it on Saturday." The Camera-
man saith, "I told Jimmy to take the cans to the factory but
he didn't do it." The Director calleth Jimmv and saith.
"Why did the cans not go to tne factory on Saturday?"
Jimmy saith. "There was no car to take me." The Director
calleth the Chauffeur and saith. "Why didn't you take Jimmy
to the factory on Saturday?" The Chauffeur replieth, "Mr.
Bazingus wanted me to take his wife to the ball game." The
Director saith. "Who is this Mr. Bazingus?"
Then saith Buck. "He is the efficiency expert."

"Who's Your Tailor?''

A sartorial time ^vas had
by all when Max Linder
visited the Chaplin stvidio.

HO'S your tailor?"

That's what Charles Chaplin wanted to
know the first time he laid eyes on Max
Linder, his fellow comedian, when I\Iax
called at Charlie's Hollywood studio after an absence in
his native France for about three years.

Max wanted to know what had become of Charlie's
"moos-TACHE." You know how important clothes and
appearances are to comedians!

Max dressed up in his latest French sartorial confec-
tion— patent leathers trimmed with kid tops, stick, tie
with suit to match — and tried to sneak in on Charles
and catch him in his old clothes. "The funn'est man in
the world," however, saw him coming and slipped one
over on "the funniest man in Europe."

"Hold him a minute while I doll up," said Mr. Chaplin.
He retired to his dressing room and removed his famous
mustache. Then he allowed Linder to be ushered in.

Charles knocked off work for the rest of the day, and
though they couldn't understand each other very much.
since Max only parlez vouses and Charles confines his
conversation to English, they had a swell time.

Linder, you will recall, was forced to break a comedy-
making contract with Essanay about three years ago and
return to France because of ill health. His widely adver-
tised elegance and ease will be seen again on the Ameri-
can screen in the near future. It is said that he has a
thing or two up his sleeve in the way of nifty clothes
that he's going to spring.

Two popular models for 1920.

Enemies of Society

Bolsheviki as the screen interprets them.

WHEN you say "Bolsheviki," most people think of a Russian
party with long tangled whiskers and a bomb in his hip
pocket. There are as many types of Bolsheviki as there are
kinds of human beings, and a good assortment of them has
been assembled for the Thomas H. Ince production, "Dangerous Hours."
The film colony of Los Angeles was combed for players who could
and would impersonate these enemies of society. The accompanying,
photographs show samples of the results that were obtained.

Tke fanatic.

The sneak.

The street
v/oman.

The coward.

One time when Agnes Ayres was on the

train James Montgomery Flagg induced

her to pose for the sketch belo^sv.

Rescued

from
the Bar!

Alfred Cheney Johnslou

PERISH all thoughts of beauti-
ful damsel being rescued a la
Thomas Meighan from watery
grave, or of father being led
home from his cups by gentle Nell.
The bar- mentioned is the one on which the classic beauty of
Agnes Ayres would have been stranded if nature — or that
which she took to be her nature when she was a Chicago
schoolgirl — had been permitted to take its course.

Heaven knew what made her want to — her family didn't —
but the fair Agnes got the notion along in her last year in
high school that she wanted to become a lawyer.

It was an Essanay casting director who saved her for in-
genue leads and O'Henry heroines. He was casting about one
day from his place near the studio door — just a short while
before that terrible law school that was going to turn Agnes
Ayres into a stiff-collared, bespectacled modern Portia was to
begin — to find a pretty blonde, also an intelligent one. to do
maids and nurse girls and eventually ingenue leads. Came
Agnes, who lived near by. to look over the plant. The director,
after a brief inspection, mistook her for a motion picture
actress out of work.

"Where have you been working?" he demanded.

"I haven't been," answered Agnes, almost adding, "and I
don't want to. either," though something stopped her just in
time.

'"Come Monday and play an extra in a ballroom scene. I
want to see how you screen," commanded the casting man.

And you know the rest. Blue eyes, fluffy hair, sweet smile
photographed like a million dollars— as they still do — and that
law business went to. well you know where it went to.

It wasn't long until Agnes was down in New York playing
ingenue roles with Marjorie Rambeau in such pictures as "The
Dazzling IMiss Davison," "The IMirror," and "Mary IMoreland,"
and with Nance O'Neil in Gertrude Atherton's "Mrs. Bal-

The above is not tKe title

of either a motion picture drama

or of a gospel hymn.

fame." Then she became with Ed-
ward Earle a co-star in Vitagraph's
first O'Henry series — probably the
most distinctive work she has done.
"I'm a 'free lance leading woman'
now," said Agnes when we were comfortable, "and I like it
much better than being bound to just one company. I haven't
quite found my level yet. I don't know exactly what my
'style of acting' is. But I want it to develop into something
distinctly mine. In going from one company to another for
single pictures I acquire more versatility than I could by stay-
ing in one place. Some day when I am through with my
■apprenticeship' I hope to have a nice big fat contract — the
kind that Gloria Swanson and I used to hope for, and which, I'm
so glad to say, she now has, when we played tiny bits together
at Essanay."

"You're not sorry you quit the law cold then?" I asked after
we had discovered that we both adored O'Henry stories, and
that Vitagraph had changed her name from Agnes Eyre to
Agnes Ayres because they thought the last name easier to pro-
nounce, and that she has ideals about her work, wanting to
always do characters that inspire rather than debase, and that
one time when she was going to Washington to appear in per-
son with a James Montgomery Flagg picture in which she
played the lead, Mr. Flagg was on the train and asked her to
pose for him. fThe result was the small sketch reproduced on
this page.)

"Indeed I'm not," answered Mother Ayres, just as if the
question had been directed at her. "I don't think the bar is
any place for a daughter of mine."
Then the mother added:

"Now I'm going out to the kitchen and get you some of
that home-made fruit cake of mine, and some home-made
grape wine, I didn't make that myself but a friend of a lady
I know did. and I know it's all right."

Complacent Husbands!

King W. Vidor shows
Charles Meredith just
how he may make love
to Florence Vidor,
his wife and leading
woman in the latest
Brentwood produc-
tion: "The Other
Half."

Men who let other men make love to their wives

By
EMMA-LINDSAY SQUIER

WHAT would you do if yuu caught your wife vampinj!;
a strange man — divorce her the same day? And if
you came upon your wife being tenderly kissed by
another male of the species,
would you shoot him on the spot or
would you give him time to say his
prayers? Furthermore, if you saw the
wife of your bosom being pounded
over the head by a man with a club
— would you rush to the rescue and
wring the villain's neck?

No doubt you would, gentle gentle-
man readers, but there are those in
our best masculine circles who would
consider such primitive actions as the
worst of taste, and who, instead of
stopping such scenes by \iolent
measures, actually encourage them,
and egg their better halves on to amor-
ous embraces with other men. They
are considered model husbands, too,
who love their wives and everything —
they are movie directors, and their
wi\'es are movie stars.

There is Allen Holubar. for instance,
who is married to Dorothy Phillips, p^^j ^iblo isn't angry at
one ot the Umversars most scmtillat- vamping his wife, Enid B.

ing stars. I am told that the two are just a bit provoked because

dex'oted to each other and to their enough enthusiasm

small daughter Gwendolyn, yet recently when Mr. Holubar
came upon his wife being embraced by Robert Anderson and
returning his embraces in kind, did he iiy into a rage and

denounce the treacherous pair? Yes
he did — not; he said, "Come on. put
a little more life into it. Go on and
hug her. Anderson, don't act as if she
were a poor relation!" He e.xp'ained
his conduct by saying that the love
making was necessary to "Ambition,"
I\Iiss Phillip's latest screen feature;
and as for Dorothy, she merely
shrugged her shoulders and said it was
all in a day's work.

Then examine the conduct of
Howard Hickman, who is Bessie Bar-
riscale's husband and director; he not
only permits other men to press
Bessie's blonde lo\-liness to their
poHshed shirt fronts, but shows them
exactly how it should be done to be
most effective.

"Hold her like this:"' he was saying
to Jack Holt, as I came upon the trio
at the Brunton studio where Miss
Barriscale was making "Kittv Kellv.
M. D."

Jack registered attention while Mr.
Hickman enfolded Bessie in his r^rms

'William Conklin for
ennett — in fact, he is
the lover isn t putting
into his w^ork.

■IS

Photoplay Magazine

Bruno Becker, on the right,
doesn t appear to be a brute,
but how else could he permit
his wife Gale Henry, to be

much

and told her how wonder-
ful she was.

"Now you do it.'' Com-
manded the complacent
husband, and Jack did it;
—a triangle situation, you
might call it, where all the
angles are right angles.

And as for Raoul
Walsh, who directs Mir-
iam Cooper — yes, they
are married, \'ery
so; but that didn't
prevent his allowing
Albert Roscoe to
whisper impassioned
speeches into his
wife's attentive ear,
neither did Miriam's
affection for Raoul
prevent her from
following Albert
Roscoe about for
the greater part of
thirty years — in
"Evangeline." I

mean. You'd think
that such conduct

might furnish excuse for a trip to Reno, but all that Director
Walsh said about his wife's conduct was, "Tell him you love
him, dear — say it again — that's fine!"

Again think of Enid Bennett and her director- husband Fred
Niblo — 'they've been married for so short a time that they
still count it in months instead of years, and Enid told me
herself that she had no intere.sts outside of pictures except her
husband and her home — <but, you should have seen her vamp-
ing William Conklin in a scene from "The Woman in the Suit
Case." She put her arms around him — with Friend Husband
looking on all the time — and though Mr. Niblo's expression
seemed to infer that he hoped she wouldn't carry things too
far, yet he never said a word, beyond reminding Mr. Conklin
that he should put his hand up to cover Enid's. If that isn't
connubial amiability for you!

And of course everybody knows how devoted Florence and
King Vidor are to each other. She has ■ never taken any
screen name other than the one she got at the altar, and King,
who directs her, is said to be the most attentive of husbands.
But, would you believe it, when he saw Charles Meredith
holding the fair Florence's hand in a scene from the Brentwood
production "The Other Half," the only thing he was peeved
about was that Charles didn't have his arms around her. He
said that you couldn't register impassioned love by merely
grabbing a girl's wrist, and advised the lover, as man to man,
to put a little "pep" into his wooing.

Then take the case of Harry Beaumont, directing for Tom
Moore: he is married to Haze! Daly, one of Goldwyn's little

brunette actresses, and
he allowed her — even
ordered her, to vamp
Tom Moore in "The
Gay Lord Quex."

"Put your arms around
him. Hazel," he urged,
"Put your face close to
his — gp on, dare him for
a kiss — you can't resist
her, Tom — " and of
course Tom couldn't —
and didn't. He re-
sponded in the most
enthusiastic manner
imaginable, and all that
Director-Husband said
to his vampish wife
was — "Try it once
more for luck."
If that isn't an ex-
purgated triangle 1
And worse than the
husbands who de-
liberately allow
their wives to be
made love to, are

those who allow
their wi\es to be roughly handled by members of the stronger
sex without so much as protesting against the outrage.

Such a one is Bruno Becker, the life partner of Gale Henry,
the elongated comedienne of the Bull's Eye Film Corporation,
who has her own studio and company. It didn't seem to
bother Husband Becker at all when Milton Moranti took a
whack at Gale with a club — in fact, he told him just how to
go about it and when to do it.

"She comes down stairs, all unsuspecting," he confided to
the comedian, who was "winding up" with the big stick, "And
when I drop my cap — 'Jiit her! Come on. Gale," he commanded
perfidiously, "come right down the stairs — ready, Milt — one,
two, three — NOW !" And all that Gale said after she rubbed
her head was, "You ought to be a ball player, Milt, you have
such a wonderful swing!"

Even .-Xnnette Kellerman, called by some atrocious punning
person the "diva" of the screen, has for a director — and a
husband, a man who makes her do all sorts of near-impossible
stunts, such as driving a golf ball off of Overhanging Rock, in
the Yosemite — ^said rock being not more than ten feet wide or
long, and with a sheer drop of four thousand feet, diving into
Emerald Pool, filled with snow water, and walking a wire
across Vernal Falls. Yes, James Sullivan told her to do it — ■
and she obeyed him — because she's making pictures under her
husband's direction.

Such husbands, you may say, ought to be locked up where
they can't hurt anyone; but in reel hfe, they are considered
quite au fait. I know, because I have the testimony of those

who ought to know best

At the left- Alan Holubar is telling ' ^ll'^Ut it— their wiveS.

Robert Anderson to put a little more

life into his love-making — the girl being

Mrs. Holubar, (Dorothy Phillips). At

the right — the putteed gentleman so

proudly watching his wife, Miriam

Cooper en rendez'^ous, is Raoul Walsh.

Above, Jim v> ith one
of the principal per-
formers i;i "Luck of
the Irish." Below, in
a- scene with Anna Q.
Nilsson, his leading
ladv.

The Return of

"Jim'' Kirk\vood

JIM KIRKWOOD has sut aside his director's jjuttees and mega-
phone to go in lor the grease-paint again. He was an actor
before he was a director, anyway, and dramatic training will
tell. We — most of us — remember stalwart Kirkwood as Mary
Pickford"s leading man in "The Eagle's Nest'' and "Behind the
Scenes" ; he directed these pictures too. His earlier directorial suc-
cesses were the old Biographs, "Classmates" and
others. He was Mary Miles Minter's dramatic con-
ductor for a long time, wi'h American; later he di-
rected two of Jack Pickford's best pictures — "Bill
Apperson's Boy" and "In Wrong." Then Allan
Dwan began to look around for .a man to play the
lead in "Luck of the Irish"; and nobody would
suit him but Jim. So, Kirkwood came back. And he
thinks he will stay, as an actor.

I^^^&M.»-^A.^

WEST IS EAST

A Few Impressions
By DELIGHT EVANS

I JUST talked with the Man
Who has More Women on his Hand;-
Than any other Man
In the World.
That is, he's Paid
To Take a General Responsibility
That would Make Brigham Youngs Personal

Order
Look Like the Value of a Shrunken Dollar.
He's the Editor

Of the '"Ladies Home Journal."
He has built Expositions, Credit Mail Order
Establishments, Film Companies, and
Other Little Things Uke That.
Managing a Film Company
Is a Joy to him.
Now

He is Editing
The Magazine
That Goes into the Homes
Of Nine out of Every Ten Women —
I th:nk that's Right—
And Instructs them
In Everything

From House Building to Baby-tending.
You Might think
That from F'ilms to
Fact and Fiction
Would be Quite a Change —
Until you've Met H. O. Davis.
'"Xo," he says,
"It's Perfectly Simple.
Just Study Human Nature, that's all.
It's always Changing and Yet
It's always the Same.
Heart Interest Appeals
To the Middle-western Woman and
The Woman Living on Riverside Drive
In New York, in
Exactly the Same Way.
Study Your Human \'alucs," he Thundered

at Me.
''Fiction or Films —
Expositions or Big Business —
It's all Alike."

He has ahvavs Had for his Motto
This little Sub-title:
"Interesting People
Must Do Interesting Things.
Take," he'll Say,
"Any interesting character-
One of the Dozen you Pick From a Crowd,
Write about him.
Build a Play around him —
Do Something about him.
If you're writing a Story,
Don't worry about Plot;
Don't Scheme for Startling Situations.
Select your Interesting Character,
Make a Mental Character Synopsis of him,
Then Begin to Pin him down and he'll
Say and Do Interesting Things.
You Mark my Words."
He Looks

Like a College Professor,
Talks like a Business Man, and
Wears Gray suits and Glasses.
He hasn't Forgotten about Pictures.
When he ran Universal City,
He Made the Bluebird Pictures —
He didn't have a Star if he could Help It.
He Made Ibsen's
'■The Doll House" and

He believes in "sub-title-less movie?.

He didn't Let it Discourage him

When a Film Man

Suggested he Might Liven it up

Witli a Snappy Cabaret Scene.

He'd Take a (Tharacter, for Triangle,

Like "Little Red'' and a Good-hearted

Chinaman ; or a Character like

Bill Desmond's "Honest Man":

A happy-go-lucky knight of the Road —

And Let them Act Natural.

That's what they're doing today.

Davis Made one Picture

Jack looks more like Mary than ever.

Without a Single sub-title —

"Why have Sub-titles?" he Demands.

"The Time is Coming

When we Won't Have 'Em.

I sent out this Picture —

It Flowed .\long as Smoothly as

A Good Poem—

Without a Caption.

I didn't need it.

There were Kicks, of course,

And I had to put some in. "

The Picture was "I Love You,"

With Alma Rubens.

He Made ''The Servant in the House."

Try to see it.

He Said he'd have to be Goina:.

I looked after him

.\nd hoped

He would come back

To Moving Pictures —

IS.AW Theda Bara on Broadway.
She didn't Sec Me.

T ACK PICKFORD

J Looked More like Marv than Ever.

He Said,

"I'd Like

To Get Olive

And Take a Vacation;

Go To "

Bang!

The\' were Pounding Something

In the Office Upstairs.

''Honolulu!" said young

Mr. Pickford, Flushing.

"I am Sure

I'd like Honolulu.

I always Thought

New. York was the Place for 'Me,

And I Left California

In Order to Come Here and

Spend the Holidays with

My Wife and then I Decided

(We had. a good Time and

All — even though Olive did lose

The Diamond-and-Sapphire Bracelet

She Got for Xmas)

That New York, as a Place to Live, was—"

Bang!

"You Should See," said Jack,

Raising his \'oice,

"My. New Picture. Great kid stuff.

I'd rather do that

Than Anything. It isn't work To me.

We went up

In the San Jacinto Mountains

To make this 'Little Shepherd of Kingdom

Come' —
A Fire Broke Out,
Burned the camp, held up work.
And Wiped Out Some Squirrel Skins I had

Bagged — "
Bang!

"I wanted them," roared Mr. Pickford,
"For My Wife."
Bang !

Then Mr. Pickford,
Rolled Up his Sleeves,
And Went Out the Door,
Muttering to Himself as he Went —
I Felt Sorry
For that Amateur Carpenter.

Photoplays We Don t Care To See

Dijwn by Norman Anthony

William S. H-t as Beau Brummel.

Theda Bara in " Cecilia of the Pink Roses."

Fire
Prevention

Preventative propapjanda, preached

by the Fire Prevention societies,

illustrates the dangers we can avert

by employing precaution.

NINE out of L'vpry ten conflagrations arc avoidable. By
the simple method of a little caution, many lives could be
saved every year. The National Fire Prevention society is
working to acquaint people with the dangers which bring
about fires, urging preventatives rather than the cure. We have
efficient fire departments but no matter how efficient, untold damage
is done. If you would only be a little more careful about that
not-quite-extinguished cigar end ; if you — busy housewife — would
not use a lighted candle in a closet crammed with inflammable
fabrics — it would save much horror and many lives. If you can't
afford a fire extinguisher, be on the safe side and keep a bucket
of water around. And go to some of the film theatres where fire
prevention pictures are shown ; the moving picture, as always, has
come to the rescue with especially-made movies illustrating fire-
prevention methods.

Photography by
E. A. Waterman

Don t flick the ashes
from your cigar into
a convenient "waste-
basket, or thro\v' your
cigarette butt away
carelessly. Most of
the fires in office
buildings are caused
in this way.

A dangerous domestic practice is to employ gasoline

in cleaning and ironing at the stove at the same time.

The fire departments have found this to be the cause

of a surprising number of serious fires.

The folly of using kerosene oil to start a fire in a
stove has been preached over and over again, but
some house-wives persist in such antiquated and fool-
hardy methods.

Children have much more fun with
matches than with dolls. (At right)
They seem harmless enough, but the
youngsters often drop them and step on
them, or unconsciously strike them.
The results are usually disastrous.

A lighted candle that "comes in so
handy while looking for some article
of clothing in a dark closet, may seem
innocent enough. But many lives are
lost each year in just this way.

*•»>-,

-?^»

i|.

^^^^,V

In business and other public
buildings, janitors are required
to put ashes into a metal re-
ceptacle, but the picture below
shoTVS the result of a fire ■when
ashes, supposedly cold, were
dumped into a wooden barrel.

fT7

•M^ ,V«

yiJf^V

^t..

"•^^

XJj

. ^-

•l*«l-*

t/3

'fc"*'*,

•»•;.

,.<^

'W%

t-%'5

'^^Jptiiii

In the oval you see the
result of a fire in a tene-
ment on New York 5
lower East Side. Five
lives \vere lost through
careless use of a small
stove.

Firemen fighting an oil
fire — one of those con-
flagrations that puts up
a stiff scrap before it i?
knocked out. Despite
efficient fire depart-
ments, most fires have
their own -way with
victims.

You remember "Beautiful Star of
Heaven, the favorite piece of Edna,
the Chickering pounder at the
movies ten years ago. Today if
you don t know your "Arietta by
Grieg, your Chopin and your
Brahms it is because you prefer
musical comedy to the motion
pictures.

Four years ago Grif-
fith started something
that put the pinky-
panky movie piano
out of business.

UNTIL they hitched the photoplay to music the latter
art was a luxury indulged in for the most part only
by people who wore their hair long and owned dress
suits.

It took a play like "The Birth of a Nation" to put such
gentlemen as Mr. Chop'n, Mr. Beethoven and Mr. Mozart
in the American limelight, and with subsequent screen pro-
ductions not only the foregoing three worthies, but others
of different schools have been dragged from their places in
dusty corners, given a public renovating and put on the old
family bookcase with the pictures of Charlie Chaplin and St.
John the Baptist.

And now it isn't at all uncommon to hear our dear friends,
the ladies who purvey hngerie, tell each other on their wav
home from work how grand that Grieg thing was at the Strand
last night, and how Mr. Theophile Risenfall— made a tremend-
ous hit two davs ago with his new adaptation of IMassenefs
"Elegie" to "Tillie's Punctured Romance."

Girls, do you remember how you used to envy your fortune
sister who played nights in the picture .show? Do you remem-
ber how she used to peck out "Sheridan's Ride" and "The
Angel's, Serenade" on the ancestral chickering? Can't vou
picture her flurried excitement when the manager of the little-
show-around-the corner told her that he had a sensational new
two-reeler coming and that she'd have to 'get up' a particularly
spectacular program? And then she'd look through the fdes
in the old music cabinet and drag forth the overture "Poet and
Peasant?"

And, if you rack your memory, perhaps you will recollect
how sister-in-question used to get 'way down front in the
theater, right under the nose of the heroine on the screen,
and tickle the ivories. How she'd pound out such standbys
as the "Maiden's Prayer" and "The Rosary" and the wedding
march from "Lohengrin," and get all excited sometimes and
forget to be highbrow and lurch into the "Oceana Roll."

And remember, don't, you, how Edna sometimes got fussed
and rambled on with "The End of a Perfect Day" while the
villain cruelly proceeded to choke the defenseless heroine en
scene, or how she effused and thrilled with "The Elixir of Love"
or "You Gotta Quit Kickin' My Dawg Aroun' " when Mrs.
McGinnis's rem.ains were shown being hoisted to their last
rest? It used to be quite a problem for Edna to select her

.S2

O^ved to

The exquisite musical setting for "Broken Blossoms' was largely the
tory to compose "The Chinaman s Love Theme " than try to embody

ten. He composed

Picture

original work of Louis F. GottscKalk, who found it more satisfac-
tKe atmosphere of Griffith's great picture in music already writ-
as he watched.

The orchestra at Grauman's Theatre, Los
Angeles, is typical of the larger picture
theatres today. Arthur Kay (-with baton)
used to conduct symphony orchestras. He
and his twenty-eight men prefer picture
theatre orchestras because they offer all
year work.

By TRUMAN B. HANDY

programmes." and still more of one for her to play
them, and then she was always getting her comedy
pieces, mixed in at intervals when the fillum was a
tragedy — the deep, dark kind that they always used to
inject into the pictures of the vintage of "14 or so.

Pretty soon, however, the manager came to her and said
that he'd hired \'ictor. who played the violin, and he was
going to have an orchestra. They bought a folio of duets that
went well with the popular screen successes of the day, and
then they'd go to the flicker emporium and give a recital.

Along about four years ago, however, a man named Griihth
startled the reading public by stating that "The Birth of a
Nation" would have an especially-arranged musical score. It
was a sensation, with its battle din and its "Call of the Clans."
This was revolution. From New York to San Francisco, thea-
ter owners began to sell their automatic organs and reinforce
their piano and \-iolin pairs.

Then somebod\' who wielded a baton in one of the pits dug
out a bit of Chopin — ^a nocturne or something like that — which
he proceeded to fit to the picture of that week. He only gave
his audience a very little bit of the good stuff at first, but curi-
ously enough it went ! And the manager hired a few more
violins and perhaps a cornet and flute. Edna, w-ho had been
hammering the ivories for the last three years, lost her job be-
cause her fingers simply wouldn't take the runs that Mr. Liszt
wrote in his pieces, and the man who gave music lessons to
perspiring young America, and who knew the difference between
a mazurka and a polonaise took her place.

He commenced an internal revolution. "Hearts and Flow-
ers" gave wav to Liszt, Donizetti and Bizet. And the pro-
grams enlightened many who might never have known other-
wise who wrote the sextet from "Lucia." and that Brahms
wasn't the name of a new kind of chicken.

TO-DAY, every progressive film
distributor lias a musical di-
rector who makes a comolete score
for each production. There are,
moreover, on each score, at least
eisht names of classicists that are
comparatively well known to the
public. Grieg isn't any longer a bug-
bear; Weber is not by any means
unknown, and some of the matinee
girls even know how to spell Tschai-
kowsky — and to pronounce him.

]\Iusic is one of the big moments
of a photodrama. It can bring out
phases of the picture that pantomime
cannot express. In other words it
helps the action, and suffices, for a
large part, for the dialogue of a stage
play. A skillfully played composi-
tion bv one of the symnhonv orches-

«Paid in Advance

By JAMES C. BRADFORD

Musical Director. Stanley Theatre. New York

Up. Mir

. (T)itle or (D)escription.

I DEMAND

IN THr

9 2<A T. AW) T
10 m T. THEIR *^

11 VA

12 3

n i

14 IJ^

15 VA

16 l^^

23 1>4

24 3

25 !'/,
28 VA

27 2K

28 2}i

29 VA

30 2

31 VA

32 I5i

33 2
5^ VA
35 1'/,
86 2
37.115

DAW "SC^
SWEPT
JIM ELOi
JOAN E\
WHERE I
BARKER
AFTER A Nli
JOAN-ENTE
INCENSED
JOAN RECOGN'
BATEESE ATT.
A MONTH PASS'
'lARKER AT DO'

m m

tras of to-day can "work up" an
audience to an erstwhile un-
thought-of pitch of emotion, while
the music-less picture leaves the
spectators cold.

The synchronizations — •
music scores or cue sheets
as they are called by various
conductors — are complex af-
fairs. A certain theme runs
throughout the picture. In
Universal's "Paid in Ad-
vance," with Dorothy Phil-
lips, for instance, the mu-
sical backbone — the theme
on which all the other mu-
sic hangs — is Victor Her-
bert's "Land of Romance."
In presenting this film, or
any other, the orchestra re-
verts again and again to a
familiar theme or setting
that has been played at a
crucial moment of the play
and that corresponds to the
play itself. In the "Paid in
Advance" production, the
cue-sheet states that L'au-
rendeau's "Laurentian
Echoes" is given by the or-
chestra— or organ — at the
time the title is first flashed
onto the screen. A Saint-
Saens work, "Rouet d'Om-
phale" follows, which is in
turn followed by the Cana-
dian national march, "Maple
Leaf." In the production,
which is an average five-
reeler, out of thirty-seven
different musical composi-
tions listed on the cue-sheet,
eight are by standard com- '■^'"""^
posers, including Sa i n t -

Saens, Bizet, Schubert, Grieg, Grainger, and Mendelssohn. Of
the total, twelve are popular numbers, including Friml's "Tum-
ble In," "Mary" and "Sweet Rosy O'Grady." The rest are
semi-classical pieces by either living composers who have not
yet attained the classical standard, or deceased musical writers
whose opuses have not as yet been accorded a place in the hall
of fame.

""PHE synchronization of a musical score is no easy matter.
*■ Take a Griffith production, for instance, such as "Broken
Blossoms." The score, when it is delivered to the orchestra
conductor, looks like any grand-opera libretto, except that a
cadence may suddenly be broken off in the middle and followed
by a strain of entirely different setting.

The synchronized work is a series of musical cut-backs anc
flashes that correspond to the action of the screen drama. Dur-
ing the climax of Maurice Tourneur's "The White Heather."
the orchestration of Rubinstein's "Etude on False Notes." a
chromatic, weird work, was played during the time that the
divers were shown in the death-struggle at the bottom of the
sea. When the picture suddenly flashed to the hut in which
Angus lay on his death bed, the music instantly changed to
"Annie Laurie" — the last strains that accompany the words,
"I'd lay me doon and dee." Flashing back to the submarine

AMERICAN PATROL

Photoplay Magazine

The orchestra leader at Amityville kno-ws that -when the
above scene from "Paid in Advance is flashed on the
^-creen. he should have reached "No. 34" on the musical
synopsis and that they shall play Herbert s "Land of
Romance" for 1 J _> minutes. Universal supplies a "Mus-
ical Synopsis ' with each picture.

MUSICAL SYNOPSIS

FOR

Tempo. Selection

AT SCREENING 4-4 Maestoso • Lauientin Echoes— Laurendeau (Medley)

BATEESE 2-4 Lento Rouet d'Omohale— Saint Saens (J. to K.)

THE TR.-VDING POST 2-4 Tempo di .Marcia

THE LIE 4-4 Moderate

SAND\ LEAVES CABIN
FIGHT

e Leaf— Canadian March
Dramatic Tension — Borcli

Faendole— Bizet

Torch Dance — German

Earl King— Scliubcrt

Erotik — Grieg

i-e (Sigcrd Jorseltar)

Saskatchewan — Car>-n

(last One-Step)

;y O'Grady— Harris

— Frey (One-Step)

Friml (I'ox-Trot)

Pansy — Langcy

Bob — Kaplan

l^^rey (Fox-Trot)

Melancolie — Grainger

. Tumble In— Friml (Jazz Fox-Trot)

Fourteen Fathoms— Lake (Tension)

Allegro ; Puiioso No. 1 — Langey

-4 Moderalo •Evensong— Martin

2-4 Allegro Hurry No. S— Langey

JOAN CHANGES CLOTHES 4-4 Modcrato Baby DoU-Friml

JOAN JUMPS ON TABLE 4-4 Molto Allegro... •• AthaUa— Mendelssohn

I Q_ XJ .'..'. 4-4 Modcrato Fourteen Fathoms— Lake (Tension)

JIM AND JOAN ENTER CABIN .. ..D-4 VaUe Lente • Land of Eomance— Herbert (Theme)

AOCORDINC TO THIS 9-S Allegro Turbulence- Gorch

IF YOU WERE O.NLY A MAN 3-4 Valse Lente * Land of Romance— Herbert (Theme)

THE CUR HAD NO RIGHT.. 4-4 Allegro Agitato No. I— Langey

SHE'S RIGHT 4-4 Allegro The Tempest— Lake

JO.\N IN SNOW 3-4 Valse Lente * Land of Romance — Herbert (Theme)

■MONTHS PASSED 4-4 Allegretto Whispering WUIows— Herbert

AFTER DA'YS 3-4 Valse Lente * Land of Romance— Herbert (Theme)

SOLICITOR ENTERS 3-4 Allegretto Air de Ballet— Herbert

SEVER.VL YE.'VRS PASSED c-s Andanltno Memories— Kiiser

JOAN ENTERS OFFICE 3-4 Valse Lente • Land of Romance— Herbert (Tlicme)

fight, the organ burst forth with
a Czerny study in chromatics, or
half tones, that gave the impres-
sion of a terrific windstorm.
Which put the audience in a
mood receptive to action
of the picture, filled the
hearts of the spectators
with terror, and worked
them up to a state of
tense emotionalism. In
fact, so high-strung were
they that when one of the
divers suddenly cut the air-
tube of his adversary and
the orchestra and organ
cam.e together in a terrific
minor chord, the more
nervous spectators gasped,
and during the performance
that I viewed, one woman
screamed.

The average orchestra of
the more progressive thea-
ters,— the ones where the
ushers are costumed and
the seats upholstered, — has
anywhere -from fifteen to
forty pieces in the orches-
tra,— violins, 'cellos, bass
viols, flute, clarinet, but
only such brass, — French
horns, alto horns and trom-
bones,-— as are indispens-
able. The organ makes up
for the rest. The comet
and trumpet are losing out.

THERE are some stand-
bys the public never
seems to tire hearing. The
THE END, Massenet "Elegie," Grieg's

"Album Leaf," Rubinstein's
"Kammenoi-Ostrow" and
Chopin's Nocturne in E are always on tap for situations where
the action is slow and the picture theme melancholy, such as
in "The Woman Thou Gavest Me" where the unloved wife,
(Katherine MacDonald) takes leave of
her lover (Milton Sills), or in Goldwyn's
"The City of Comrades" where Tom
Moore is shown hovering between life
and death in the hospital after the Hali-
fax disaster. Such works as "To Spring"
by Grieg, Chaminade's "Scarf
Dance," and the Schubert "Sere-
nade" can always be depended
upon to put the audience into a
(Continued on page iuq)

"American Patrol" ■vi'as another of
Edna s standbys — vi'ith all those grace
notes, T-r-rum ! T-r-rum ! Don't you
remember ho-w she used to get excited
sometimes and play

Mrs. Bob McKim: "If you don t come across I 11 tell the world you write plays!

"Mean
Bob"

Meaning Robert McKim,

who has stopped singing in

church choirs for quite

some time.

Kim, herself not unfamiliar to them who
sit in darkness and look upon the lighted
screen.

"Bob" writes, too. Not scenarios — but
plays. Short ones, pithy and dramatic.
Some day he is going to take one of his
one-act creations on a vaudeville tour.

McKim was an advertising salesman in
those days when he sang in the San Fran-
cisco choir. On week days he labored
strenuously to convince advertisers of the
value of printer's ink. The voice which
sold space in the dailies on weekdays
pleased hundreds on Sundays and came
to the notice of the theater managers.

Then McKim left the advertising busi-
ness, and never returned to it. Behind
the footlights, in stock, at the San Fran-
cisco Alcazar, he played many roles. He
toured the Orpheum circuit three seasons
with Lily Langtry, "The Jersey Lily."

In 1915 he heard the call of the clicking
shutter, started pictures as Doc Hardy in
"The Disciple" with Bill Hart, and has been
playing villains ever since, with increasing
success. Some of his best recent work has
been seen in "Wagon Tracks," "The West-
erners" and "Out of the Dust."

"Lift lip 30ur heads, O ye gates, O ye gates,
And be ye lifted up, ye everlasting doors."

TFIUS in rotund baritone did Robert
McKim proclaim the art that was in
him in the years 2 to S a. q. (a. q.
and B, Q. being the notations of time
on the San Francisco calendar, meaning re-
spectively Afler and Before the Quake.)
McKim was soloist in a church, but now —

"Cut out tlie weep stuflf. That don't get
you anything with me. I'll show yon
who's master here. Go on — pray as long
as you like. I can wait. That fine lover
of yours is a hundred miles away with a
crippled flivver and before he gets here — "

Vou know the line of stuff. "Mean
Bob" — that's his ticket in the casting di-
rector's card index. He's been at it ever
since 1Q15 and has such a good reputation
for badness that Goldwyn has taken a
long lease on him. And then again —

"Now. dear, you go out on the lawn and
take your knitting. Tu*t because it's the
maid's night out you're not going to make
a slave out of yourself. I'll wash up the
dishes and feed the cat and water the uke-
lele bush and everything. No, I'm not a
bit tired — didn't do a thing all day but sit
around and swap stories."

The lady on the receiving end of the
conversation is Mrs. Dorcas Matthews Mc-

As the painter in "The Disciple "

he treated Enid Markey cruelly

and made Bill Hart mad.

One of his best bad roles — the In-
dian in "The Westerners" with
Mildred Manning.

Wall That the greatest money interests in
Q^ ^ the world shall eventually come into
■ control of the business element of
any activity so profitable as moving pictures
has been predicted from the beginning. Rumors
of a constant spreading of this interest arise
from week to week. The word "trust" is
bandied about, sometimes with hope, some-
times with resentment. Whatever influences
are at work, there is nothing for the public to
fear. No matter who makes the pictures, no
matter who distributes them, no matter who
owns the theatres, you, who provide the sole
revenue upon which these activities operate,
can always stay away when the results are not
to your liking. And the moment you begin
staying away, there will at once arise a new
Moses to lead the pictures back out of the
wilderness. You are at the mercy of a trust
which can control a necessity, but the trust
which controls a luxury is at the mercy of its
customers.

The gentlemen who have the resources and
the intelligence to bring together a number of
warring interests and unify them for the im-
provement of business conditions, are not so
blind as to be ignorant of this fact. So what-
ever manipulations may come and go, whatever
combinations may be formed, the picture will
remain as it is desired by its public. There is
no other factor in modern life so directly and
completely controlled by the public as motion
pictures.

Two For The scenario editor of a moving
^ picture company bought a certain

very famous novel and dealt it
over to one of his continuity writers to be turned
into a manuscript for the screen. When the
continuity man brought in his version of the
story, the editor read it with growirig amazement.
At last he said:

"This is a cracking good story, but it isn't
much like the original. Tell you what we'll do,
we'll give your story a new title, call it an orig-
inal, and give the book to another member of
the staff to make the real adaptation."

And so they got two stories for the price
of one.

Exit the Throughout the comiiigs and

Fanl-'.st-ips «0'i^SS of thq moving pictures
1 diiLu-sLics. ^j foday, one characteristic is
manifest, not only among the best but among
the mediocre and largely also among even those
films which are far below grade. This is a defi-
nite determination to cling as closely as possible

to that which is humanly possible in plot and
character. The straining after the fantastic has
almost entirely ceased. There was a time when
scenario writers and producers seemed to be
asking themselves persistently, "How far can we
get from, actuality .' " They strove for sensa'
tionalism — not so much the sensationalism
based upon tremendous emotions, but that
which is based upon a nightmare of imagination
running riot.

It had to be. The whole foundation of the
moving picture structure rests upon this solid
tact — that the people whose millions of dimes
make possible the advancement of pictures,
are not readers of exotic European literature,
not men and women who dream of worlds far
different from this, but real folks who know
only this world and its social laws, regardless
of what they may hope for the life to come.
With irresistible force they compel the producer
of pictures to show them that which has coun-
terparts in their experience or their knowledge
ot the experience of others, or coldly abandon
him to an inglorious fate.

The fantastic is fast disappearing. In its
place has come the humanly recognizable.

What Are Your
Hands For?

You don't check your
hands at the door when
you go to see pictures.
There is no reason why you shouldn't use
them.

You know what they are for when you go
to a play, or musical comedy, or a vaudeville
show. You slap them together just to let the
entertainers know you like them.

Did it ever occur to you that applause is
much more important at a picture theatre than
it is at a play?

The manager of a theatre where the"speakies"
are seen and heard has many ways of telling
whether or not his players and his play ^tCVSQ
his audiences. The play runs a week or mO«,*e
in most instances, and the audiences increase or
decrease accordingly as the piece is unpopular
or not. Applause is nothing but noise— gratify-
ing noise, of course, but unimportant in results.

The moving picture goes into the average
theatre for a day or two. It gets its patronage
from a combination of the reputation of the
house and the popularity of the star. The only
way the manager can tell whether or not his
patrons are pleased, is by their applause. The
only way the producer can tell whether or not
he is on the right road to your approval is by
the manager's reports.

Remember what your hands are for, and
don't be afraid to use them.

Miss White found
a warm friend and
champion inVicente
Blasco Ibanez. the
Spanish author,
while a guest at her
place at Bayside,
Long Island, pictur-
ed belo'W.

The Girl on the Cover

THIS is no ac-
count of Pearl
White's "ca-
reer." She has
told her own story,
probably more simply
and honestly than any-
one else will ever tell
it, in "Just Me," that
frank self-revelation in
which she idolizes her
dead mother, heartily
assails her father's
weaknesses, expresses
the step-child's usual
opinion of her step-
mother, and continual-
ly, in an easy flow of

slang and colloquialism, holds her own character and her own
acts, and their consequences, up to pitiless scrutiny.

Rather, these lines are a chronicle of unprecedented celeb-
rity and success; a survey of a career crowded before thirty
with adventures such as Dumas might have conceived for a
female D'Artagnan, marked with world-wide celebrity, and se-
cured by a self-won fortune.

There are two things responsible for the famous and rich
.Pearl White of today.
Moving pictures.
And Pearl White.

Success needs only two things: ability and opportunity. The
early years of the twentieth century brought to American
women the same vast, almost fabulous chances that came to
their grandfathers in the middle of the century preceding.
'What the expansion of the West and the great organization of
industry opened up to many a young man, the motion picture
spread before such young girls as were alert enough, and husky
enough, and apt eriough to take advantage of it. With the
e.Kception of Marv Pickford, I can think of no girl who has
reaped her field of chance so completely, opulently, securely,
as Pearl White.

On a January evening we were sitting at Miss White's din-
ing-table" in the right wing of her great house near Bayside. a
Long Island suburb of the metropolis, thirty-five minutes from
Broadway by train, and less than that by motor. Yet for seclu-
sion we might have been in "the Canadian woods or the Florida
Everglades. In the front of the house a great lawn ends
in a garden edged with a grove of towering trees, and only
beyond them runs the road. Back of the house are fields; at
the side, a private beach and the quiet waters of Long Island

Pearl White — who, having
achieved Fame and Wealth,
is now a victim of Ambition.

By
JULIAN JOHNSON

Sound. It was \'ery cold outside,
and the light from the windows
fell upon untrodden snow, gleam-
ing like diamond-dust in the sharp,
still air. The correct and noiseless
butler had just served the last
course of a ver\- correct and simple
dinner. At the end of the table
the actress-proprietress sat.
She had, but an hour be-
fore, returned from a stren-
uous day in the Fox studio
in Manhattan, yet all traces
of her working hours had
been removed. She had
gowned herself in the sim-

Photoplay Magazine

p'est of blue frocks; her hair was brushed straight back;
around her lips and ej'es and on her cheeks not a trace of
make-up or even of powder or rouge remained. In the salon,
across a wide hall, a tall clock with a low voice chimed eight.
A light from a shaded lamp fell across a grand piano, and
bathed a library table, heavy with books and manuscripts, like
an author's work-bench, in a soft reverie of light. It was a
quiet place for luxurious dreams, and somehow, it was a little
melancholy. The girl-woman at the table's end put her cup
gently back into its saucer, and it seemed to me that even that
made too much noise. As I looked at her I thought of a
female Alexander, with no more worlds to conquer.

I had in mind several questions, any one of which I might
have asked. I had ready several observations, more or less
philosophic, and all of them, questions and answers, rather
inapropos.

I was saved from asking or stupidly remarking by the but-
ler, who came back to ask a question of his own.

"The letters, ma'am. There are four hampers of them now.
Hadn't you better—"

"Why, yes! Thanks for reminding me." And to me: "Want
to see my mail?"

It was with no particular thrill that I followed her into a
white chamber adjoining the dark-paneled Department of Food.
I had seen the correspondence of a movie actress on sundry
occasions, and had always wondered, thereafter, if the world
were worth making safe for democracy.

But I had never seen such an enormous, cosmopolitan, world-
wide representation of attention. My first thought was that a
stamp-collector would have paid her a hat-checker's privilege

price merely for a secretaryship. There were letters bearing
the stamps of countries I had never heard of — commonwealths
given birth by the Peace Commission in Paris. All of the
older governments were in Congress assembled by their post-
age. There were postal cards from Annam and Java and
Czecho-Slovakia and Duquoin, 111. Mostly from women. There
were few mash notes. The letters from boys were merely the
hopeful ebullitions of the stage-struck, or respectful solicita-
tions for photographs.

"Since New Year's," said the recipient. January was at that
moment two weeks and a half old.

And so they pile, until, every two or three weeks, a bevy of
stenographers is carted out from town, and they are respect-
fully and appreciatively acknowledged. If you are a letter-
writer, do not expect to get a genuinely personal note from
Pearl White unless you have genuine business upon which to
write her.

Pearl White has her splendid home at Bayside not solely be-
cause she is a movie queen, highly in demand and marvellously
paid, but because she possesses that which is really the quality
of few men: the true financial instinct. She began saving her
pennies when she sold papers, at the age of eight, in Springfield.
Mo., and though she spent these savings many times over, and
was generally, in her independent early career, upon the verge
of walking to save an eighty-cent railway fare, she saved money
whenever she had a job strong enough to hold together for
more than a few weeks, and on the second of July, 1913, had
banked enough from tank shows and primitive movies to sum
up, in several deposits, six thousand dollars — which she promptly
(Coiitiiinrd on page J15)

w*^=-=—

Who Put The Ocean So Far From the Shore?

THOSE clever film directors, of course. Now we know where tKey get tliat nautical phrase, "quarter deck." But so long as the
finished picture provides all the thrills of a real ship in a real storm at sea, what are a few port bows and mizzenmasts among
friends. This shows how many of those exciting sea pictures are arranged when there isn't an ocean handy. Here you see the ship
built for "The Tower of Ivory." Note the rain machine at the left —the falsework - from whence tons of water were discharged
while a wind machine blew it down the chutes, dashing it across the finished side of the deck.

fount <le Streleckl

EKKY AND LOU- -not to mention the pet of the Tellegen menage, the
^ Pekingese, Miss Farrar is one of the most enthusiastic women in the theatre:
when she is not singing at the Metropolitan, she is in California making pictures.

M ^feu£tthfr^,h 't ifM^^Pi^-t^ ^'^ '" the Winter Garden chorus,
l.ut curiou fv elT.h ' n' Yu "i *^/'*"''' beginnings. She didn't like it at all
curiously enough some of her best picture parts have been show-girls.

Paramount-t»08t Nature

The canvases of nature
are more enthralling
than any painting. So
for a picture gallery we
recommend any of the
good scenics we have on
the screen, for the cam-
era has caught the best
in landscapes. One can
almost hear the rustle of
the trees and the sooth-
ing swish of the watpr
over the stones.

We might say that
Pauline Frederick's col-
lection of feather fans is
almost as large as her
human collection: but
we'd rather tell juju
that Polly's pet hobby is
collecting these, from
the curiously carved fans
from the Orient to the
huge plumes which add
the finishing touch to any
woman's evening e n ■
semble.

.1. C. Mllllgan

COMEDY has another kick coming against the drama, since Mildred Kea^^on
went in for the serious stuff. A foil for Arbuckle and a former Follies
beauty, she was discovered by DeMille, and is now a full-fledged featurette.

More
Comfy
Than
Japan

After a vacation in
Nippon, declares
Ethel Clayton,
one's very ovv^n
American home
is indeed restful.

The bungalow rests in a secluded
comer of Hollywood.

A grand piano — plenty of books — flowers — these are the soothing friends of

Joseph Kaufman s widow.

ETHEL CLAYTON, upon her return from a trip to Japan, on a long
vacation following her period of mourning for her late husband, Jo-
seph Kaufman, settled down in a duck of a bungalow in Hollywood.
It is in a secluded spot, this Clayton home, nestling in a small hill
with plentiful shrubs. Here Ethel and her mother spend their hours outside
the studio. A woman of thoughtful turn of mind, the star finds her library
more engrossing than almost any other recreation. She spends much time
out-of-doors, in a lovely garden that is one of her "show-rooms" about the
place. The haunts of Hollywood — the Broadway of the west, and its cafes
— don't know Ethel Clayton; she is seen seldom. After her day at Lasky's
she is ready and willing to go home and seek a sheltered spot to read, or
dream. We wish her artistic future would bring back to us the old Ethel
of the Lubin domestic dramas. She's a charming "wife" on the screen.

Miss Clayton -with her brother,
a frequent visitor.

^1S. ^

"The Luck of Geraldine Laird brings back Bessie
Barriscale in the best thing since her Ince-Triangle days.

Such combinations as that which produced Miss Pick-
ford s "Pollyanna will prove the saviors of the screen.

THE popular pose, I know, is to make light of tears in
the theater — to declare that anything that inspires weep-
ing must necessarily be cheaply sentimental; that all
the tears of all the actresses are crocodile tears, and
all their suffering the most artificial sort of make believe.

Probably the heroine with the moist cheek is smeared with
vaseline, and rises from her bed of pain to curse her camera-
man for not having given her more foot-
age in the close-up. (Incidentally, I
loathe that death stab to illusion, the
tearful close-up.) And if some one were
to tell me that the crippled lad who is
made straight and sound by a trusting
faith, once he hears the shutter of the
camera click, skips off the lot with a
raucous cheer of joy to beg the loan of
a cigarette from the venerable healer
who has performed the miracle, I
should believe it.

Still, under the spell of the illusion,
I weep for him, and am unashamed. To
me, for the moment, he stands for all
other miserable souls who suddenly have
been plunged into a great happiness.
Twenty years of playgoing did not save
me from an embarrassed exit when they
turned up the lights on the acted per-
formance of "The Poor Little Rich
Girl" and I was caught sheepishly dab-
bing a pair of red eyes with a moist
handkerchief as I stumbled up the aisle.

Naturally, therefore, the acted play, or the incidental scene,
or the individual performance of the trained emotionalist that
wins what I am pleased to consider the tribute of tears from
me appeals to me as representing a measure of perfection
achieved in that particular phase of playmaking. So it was
with "Pollyanna" and Mary Pickford's performance therein.

Analyze "Pollyanna" and you find it conventionally sure
fire. The plight of the "glad" girl is the hokum of the
theater at its hokumist. The "glad" game itself, robbed

By Burns Mantle

Kcistiuie V;

of the thing it stands for, which is the beautiful optimism of
youth and the earned rewards of "playing the game" and
"being a thoroughbred," is a deliberate bid for your kind
applause. It reeks with the sentimentalism of the theater at
its baldest. But during its performance in the theater it is
a good game, and a cheering one. A week of it and you
might strangle Pollyanna. For one afternoon or an evening
she is an inspiration.

Miss Pickford, too has the supreme
gift of the artist — which is the gift of
compelling your belief in her. You
hear much of the great actors who sub-
merge completely their personalities in
the characters they assume. But you
may have noticed you never see them.
You always hear about them. They are
like the hoop snake of youthful memory.
It was your uncle or your grandfather
who saw one. The personality that is
strong enough to focus and hold your
attention upon it is too vital, too vivid,
too real a thing to be submerged_^ And
the great actors, of either screen or
stage, are those possessed of such com-
manding personalities that in place of
""ur' being able to submerge themselves in a

1^ character do exactly the opposite. They

i^^k so envelop and emphasize the character

^^^^^ that they substitute their own personali-

ties and literally force your acceptance
of them as the person they pretend to
Their art, and the quality of their art, is in the complete-

ness and the fineness of the substitution. If this were not true
the Booth "Hamlet" would have been little, if any, different
from other "Hamlets," and the Mary Pickford heroines no more
than a professional model for her imitators. Not, that I am
comparing Mary with Booth. That would be unfair to Booth.
Miss Pickford is, for example, probably old enough to
be the mother of the lad who plays Jimmy Bean to her
Pollyanna. This suggestion may vaguely obtrude itself when

The
Shadow

Reg. U. S. Pat. Off.

A Review of the new pictures

by Burns Mantle and Photoplay

Magazine Editors

they are placed next each other in the close-ups. But the
sprit of her performance is as convincingly youthful as his,
and though her waistline is more mature, her heart is as light,
and the sparkle of her eyes as bright. So far as your impres-
sion of "Pollyanna" is concerned, she is the best little play-
mate he ever had.

Miss Pickford's division of the United Artists' Corporation
has done well with "Pollyanna." It is sweet, but not drippy.
It tells an interesting story without re-
course to conventional drama. The
cross aunt (Katherine Griffith) to whom
Pollyanna, the orphan, is assigned, is
neither a brutal shrew nor an animated
New England conscience. The "glad"
game with which the heroine sandwiches
her adventures is emphasized, but not
.unduly stressed. And Howard Ralston's
Jimmy Bean is a delight.

It requires a director with tasle, a
star with intelligence, to obtain these
results. Working together harmoniously,
such combinations will prove the saviors
of the screen. More, and more, and
still more power to them, say I. The
trick is to find directors of taste and
stars of intelligence. In this instance
Paul Powell is the gentleman con-
cerned.

C I HIS department is
-*• designed as a real
•service to Photoplay
readers. Let it be your
^uide in picture entertain-
nent. It will save your
time and money by giving
you the real worth of cur-
rent pictures.

"OVERLAND RED"— Universal

THOSE who know him best tell me that Universal Harry
Carey is himself responsible for most of the better features
of his own pictures. His the human touch, his the sound horse
sense, his the logic and the humor, his the determination to
play men straight and to treat his audiences as at least fairly
intelligent.

If this be true, I tip a new fuzzy hat to Harry Carey. "Over-
land Red" is the best "Western" I have seen since Hector
was taught to beg. And it is the best because it is the most

"Six Best Cellars" starring Bryant Washburn, relates the
departure of John Barleycorn from an exclusive suburb.

human, the most reasonable, and therefore the most appealing.
The effort here has not been to stress the wild adventures of
a story book people, but to trim with reasonable adventure
certain arresting episodes of their intimate lives.

Thus "Overland Red," whq was by way of being a bum, took
up with Collie, a lad who w^s scrubbing out western barrooms
when they met. Leaving tow''B-t<jgether these two happen rea-
sonably enough upon a series of adventures that are far from
a severe tax upon the credulities of the
spectator. They find the body of a
prospector, dead in the desert from
starvation; on his person, a bag of gold
dust and the map of his mining loca-
tion. They are arrested and charged
with murdering the old man by a sheriff
who suspects their possession of the
maps. They escape and, beating it
'cross country, are helped by the daugh-
ter of a ranchman. She stumbles upon
their camp, rather likes the looks of
Collie, and offers aid. "Overland" gets
away on her horse. Collie stays and
accepts a job on the ranch. After that
the discovery of the mine; the attempts
of the sheriff and his gang to jump it;
the hesitant but reasonable development
of the young people's love story, with
which Carey refuses to interfere, even
though he is the star; and finally a
momentary employment of the elastic
arm of coincidence to make the dead
miner the live girl's father, followed by the picture's end.

A holding story for which neither excuse nor alibi is neces-
sary. "Overland Red" is a man's picture in which the women-
will take a great interest, and it does the star, the director and
the scenarioist much credit.

"STRONGER THAN DEATH"— Nazimova-Metro
I SUPPOSE Alia Nazimova has the most impressive masque
A of any of the screen sisterhood. She has, at least, the most

Photoplay Magazine

"Slaves of Pride" is a modem allegory featured by the fine

acting of three players. Alice Joyce as Truth. Percy Marmont

as Pride, and Gustav von Sey-ffertitz as Deceit.

"Double Speed " presents Wallace Raid in half an evening's

blithe entertainment. Speed stuff, robberies, Wanda Hawley s

gorgeous Cinderella foot - these are noteworthy features.

I tip a new fuzzy hat to Harry Carey. "Overland Red " is

the best "Western I have seen since Hector was taught to beg.

It is human and has a most reasonable story.

expressive masque of any I've seen. Also she commands a
distinctly unique, a weirdly fascinating personality, and as facile
a technique as any of her sisters of the spoken drama. But —

These are negative virtues when the pictured story is dull.
No audience can force an interest in a heroine merely because
it is expected to do so. She, or her author, m.ust provide an
excuse. No excuse, no interest. In "Stronger than Death,"
for which Husband Charles Bryant provided the scenario, Nazi-
mova walks into the action "cold." With all the mystery of
all the ages she looks out upon a scene in India. The im-
agination leaps to meet her as a goddess of the temple, or a
worker of miracles in a strange land, or at least as an active
disciple of the fascinating mystics. Yet when the titles speak
for her she is no more than a Russian dancer whose dancing
days are over because of a weak heart, and who has come to
India from London in search of a rich husband. Discovering
that they do not grow on bushes, she is reduced to choosing
between a villainous, though rich, half-breed, who hopes to gain
social recognition by marrying her, and the son of the com-
mandant, who is wholesome and heroic, but poor. She loves
this young man, however, and to save him when he finds him-
self in the power of his wicked rival, she marries the half-
breed. Later, when the natives revolt, she holds them spell-
bound by dancing for hours at the temple of Vishnu, which
gives the hero time to bring up the relief and the conclusion is
mildly happy. Old George W. Alibi speaks of "Stronger than
Death" as a good picture pictorially, and one that will satisfy
though it may not thrill the Nazimova following. The star is
rather placidly her familiar stage self.

The mass scenes of the rebellious natives and those of the
populace flowing in an undulating mass toward the vision of
the dancing heroine are well handled.

"DESERT GOLD"— Hodkinson

REMAINING in the west for another paragraph, there is
Zane Grey's "Desert Gold" to consider. A handsome series
of exteriors through which the fresh air sweeps, even on the
screen. Also a series of thrilling incidents with strong men
clinging leechlike to perpendicular rocks and courageous ladies
riding bravely into a night filled with dangers. A fine rough
and tumble barroom mess, too, in which E. K. Lincoln, a fear-
less lad and a nifty scrapper, makes short work of Rojas, the
bandit, otherwise Walter Long.

But, past the beauty of its background and the spirit of its
incidents, "Desert Gold" is found to be another western with
the familiar assortment of contrasting characters enjoying an
equally familiar series of adventures. The hero is old sure-
shot Bill, an amiable youth with good teeth and a captivating
smile; his faithful friend an untutored savage with the face of
a Carlisle professor, at least. Gazing at W. Lawson Butt as
this magnificent aborigine, and trying to read into his classic
features something of the historic Yaqui character, I could
think of nothing but the story of the eastern lady tourist who,
spying an Indian squaw and her papoose on an Arizona station
platform, sought to open a friendly conversation with the polite
query — "Injun baby?" To which the squaw replied, frankly —
"Ugh! Half-Injun; half-injuneer!"

Neither does "Desert Gold" sweep along as plausibly as the
man in front is always convinced it might have been made to
sweep. However, I am not at all sure a lack of plausibility
means much to the real movie fan these days. He has been
so long fed on improbabilities that his critical senses have
been sadly dulled. And the Zane Grey pictures are never
extreme offenders. In "Desert Gold" Mr. Lincoln, agreeing
to help an old college chum out of a scrape in which a Mexican
bandit seeks possession of his (the chum's) fiancee, lets him-
self in for several open and a few closed fights with the bandits,
and a love romance with Eileen Percy, a ranchman's daughter.
He, with a little help from the cast, and the director, whips
the bandits, outwits and outfights a sneak who tries to jump the
Belding ranch and finally achieves the heroine.

"SIX BEST CELLARS"— Artcraft

INDETERMINATE endings are seldom satisfactory. Every
man expects, every woman hopes, the hero will "go through."
.\nd because Bryant Washburn balks at the big jump in his
life in "The Six Best Cellars" (which is the one best title of
(Continued on page 68)

Photoplay Mac.azinr — AdviiRtising Section

MIX

the greatest fighting man^jB J||[

him. He was Tom Mix, first of the great cow-
boy stars and a figure well remembered. He
didn't always play a cowboy, though. Here,
with Kathlyn Williams and Charles Clark,
he's in "Back to the Primitive."

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

The Shadow Stage

(Continued from page 66)
the month) some folks are going to be disappointed in this
clever Famous Players-Lasky picture.

This is a timely, a human and a consistently told story. It
relates the final departure of old John Barleycorn from an
exclusive Californian suburb. The six best cellars are owned
by the six best fellows and their six exclusive wives. At least
that is the supposition. Young Mr. Washburn knows, however,
that his particular "cellar" contains no more than the makings
for six rounds of cocktails.

First, he tries to cover his alcoholic poverty by manufac-
turing a little yeast-and-raisin stuff, even as you and I, but
this spoils on him and blows up a close-up. Then he tries to
buy a httle from the amiable Elk who lives across the way
and has barrels of it, thinking the ambition of the Lady Elk to
get into exclusive society will help him out. But the Lady Elk
gets in — without parting with more than her husband serves
to his now eager guests. Then, his gods being with him,
Bryant falls heir to several cases of a rare old vintage (worth
hundreds of dollars a case) only to find the bottles empty the
night of the party.

So his alcoholic and social fortunes ebb and iiow until,
fmally, he decides the best way out is to assume a virtue though
he likes it not and pretend to indorse prohibition. At which
crisis, and just as the prohibitionists have accepted him and
given him all their law work, and offered to run him for mayor
or something, his aunt really does find a cellar full of the rare
old stuff, and asks him to take it over.

What's he to do? Refuse the liquor — and lose money and
prestige and a future? Or, take it — 'and make friends?

He puts it up to the audience: "What would you do?"

Indeterminate conclusions, as I said, are seldom satisfying.
But, in a similar situation, what woidd you do?

Washburn is quite as immaculate as usual as the worried
hero. Wanda Hawley is his pretty wife, and the long cast
includes people of better than average competence.

"SLAVES OF PRIDE"— VITAGRAPH

VITAGRAPH has had the courage to offer in Mr. and Mrs.
G. R. Chester's "Slaves of Pride" a picture dependent
largely upon the intelligence of its actors and their acceptance
by the audience. In both plot and theme it is conventionally
ancient. In fact, it is practically a modern allegory- — with Alice
Joyce playing "Truth," Percy Marmont "Pride," and Gustav
von Seyffertitz "Deceit." They are talented players, these
three, and each has the gift of projecting with a modicum of
conscious effort, the points he or she wishes to make. You
never catch one of them out of character, nor find yourself
doubting his or her reality.

The story of these slaves is of a young Mr. Howard who
was most particular about the honor of his name and his line.
He married the heroine, first because her grasping mama
threw her at him, and, second, because his secretary and social
mentor approved of her. Once married, the new Mrs. Howard
found conditions in the home of pride rather difficult, and
after her husband had said to her. with some severity, "Mrs.
Howard, your behavior displeases me," she determined to run
away with the secretary — not with any intention of being a
bad girl, but to humiliate her too proud husband. Young Mr.
Howard followed after, and learning that the deceitful secretary
had escaped continued in pursuit of him until he (the fleeing
sec) backed into a railroad train and was squashed. Then the
husband went home and contemplated shooting himself, seeing
that his stubborn pride had made a hash of his life. But visions
of his wife, who really loved him, followed him from room to
room until she herself appeared, and all was forgiven.

The Howards were, you feel sure, considerably less proudful
after that, and much more human. Save for an occasionally
strained formality — as in the case of "Mrs. Howard, your
behavior displeases me," etc., the titles are carefully edited,
preserving both the character and flavor of the story. The pic-
tured background, taking in sections of another of those million
dollar estates, is fine. Von Seyffertitz is a suave and dignified
deceiver, Miss Joyce her usual lovely and perfectly poised
self, and Percy Marmont an excellent choice for the proud
Howard. Fine actors all. It cannot be sure of wide popu-
larity, this picture, but it is worth praising for the quality of
its editing and its production.

(Continued on page io6)

"On With the Dance" is a picture of New' York City —
crammed with color and vivid sets and real acting by a com-
pany that includes Mae Murray.

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Alice Brady has never been seen to greater disadvantage than in

"The Fear Market. " The plot, taken from a story by Amelie

Rives, presents nothing new.

"Other Men's Shoes," directed by Edgar Lewis, drips ^vith

sentimentality, but will appeal to very many, especially to the

sort of ladies who dote on ministers.

Photoplay Magazine — Advertising Section

You can buy the loveliest
the decorators have to offer

Do you like this soft gray chintz scattered with sweet old-fash-
ioned nose-gays ? Or this silk from China ? — very 'different, '
with its large vivid birds on queer boughs. And for your own
boudoir, madame, these flmy lengths of mauve and rose chiffon — "

Be sure that you choose just the fabric you like. No
material is too exquisite, none too delicate to wash the gentle
Lux way. The laundry, the cleaners' bills — these are but
silly fears of the past. You can trust to Lux any material
that water alone will not hurt.

Cretonnes, silks, satins, the merest clouds of chiffon,
come from these wonderful suds unharmed. No cake soap
to rub in. No rubbing to get the soap and dirt out. Just
pure bubbling suds that whisk the dirt away and leave the
colors clear and bright.

TSl^yer let a fine fabric really get soiled

Dirt that is allowed to stay in actually cuts the tiny
fibres. If you even suspect that striped taffeta slip cover or
those yellow silk hangings of looking less bright, slip them
into a big bowlful of the pure Lux suds. Let Lux take care
of all your beautiful draperies and find out how long they
can last. Your grocer, druggist, or department store has
Lux. Lever Bros. Co., Cambridge, Mass.

How to wash silks and
colored fabrics

Use one tablespoonful of Lux to a
gallon of water. Whisk into a rich lather
in very hot water, then add cold water
till lukewarm. Colors should be washed
quickly to prevent running. Dip the
fabric up and down in the toamy suds.
Squeeze the suds through the soiled spots
— do not rub.

Rinse in three lukewarm waters. When
possible, roll silks in a towel to dry. If
colored fabrics are hung up to dry, they
should be hung in the shade. Press
with a warm iron.

There's nothing like Lux
for fine hangings

Copyrighted ig20, try Leyer Era. Co.

Vhen you write to advertisers ulease mention PHOTOPLAY MAGAZINE.

Make Yo u r

0\vn Hats?

-«#

Here is a flower hat.
The brim is a huge
petal: the crown is of
violets: and a deep
red rose of velvet
with life-like petals
peeps over the brim.

ALMOST any little girl likes to fuss with dolls.
And one of the things that is most fun to a
make-believe mother is "making doll clothes"
— collecting scraps from some sewing-basket
with many painstaking finger-pricks, wrinkling of
brow and screwing up of nose, evolve a tiny garment,
or a hat. Hats are much more fun than dresses. One's
imagination may be let loose and allowed to soar. A
hat is such a light, frothy adjunct to a wardrobe. It
should have flower trimmings, and bows, and ribbons
galore. And it is a decided asset to any doll-baby's
sartorial ensemble.

Constance Binney used to love to sew. Doll-clothes
(Continued on page 72)

Photoplay Magazine — Advkjvusing Sf:ction

When you write to advertisers please toention PHOTOPLAY MAGAZINE.

This is a luscious hat.
There are cherries,
and apples, grapes and
other fruit. It isn t
cl o s e-f i 1 1 i n g, but
perches on the top of
the head.

Make Your Own Hats

(Concluded from page 70)

and playing in "Thirty-Nine East" in the theatre every
evening. It was between scenes — and there was Constance
tucked away in a corner, looking for all the world like the
tiny girl she used to be, not very many years ago, either,
finishing a smart little hat she had conceived and started the
day before.

"All you need,'' said Constance, "is a frame, some idea of
the kind of hat you want, a ribbon or two, and a needle
and thread. Of course you ha\e to like to do it, to be able
to do it well.

were her hobby, next to dancing. And as she
grew up she turned from clothes to hats; when-
ever her mother would buy her a new one she
would take it all apart, and retrim it to suit her-
self. When she was corripletely grown up she
hardly ever visited a hat shop. She collected
bare skeletons of hats, and trimmed them her-
self; made them bloom from bits of silk and
ribbon, and fancy flowers she had saved. Today.
Constance Binney is not only earning enough
money to send that overworked wolf away from
her door never to return — but she could walk in
a Fifth Avenue hat shop and purchase several
dozen creations without injuring her pocketbook
to any appreciable extent. But — does she spend
money on hats? She does not. She still makes
all her own. and the results are original, econom-
ical, and simply in keeping with Miss Binney's
demure personality.

She doesn't believe in freakish headgear. She
hates what she calls "musical comedy hats'" —
those, for instance, with the tall aigrettes shoot-
ing up smartly in front. Her tastes run to toques
and turbans — because, she remarks, she doesn't
have much time for fancy hats. And she never
rushes the seasons by wearing a flowery hat in
March or April. She has a hat for every day,
mood, and expression, and a set for every season.

Photoplay found out about IMiss Binney's
hat trimming talents one day in her studio. She
was, at the time, enacting the charming character
of "Little Miss By-the-Day" at the film studio

Her favorite late winter hat. She made it herself, having collected all the
materials, in about forty-five minutes, ■waiting for her scene to be called. (To
be quite truthful, it was the director who ^waited for her to answer the call.)

I'VE taken my jobs where I found 'em;
I've mobbed and I've suped in my

time;
I've had my pickin' of sweethearts.
An' four of the lot was prime.
One was a Merry-Widow,

An' one was an Ingenue,
An' one was the "mate" of some poor extra
"skate,"
An' the other?— She "acted" too.

Now I ain't no hand for the pitchers;

For, takin' 'em all along,
You never can tell till you've tried 'em.

Which maybe'll land you wrong.
There'r times when you think you are
lucky.
An' there's times when you know you
are not;
But there's things you can learn from the
wimmin an' girls.
That'll sure help you out on the "Lot."

I was a young guy at Scrunton's,

Dodgin' the girls to begin;
But Mamie de Vernon she seen me,

(An' Mamie was clever as sin)
Older than me, an' a wise one —

Sorta "promoter" she were —
But she showed me the way to get five bucks
a day.

An' I learned about pitchers from her.

School

for
Extras

By
Jane Bernoudy

(With apologies to Kipling)

Then I went over to Scoldwyn's,

Mobbin' an' stickin' around,
An' I got me a "regular" chicken.

Who didn't weigh more than a pound.
Pretty, an' cute, an' deceitful.

Regular doll-face she were.
But she knew the Big Guys, an' she sure put
me wise,

So I learned about pitchers from her.

Then somehow I drifted to Nasky's,

(Or she might have had all that I got) ;
Met up with some black-eyed "Salome,"

The wife of a guy on the Lot.
Knew all the Leads in the business,

Regular "mixer" she were.
But she gave me some "tips," an' it got me
some bits.

An' I learned about pitchers from her.

Then one day I worked in a Dance Hall,

'Long of a girl of sixteen —
She was just new in the Movies,

An' didn't "get" half what she seen.
Stage-struck an' young, was her trouble,

She didn't know what it were,
So I biffed the Star's lid, who got fresh with
the kid,

An' got canned outa pitchers for her !

I've taken my jobs where I've found 'em,

I've mobbed an' I've suped in my time,
An' for all of the good it has done me,

I wouldn't give half a thin dime.
An' the end of it's sittin' an' cussin',

Fer tryin' an actor to be —
So be warned by my lot (which I know you
will not) —

An' learn about pitchers from me.

PiioioPLAY Ma(;azine — Advehtising Section

Method of Deptoduction

SSM

iirtin

.AYfMG A BRUNSWICK RECORD^

G^/2^ Amplifier

How to judge a phonograph

Follow this way of Brunswick owners

Before you buy a phonograph, we sug-
gest hearing several. It will be to your
advantage to make tone tests for yourself.

Please do not think that this is difficult
or that it takes a musically trained ear.

In over .300,000 homes music-lovers en-

joy The Brunswick because they have
followed the above advice. Critical people
have chosen Brunswicks because they
have come to appreciate the betterments
afforded by the Brunswick INIethod of
Reproduction.

y4 Brunswick creation

We introduced the Ultona and it created a
sensation, for up to its coming no pliono-
graph could play all records properly.

The Ultona was the only all-record repro-
ducer which, at the turn of a hand, would
present to each make of record
the proper diaphragm and the
proper needle.

Tlien came as a second ad-
\ancement, the Brunswick Tone
Amplifier. After a long study of
acoustic principles of phono-
graphic reproduction we de-
parted from the old-time idea, of
a cast metal throat. We moulded
rare woods into an all-wood
projection chaml)er and thus
gave tonal vibrations that free-
dom of action which ended
harsh and strident notes.

TSlow Brunswick records

We bring now as a further
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Each Brunswick Record is interpreted by a

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We want you to judge Bruns-
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severe tests with which people
have judged Brunswick Phono-
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Remember Brunswick Rec-
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A Brunswick dealer will be
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and with others.

THE BRUNSWICK- BALKE-COLLENDER COMPANY

Bran^-h Houses in Principal Cities of UniteU
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f.encrai Offices: 62J-6iJ South Wabash Avenue, Chicago

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When you ^vrUe to advertisers pleaie nient'on PHOTOPf.AY MAGAZINE.

Photoplay Magazine — Advertising Section

Through a series of orches-
tral chambers. The Cheney
^ains complete mastery over
its tones, and gives them that
rich Quality which distin-
/^uishes the original from a
mere reproduction.

ihe^AiaStcr Touch o^ the virtuoso, searching out
rare harmonies in a score of music, has its counterpart in
the pure voice of The Cheney.

Through an original application of acoustic principles. The
Cheney has made a wonderful contribution to music.
Records awaken to new loveliness. Overtones heretofore
hidden are revealed.

The painstaking care given to the perfection of each detail in The Cheney
stamps it a masterpiece. "The LongerYou Play It,The Sweeter ItGrows."

CHENEY TALKING MACHINE COMPANY, CHICAGO

Dealers Lveryyvhere

Wlien you write to adveiltsers please mention PHOTOPLAY MAGAZINE.

MISS J. p., CHit"A(;o. — If cookint; is a
woman's work, as you say, then
it is often true that woman's work
is never done. But I don't mean
to discourage you; I'll be only too glad to
sample your cookies. I can't send you Con-
stance Talmadge's photograph, my child;
but I would advise you to wait ; you will
surely receive one from her. The Talmadge
mail, collectively and individually and every
other way, is exceedingly abundant.

he grow up and prosper. Nazimova may
send you her picture if you write her care
Metro studio, Hollywood, Cal. I haven't
her age; but like many Russian women of
the artistic type, she has no age, for art is
eternal. Best wishes to you always; please
write again.

actress and is going to make a re-appear-
ance in a new Lasky picture. I believe she
is in "The Fighting Chance" with Conrad
Nagle. There's a Wallace Reid, Jr. See
Barthelmess answer elsewhere.

Clarence F. Cook. Wilmington, Dela-
ware.— Harold Lloyd, that brisk young
comedian, is with Rathe-^olin; address him
care Rolin studios, (Los Angeles, Cal. Mil-
dred Davis is his new-leading woman; she
is a blonde, while the beautiful Bebe was a
brunette babv.

Dolores and Leslie La Delle, Jackson,
Mich. — Madge Evans hasn't left the screen ;
she is with Prizma, which company took
over her World contract on the passing of
World as a producing organization. She
appears in the natural-color pictures.
Madge is growing up fast. She was on the
stage before she went on the screen. Come
again, kidlets.

L. W., Brooklyn. — So you want to give
your fiance a surprise for his birthday.
Well, I should suggest that you tell him
your age. I have no record of a Mildred
Allen. Dick Barthelmess will probably get
around to answering your letter in time —
but maybe not in time to keep you from
transferring your affections to Harrison Ford.
Ford used to be married, which is my
gentle way of saying that he is now di-
vorced.

Sunshine of the Plains, Fairmoltnt.
— I don't want to discourage you, but I be-
lieve a little hard-hearted advice will do
you good. Why don't you try writing about
real things and human beings, rather than
mighty joys and perfectly colossal sorrows
of story-book people? Don't make all your
heroines beautiful and virtuous; don't draw
your male characters like Gibson men.
Good heavens, woman, look around you!
Robert Harron is with Griffith, Mamaroneck,
New York. He isn't married.

Mrs. Sherman J. L., Radcliffe, Iowa.
— Isn't it dreadful, the price we pay to have
laundries remove the buttons from our
shirts? There isn't any reason why I should
not give you Dorothy Dalton's personal
address ; it's the Hotel Des Artistes, New
York City, N. Y. Mabel Normand has re-
turned to Culver City, and is again making
pictures for Goldwyn. Mabel's a great girl;
we are very good friends indeed. Mary Mac-
Laren, LTniversal City, Cal. Others else-
where, please.

E. T. S., Dayton. — So this is the third
time you've tried writing. You do ex-
ceedingly well at it, I must say. And to
think, say you, that Dorothy Gish was
born in Dayton. Yes, just think of it. But
the really interesting thing about it is that
she was born in Dayton so few years ago.
Dorothy is only twenty-one. You think
Ralph Graves is a dream. Yes. but the
questions you girls ask me about him makes
it more like a nightmare. Lew Cody's first
stellar effort is "The Beloved Cheater." I
have heard that Lew has every leading
lady in films working with him in this,
but the report may be exaggerated. Cody
isn't married — right now.

M. M. St., Lincoln, Nebraska. — You
say you thought you saw a wedding ring
on Dorothy Gish's hand in a picture she
sent you and want to know if she is mar-
ried secretly? Not secretly or any other
way. She's still enjoying the blessed state
of singleness. Tom Moore played with
Alice Joyce in the old Kalem days. Write
to Goldwyn enclosing sufficient stamps for
a picture of him. Naomi Childers, Hazel
Daly, and Gloria Hope in "The Gay Lord
Quex." Tom's sister, and Owen's and
Matt's — Mary Moore — died while abroad.

Frank McG., Toledo. — I've heard from
you before, not? Meseems that handwrit-
ing has a familiar ring. I never had whis-
kers, my boy. And I will never have them,
so help me Gillette I Douglas Fairbanks
has always been an athlete, since he was a
small boy. He did not, of course, jump
over the props on the stage as he does Na-
ture's scenery in the movies, but he was a
farce comedian of a high order. "He Comes
Up Smiling," "Officer 666" and "Hawthorne
of the U. S. A." were some of his legiti-
mate entertainments. "The Lamb" and "His
Picture in the Papers" were two of his first
photoplays. I suppose he must exercise in
one way or another every day to keep in
trim. His work in itself is excellent train-
ing. I have been to Toledo; in fact, you
can tell me little about that town I don't
know.

Marion S., Brooklyn. — Many, many
congratulations. Just think what I have
missed: not having a brand-new baby boy
named after me, because I am not at lib-
erty to tell its mother, one of my favorite
correspondents, my real name ! Anyway,
the best of luck to you and the boy; may

B. B. Taft, California. — Yes'm, your
letters are very absorbing — but then so is
my blotting-paper. I always answer you,
in full and in high, do I not? Please, please
believe that Theda Bara did not succumb
to the 'flu. See her in her latest picture
and be convinced of it. She is now re-
hearsing for a stage play. Wallace Reid?
No, I don't think he is conceited. Charles
Ray's wife is a non-professional. Mrs. Wal-
lace Reid, Dorothy Davenport, was a screen

H. J. T., Great Lakes, Illinois. — Your
wish came true. Betty Compson had her
cover and story in Photoplay. Usually
we' can justly take the credit for the
first heralding of any new star. Among
our eminent "discoveries" have been Mary
Thurman and Florence Vidor. Miss Comp-
son also plays the leads in George Loane
Tucker's second production "Ladies Must
Live." As Tucker and the Famous Play-
ers-Lasky and Mayflower companies are
now involved in considerable litigation it
is doubtful when you will see this picture,
— and the fair Betty. I'm with you hop-
ing the time will be soon. Write her care
Tucker company, Los Angeles.

C. D. RocKFORD, Liverpool, N. Y. — Fran-
ces Marion usually does adaptations; but
there is no doubt she can do original things,
too. I have heard that she is at work on a
book. Her latest work is "Pollyanna;" she
made a corking scenario of the Porter book.
She and Mary Pickford are together again;
great friends in real life, their respective
talents aid and abet one another on the
screen. She is married
to Lieut. Thompson.
Most of the pictures
shown in foreign coun-
tries are American -made
productions. We lead
the world in film out-
put, both as to quantity
and quality.

Questions and Answers

(Continued)

her new serial. Ruth Roland and Pearl
White will probably get around to your let-
ter in time. Cultivate a little of my best
quality: patience.

Hilda O. W., Canton. — Modern innova-
tions have played the deuce with romantic
novels. For instance, once when an author
wrote pathetically that "she (the heroine)

M. M. M., Detroit. — Now, yours is the
kind of a letter that brightens me consider-
ably. Mary Miles Minter's new address is
the Lasky studios in Hollywood, where she
is making her new pictures for Realart. Her
sister is Margaret Shelby, who sometimes
lends her dusky beauty to Mary's films.

Mary Carr, Chicago.
— I do not look like the
free-verse Greenwich Vil-
lage nut you drew in
the upper-left-hand cor-
ner; neither do I look
like the matinee idol
with the deep-dimples in
the upper right. The
bald gentleman who
looks like a newspaper
reporter does not re-
semble me in the least.
— Because, you see, I
HAVE A CHIN. I don't
care how you libel me;
insult me if you will.
But — / have a chin, and
don't you forget it
Otherwise, you're a
mighty nice child, and I
want to hear from you
often. I don't think
you're quakerish. Mahlon
Hamilton, not Milton
Sills, in "Daddy Long-
Legs." Both gentlemen
use their own names as
far as I know.

Babe. — You are "just
dying" to drop in and
see me; and you are
"simply wild" to know
if Wallace Reid has one
or two sons. I would
absolutely pass away if
you dropped in on me,
and I am crazy to let
you know that Wallace
has one son, Bill. Real-
art Pictures' home office
is at 460 Fifth Avenue,
New York City. Wanda
Hawley is married to J.
Burton Hawley, L. A.,
automobile man ; address
her Lasky studios, Holly-
wood. Elliott Dexter
will be back soon, if he
isn't by the time you
read this.

Photoplay Magaz^ine's
Second Letter Contest

DURING the years that you
have been going to see mo-
tion pictures, you have been un-
consciously weighing them, and
sifting them, and gathering them
together in a list of what you
consider the best shadow plays you
have ever seen.

"This picture was better than a
sermon," you confess at the close
of some inspiring drama.

"I never laughed so hard in my
life as I did at that comedy. It
made me feel like a youngster
again" — or "it gave me a new
lease on life" — or "it made me for-
get all about my troubles." is your
verdict another time.

"I think this picture is the most
beautiful one I have ever seen,"
you say again.

If you analyze the "becauses"
back of your liking for these pic-
tures, you will find that there was

Cabiria

The Birth of a Nation
Stella Maris
Manhattan Madness
We Are French
Les Miserables

Perhaps you do not feel that
these are the best motion pictures
yet made. Perhaps you think that
"Judith of Bethulia," or "The
Vagabond," or "My Old Dutch"
— or still others belong in the
places of these pictures named.

something in them that lifted you
out of yourself, that took hold on
you, that brought to the surface
some sleeping impulse for good,
that gave you the feeling that you
had spent your time well.

These pictures have become a
part of you. Your memory has
written them down and has been
keeping them for you. They are
not forgotten for the reason that
they are expressions of sincere
work, they are real, they are
worth while.

Those pictures which have been
mediocre, dull, unworthy, have
faded away into oblivion. They
had nothing to give. They have
not met the test. They are gone
out.

It is so with everything in life.

How does this list of 12 pictures,
printed below, compare with the
list of 12 pictures which you con-
sider the best ?

The Miracle Man
The Cup of Life
Revelation
The Spoilers
Shoulder Arms
Blind Husbands

Photoplay Magazine wants you
to write and tell your list of
twelve best motion pictures. Pho-
toplay wants you to tell why you
think they are the best, for what
reasons they are worth while, why
they deserve to Jive.

Margaret G., Chi-
cago.— Gloria Swanson is
Mrs. Herbert K. San- — ^— — — —
born. He is president
of Equity Pictures Cor-
poration, which releases Clara Kimball
Young's films. Gloria will continue to act
as a DeMille heroine. I have never said
that Dick Barthelmess was married. Unless
your sense of humor had gone astray, you
never would have misread that paragraph.
Gloria Swanson was born in America.

For the BEST LETTER OF NOT OVER 500 WORDS on this
subject, Photoplay will pay ^25. For the second best letter it will
pay ^15. For the three next best letters, it will pay ^10 each.

All Letters must be in by April i, 1^20
The Prize Letters "will be published.

Watch for ANOTHER Announcement Next Month

Winning letters in 'Photoplay's first letter contest will be published in the June issue.

0. P., Indi.'vna. — My
dear girl, I am as moral
as an upright piano.
Ruth Roland is with her
own company, making
serials for Pathe. She
works in the west. "The
Adventures of Ruth" is
her latest. William Dun-
can is still Vitagraphing;
so, too, is Edith Johnson.
Carol Halloway is not
with them any more.

RuBiA, Argentina. —
What a very charming
name, and more charm-
ing letter. Are there any
more like you, down in
Argentina? I am not
at all sure that a blonde
with gray eyes and
freckles wouldn't mak>)
a good screen subject.
Are there many film
studios where you re-
side? If so, have your
father take you to one
of them and try to get
a test made. That's the
only way to tell. Your
small brother should
write to Bill Hart at hie
Hollywood studio.

B. M., Buffalo. — I
appreciate your asking
my advice in a matter
that means much to you.
Until I know all the
circumstances, however,
I should hesitate to ad-
vise you one way or the
other. There would
seem to be no reason
why you should not try
your wings, your vocal
wings, if you really have
talent in this direction :
but, on the other hand,
if it would cause your
family a great deal of
sorrow, it would not be
the thing to leave them
for an uncertain career
in New York. Don't be
afraid of New York; it
is hard only on those
who fear it. I really
wish you would write to
me again. Meanwhile,
don't get rusty on your
dictation. Stenography's
a handy thing to know
y' know.

Adelaine M. W. — Marie Walcamp is in
Japan right now, which should provide good
and sufficient reason why you have not
heard from her. Besides, she is Mrs. Har-
land Tucker now. He's her leading man in

would never hear those dear footsteps com-
ing down the hall any more" one would
drag out the old kerchief and cry thereinto.
Now, however, one laughs and deduces that
"he" wears rubber heels. See the ad. in
any magazine, subway, or street-car. Your
mother was right when she said you were
at the inquisitive age; but please ask your
mother for me when a girl stops being at
the inquisitive age? Corinne Griffith is
married to Webster Campbell, also a Vita-
graph player. He was with his wife in
"The Tower of Jewels."

Bill's Fans, Brook-
lyn. — Good ol d Bill
Farnum is as reliable among actors as Bull
Durham is among tobaccos — although Bill
may not fancy the abrupt comparison. So you
want his picture in the rotogravure-art sec-
tion. You shall have it as pronto as possible.
His first picture was made some years ago,
for Famous Players: "The Sign of the
Cross." He also made "The Nigger"— al-
though for another company— and others.
His latest for Fox, is "Heart Strings." See
him soon in "If I Were King." He is mar-
ried, and has an adopted daughter, Olive.
(Continued on page 122)

Photoplay Magazine — Advertising Section

HOW TO FIGHT THE LITTLE FOES WHICH
WORK TO MAR YOUR SKIN

YOUR complexion is sur-
rounded by enemies — There
is that inward enemy that shines
the face. There is the tricksy
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Be always on your guard against

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EXPOSURE to wind, sunlight
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Skin specialists say that you can
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Of course you cannot apply a
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In this way you can keep your
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YOU never can tell when that
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This cannot happen if you pow-
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You cannot expect too much of
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Tojoil wind, sun and dust, use a bit oj Ponds
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The same %reaseless Pond's yanishing Cream
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YOUR SKIN NEEDS TWO CREAMS

E.e'-y skin needs t'do creams. For daytime and evening
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Neither of these creams v,tll foster the growth of hair
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dation is essential if you are to
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To remove these, vanishing
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Before you go to bed and after
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When you go downtown, stop
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Before retiring re-

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Pond's Extract COMPANY, 138-U Hudson St.,

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ease send

me free the items checked:

Sample of Pond's Vanishing Cieain
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In
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ee samples, 1 desire the larger
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sample of Pond's Cold Cream

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When you write to advertisei^ please mention PHOTOPLAY MAGAZINI}.

Polly

of the

Storm
Country

Granny had taught Polly to read from an old worn Bible.

Granny Hope liad said,
"Love is stronger'n hate."
And so it proved to be.

By
NAN ON BELOIS

SHE was "Pollyop" to the rough, weatherbeaten, always
hungry squatters who had invited themselves to a bit
of worthless, rocky land on the west shore of Lake
Cayuga, along the Lehigh Valley Railroad tracks, at
Ithaca, New York. Her real name was Polly. She was the
daughter of Jerry Hopkins. Every one in Ithaca was familiar
with Jerry's burly form, topped by a shaggy head, and with the
figure of wee Jerry, the Httle motherless son, who sat perched
upon his father's shoulders in all sorts of weather, legs twined
about the corded neck. Jerry Hopkins was known as the mayor
of "The Silent City," as Ithaca complainingly spoke of the
drab assemblage of tin patched huts along the tracks. And
Pollyop — Poilyop was everything good and generous that
could be found in the hearts of all the inhabitants of the Silent
City gathered in one slender, vibrant body. She was the cher-
ished of all her ignorant, hard working people, who gathered
their food by fishing or hunting — or as they could. And they
thought of her, racing about with curls flying back over her
shoulders in fair weather or rain or snow, blue eyes alight
with eager love and helpfulness, as a sort of angel.

She was the friend of every unhappy creature. And that
is how it came that Granny Hope was occupying the little niche
in the corner of the Hopkins shack. Polly had found the old
woman sick in her lone cabin, and had led her home — just as
she had led the goat which she had found strayed and lost
back in the Storm Country. Granny's appetite was not large,
fortunately for Daddy Hopkins, who had a hard time finding
fi.^h and beans enough for his family of three. And she had
brought sun.shine with her and love — and she had taught Polly
to read from her old worn Bible. Then she had helped Polly
make a sign to put over the door: "If your heart is loving and
kind, come right in; if it ain't, scoot."

And today it had come spring. And with spring had come a
thaw and a rain which pelted the roof of the unpainted cabin
under its huge budding willow with great drops, that found
their way in steady streams inside where Pollyop tried to keep
everything clean and warm and cozy for her loved ones.

Pollyop sang and patted Granny Hope as she went about
setting out pans to catch the drip. Then she dashed out into
the rain, and was soon at work stopping up the leaks in the roof

with pieces of straightened out tin. But her tin-smithing was
soon interrupted by the sound of horses' hoofs and men's voices.
She flattened herself on the slippery shingles, and worked her
way to where she could see the road, while she was yet pro-
tected by the tree. PoUyop's body stiffened as she recognized
in one of the horsemen the thick set person of Marcus McKen-
zie. "Old McKenzie," as the squatters called him though he
was not old, was the owner of the land on which they had
built the Silent City. He had been gone away from Ithaca for
some time and the inhabitants of the Silent City had been
free to come and go as they wished, without persecutions.
Pollyop's eyes flashed as she thought of Larry Bishop, whom
McKenzie had "framed" and sent to Auburn prison just at the
time his wife Mary needed him most — and how both she and
the little one had died without his love and care. Her heart
contracted in fear — 'the fear of the hunted — as she saw him
again.

Then, as the men drew nearer, she heard distinctly the voice
of McKenzie's companion. It was young and kindly in tone,
and the girl craned her neck in surprise to see its owner.
Pollv's heart gave a queer Httle leap as she saw that the sec-
ond horseman was young and good to look upon. He was
slender and tall and tanned by outdoor Hfe. There was gen-
tleness and human kindness written on his clear cut features.

"But you wouldn't turn a lot of folks out of their homes,
Marc. Where would they go if you did? Have you tried buy-
ing them out?" he was saying.

"No, and I doji't intend to. I'll force them out. Bob," Mc-
Kenzie answered. He wheeled his horse about and pointed to
the Hopkins shanty. "One of the worst of them lives there,"
he said. "His name is Jeremiah Hopkins and he's a sort of
mayor to the outfit. He has a worthless, filthy girl and a little
boy, and they've taken in an old hag named Hope. They live
like pigs" — disgustedly.

"Poor things," said the young man named Bob symoatheti-
cally. Then, "Look, Marc, at that sign over the door, 'If your
heart is loving and kind, come right in; if it ain't, scoot.'
That's beautiful. There must be some one worth while living
there. I'd like to help them if I could."

The two men rode off. To little Polly it was as if the skies

The Golden Transparency of
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Pure as gold, transparent as
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FOR SEVENTY NINE
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^Uhe Leather of distinction

HE admires the smooth fit and graceful lines which Vode Kid
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Polly of the Storm Country

(Continued from page 78)

i-iarry Jaishop had been sent to prison just w hen his %vife jviiry
most — before she and the little one had died.

had opened to drop an angel down into the heart of the Silent
City. Never in her life had she heard any one of Marc Mc-
Kenzie's class say anything kind about her people. And this
young man had wanted to help them! "He's an angel.'" Polly
repeated to herself as she climbed down from the roof. Yet the
fear of Marcus McKenzie sent her dashing off up to Hog Hol-
low to warn Daddy Hopkins and Larry Bishop that their enemy
was home.

As Polly jumped from rock to rock along the ragged shore,
she heard a familiar voice calling her. It was Evelyn Robert-
son, an elegant young woman of more than Pollyop's age,
who lived in a large house near that of Mr. McKenzie back
from the lake. Pollyop ran back to meet her.

"Oh, Polly," gasped Evelyn, "Mr. McKenzie has come home
and my cousin Bob has come with him" — so the beautiful
angel who was going to help the squatters was Evelyn's cousin
— "and, oh dear, I'm in such trouble again.

Polly was used to th's. For two years Evelyn had been in
constant trouble, and because of her own folly. Two years
before in a moment of weakness for Oscar Bennett, a rough
yet rather handsome farmer who owned the rich land adjoining
the Robertson estate, she had married him in secret. It was
only by paying him money whenever he demanded that she
had succeeded in keeping him from announcing to the world
that she was his wife. Polly had been their go-between.

"Listen, Polly," said Evelyn nerx'ously, "I want you to go

to Oscar for me today. Tell him he
rnustn't write to me any more — and tell
him I just can't get any more money.
Oh dear, what shall I do?"

Evelyn was almost in tears. Polly
looked sympathetically into her weak,
.selfish face, but she had no suggestion
to offer. Love and marriage among the
squatters lasted for life. She did not
understand this way of doing things.
"No one must ever know about Oscar
and me, Polly, because — because — "
Even Evelyn blushed to say it to Polly-
op, "■ — I'm in love with a rich man and
he loves me. My cousin Bob owns the
house we live in. Mother and I haven't
a cent. I must marry a rich man."

"But you can't be takin' another man
when you got one," said Polly in ;i
shocked tone.

"That's what I want you to tell Os-
car about," the rich girl said. "Here
is some candy I've brought for wee
Jerry. Now you'll do just as I say,
won't you, Pollyop?" Evelyn alwav'^
brought something nice for little Jerry
when she wanted Polly to do something
for her.

"Sure," Pollyop assented willingly,
"now scoot." With a toss of her head,
she ran on her way to Hog Hollow and
to Daddy Hopkins.

Oscar Bennett was in the milking shed
when Pollyop arrived with Evelyn's
message, late that afternoon. A flicker-
ing lantern lit the inky interior, though
it was still not quite dark outside, and
threw fantastic shadows everywhere.
Polly, slipping quietly in, shivered, and
wished that she were home within the
protective arms of Daddy Hopkins. She
carried a milk pail on her arm — know-
ing that Oscar would give her some if
she asked for it in return for what she
brought. This time she wheedled from
him two warm white eggs as well. Then
they came to the point.

"Your lady said you wasn't to write
her any more," Polly said.

"What did she say about the money?"
Oscar glowered.

"She said she just can't get another
cent — and she's feeling awful bad."
Oscar swore. "Tell her it's either come
home with me, or she pays up, see?" he spit out viciously.
Polly knew he meant it. "An' tell her," he continued, "to meet
me tonight at nine at Granny Hope's old shack. We'll settle
this."

Polly rushed from the barn out into the clean spring night,
glad to be gone.

Larry Bishop was there when Pollyop arrived at home.
He and Daddy Hopkins sat with long, serious faces before the
fire. Pollyop invited Larry to partake of supper with them.
After the dishes were cleared away, her father turned toward
her grimly.

"We're tryin' to figger out a way to git rid 0' old Marc,''
he began.

"Oh, daddy," Pollyop breathed, slipping her hand into his,
"you ain't planning to gun him. Don't, daddy."

There was something in the faces of the two men which
told her that she would have to have supernatural aid to
point them away from what they were determined to do.
Marcus McKenz'e had been unscrupulous with them. There
was no way under the law that he could force them from their
homes unless they went of their own free will. His cruelty
had known no bounds. According to the laws of nature there
was no reason why they should not strike back. But Granny
Hope had said "love is stronger'n hate." And Polly believed
that Granny Hope was right.

"Somethin' beautiful is going to happen to us squatters,"

iiceuca nini ctie

Photoplay Magazine

Polly went on with a mysierious air. "I heard about it today.
It's a angel. After a while you can hunt an ftsh an be happy
just as if there weren't any old McKenzie — when he gets to
workin'."

"What's eatin' ye, brat?"' grunted Jerry, interested in spite
of himself, though he took no stock in angels.

PoUyop told them of Evelyn Robertsons cousin and what
he had said that morning as he rode through the Silent City
with old Marc. Perhaps his words would not have meant
much to an older and less optimistic person, but Polly believed
them utterly and she wove them into a shining promise which
she held before the eyes of her menfolks.

"He's richer'n old Marc, Polly," said Jerry visibly influenced,
but still not entirely convmced by her oratory. "It's just that
we don't happen to be a settin' on his ground that he ain't
wantin' us off."

But Pollyop would none of his doubts. She picked up
Granny Hope's tattered Bible. "I know he'll help us," she
said, "an' you both got to promise me now, right on Granny
Hope's good book, and kiss it, and swear to God that you
won't hurt old Marc."

Pollyop was used to being obeyed— and the two grizzly men
who adored her were used to obeying. So they did as she said
— even though it was no mean thing to do. For when a
squatter swore an oath, he kept it.

When Pollyop whispered to Evelyn, out in the Robertson
arbor a little 'later, that Oscar demanded to see her that night
at nine at Granny Hope's deserted shack, the r.ch girl shud-
dered, and grew pale, then whined that she was afraid to meet
him all alone.

"Pollyop, you must meet me there too, she whimpered.
"I'll do something for you some day."

"All right.'' answered Pollyop.

And as Polly Hopkins raced back through the dark to Daddy
Hopkins, Evelyn Robertson listened apathetically to Marc
McKenzie's threats to wipe out the Silent City, to send its
men to jail, and its children to orphanages.

Pollyop, escaping from her father's cabin a few minutes
before nine, was the first to reach Granny Hope's old cabin
.set by its lone in the rocks. She went in and
lighted a candle in the kitchen and sat down
to ponder on this strange affair. Pretty soon
she heard crunchings on the gravel, and the
evil Oscar leered inside.

"I come to see that she got home safe."
said Polly swiftly in answer to Oscar's frown.
"She'll be here soon.

"I'm thinkin'. Oscar,'" went on Pollyop. as
gently as she could, "that she isn't loving you
any more."

Oscar looked at the floor sullenly for a
moment, then at Polly. "I bin a fool. Poll.
Fd a done better by marryin' you. Maybe
some day when I get Evelyn's cash — "

Oscar ' left his sentence unfinished for
Pollyop's eyes flashed scorn at him. "Don't
you be talkin' about love to me." she said.

Oscar looked at her amazed. Then he rose
suddenly and made a step towards her. Here
was something to his liking, "By God, you're
a pretty brat," he broke forth. "I'm going to
kiss you.'' But he didn't, for just then Evelyn
entered the door, and Polly went quickly to
her side.

Oscar's rage, at finding out that Evelyn
really had no money, was terrible to behold.
Polly feared that the man's violence of pas-
sion would destroy them all.

"You want to be free?'' repeated Oscar
•with scornful lips. "Some other guy. I sup-
pose. Well, it's easy enough — all you got to
do is make it worth while."

"But I haven't any money — I can't live
with you — I loathe you— I must be free,"
Evelyn said distractedly. The brute lifted
his powerful fist to strike her. and he would
have done so if Polly had not adroitly
crowded in between them. It did not occur
:o her that Oscar would strike her — he had no
right, since she was not his wife.

But Oscar w^as seized with an overwhelming "You're bi

desire to crush, to beat the slender girl who defied him. Here
was some one worth taming, some one worth loving and being
loved by! He raised his hairy fist and brought it down. Polly
reeled backward and lay still.

"Both of ye keep mum about this, see?'' Oscar said sharply,
thinking of the terrible vengeance the squatters would have
if his blow should prove fatal to Pollyop. "I'm off."' He ran
from the door.

"Polly, what can I do for you to even up things?"" murmured
a conscience stricken Evel)-n as she left Polly, limp and suffer-
ing, at her door.

"Scoot home,"' said Polly simply. "I am goin" in."

Two days later spring smiled down from imclouded tur-
quoise skies on peaceful lake and verdant shores. And in the
Silent City the squatters' wives took advantage of the day
to air their blankets on the lines.

Daddy Hopkins had to go to Ithaca. So Pollyop took wee
Jerry and Billy the goat, and Nannyop, the lamb, tethered to
her wrist, for a walk. As she walked with her loved ones on
the road, she suddenly halted and slipped wee Jerry from her
shoulder. There on the fence was the picture of a woman
with great sad eyes which looked appealingly straight into
Pollyop's. In her arms she held the form of a sick man, and
Polly knew instinctively that she was protecting him from
some enemy who had hurt him — ^perhaps as old Marc wished
to hurt the squatters.

A sound roused her, and .she turned to find the "beautiful
angel" Evelyn Robertson's cousin Robert Perceval jumpaig
from his horse and coming towards her. He looked at the
picture, then on to Polly. Then he read the words beneath
the picture. "The Greatest Mother in the World."

"Does that mean that she was a mother to the squatter boys
who were hurt in the war?" she asked. The question was
too serious to invite levity.

"She is the mother to everv' hurt person in the world," Bob
Perceval replied.

"She's some mother,'" said Pollyop soberly.
(Continued on page 8j)

gger than old Marc — make him leave us alone ! "" she said suddenly.

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Robert looked closely at this strange girl
with her tawny curls, her wide blue eyes, her
strange assortment of companions, and sud-
den interest sprang up within him.

"Who are you?" he asked.

"I'm Polly Hopkins— Pollyop they call
me," she answered. "My dad's the mayor
of this settlement."

The name brought memories to the young
man of his ride with Marcus McKenzie
through the Silent City, and of the invita-
tion over the door of the Hopkins' hut.
He had thought this girl with her straight
young shoulders would be disgusting and
worthless from Marc's description. But he
found her freshness enchanting. He plied
her with questions and was rewarded with
the story of Pollyop's life, her hope, her
loves and her fears.

"You're bigger'n old Marc — make him
leave us alone," she said suddenly. Per-
ceval caught a flash from the girl's eyes
and a strange new emotion gripped him.

"No," he laughed, "Marc is my friend,
but I will help you."

Perceval laughed again, then pointed to
the poster on the fence. "She is the great-
est mother in the world," then he turned
to Polly, "and you are, I think, the littlest
mother in the world."

Something in this scene touched h.'s heart.
Perhaps it was the fact that he had been on
the battlefields of France and knew the
fatliomless love of the greatest mother in the
world.

"Just help all the poor folks of the Silent
City," she pleaded, "and I will love you for-
ever."

A few days later old Marcus McKenzie
called at the Hopkins' cottage, and offered,
in a meeting at which all the Silent City men
were present, to give each man twenty-five
dollars to sign over his squatter's rights
:ind get out. He offered them money, he
explained, because Robert Perceval had in-
sisted upon it. They could take it — or
go to hellt And when Pollyop told him
they refused, he whipped out his gun, leveled
it at the cowed men, while he struck her
twice with his riding whip.

Pollyop comforted her distressed people
by telling them that Mr. Perceval would
save their homes and restore their happiness.
They put so much faith in her words,
that they decided to draw lots that very
night to choose some one to go to their
new friend and lay their woes before him.

The lots were drawn — and that evening
as Bob Perceval sat alone in the library,
he was surprised by a tap on the window.

"Mr. McKenzie was over today, and he
is going to turn us out," Pollyop said
huskily pushing the window open and step-
ping in. "There isn't another place in the
world for squatters but Ithaca. We can't
go, I was telling them of you, an' I got
the lot to come to see you."

"I've said everything I could to Marc,"
said Perceval unhappily. "I — "

Just at this moment there were steps
outside the library door, and Polly felt
herself pushed by a strong hand behind the
heavy curtains covering the bookshelves.

"Evelyn sent me for a book," said Marc
McKenzie apologetically.

Bob rose and preceded McKenzie to the
bookshelves, and then shoved aside the cur-
tains still concealing Polly Hopkins, and
stood beside them.

McKenzie found the book. Bob dropped
the curtains, leaving, as he did so, two
gentle taps on Polly's shoulder.

"I'll bet you I'll have every squatter off
that shore in three months," said Marc,
dropping into a chair. "I've only to catch
Hopkins and after I do that it won't be
twenty-four hours till I've got him in Au-
burn. I've got twenty-five men on his
trail now. Hopkins is a bad actor — and
that girl of his is a saucy baggage."

Polly of the Storm Country

(Continued from page 82)

"I think she is a very good girl," said
Robert feelingly, "and a very pretty one."

"Pretty enough, I suppose — but bad clean
through like the rest,"' Marc declared as he
sauntered back to Evelyn.

"Come here." Bob called tenderly to the
miserable little person behind the curtains.
Hf held out his hands, and Polly, knowinir
that here was a friend, bent forward and
covered them with kisses. She swayed to-
wards him ever so slightly. Bob's arms
went about her waist and he drew her tired
head to his breast.

"Poor little Polly," he murmered. Then
that overwhelming emotion which had ever
taken him each time he had seen Pollyop
welled up in his heart. He kissed her hair
' and Pollyop looking up and seeing some-
thing in his face she did not understand,
rushed through the window.

"I'll marry you," Evelyn Robertson was

Polly of the Storm Country

NARRATED by permission from the
photoplay, produced by First Na-
tional from the story by Grace Miller
White, and presented with the follow-
ing cast:

Polly Hopkins . .WMre A Harris Chaplin

Robert Perceval Emory Johnson

Evelyn Robertson. .. .Ch?ir\oiie Burton

Marcus McKenzie Harry Northrup

Jeremiah Hopkins. . .Ma.uricc Vanentin
Granny Hope Ruby Lafayette

saying to Marcs pleadings in the other
room, "when you buy the Bennett farm."

"And get rid of the squatters, so our
land can be beautiful way down to the
lake.'" added Marcus.

* * *

Though Oscar Bennett was willing to sell
his farm to Marcus McKenzie — he refused
unless Polly Hopkins would consent to
marr}^ him. Evelyn Robertson broke the
news to Pollyop. prefaced with an appeal
to the girl's great ambition to help her peo-
ple. Think what she could do for her peo-
ple with the money Oscar would make from
the sale ! Polly's marriage with Oscar
would free Evelyn to marry Marc McKen-
zie. She herself, Evelyn, would then see to
it that Marc let up on the squatter question
after they were married.

"But I couldn't marry Oscar," Pollyop
kept repeating. The face of Robert Perce-
val, for some unknown reason, swam be-
fore her eyes.

"But you'll think about it, won't you?"
asked Evelyn determinedly as she went.
"I'll bring him to see you."

Polly ran down to the creek, which was
her favorite place, to think over her prob-
lem. A? she flung herself on the rocks, she
heard her name. Close behind her was Rob-
ert Perceval. He had followed her from the
road. In his hand he had a copy of the
poster on the fence which had brought them
together for her to hang on the walls of her
home.

"You ran away so hurriedly the other
night that I did not have a chance to tell
you that I would really do something to help
your townspeople." said Robert, placing his
strong hands on her glistening curls. The
same look which PoUy had run away from
the other evening, now shone again in his
eyes.

"I have come to love you, little Pollyop,"
he whispered softly. "Look at me." She
flashed a look at him of believing beauty,
and he caught her to him sharply. "You are
my little dear one," he said tenderly. He
kissed her again — this time on the rosy
mouth.

As they walked back to the little shanty,

Robert told his. loved one of his plans for
her and hers — how he hoped to take them
all far away, Pollyop and Daddy Hopkins
and wee Jerry and Granny Hope — how he
would help Pollyop with her reading, while
she helrx-d to teach him what she had
learned about love and kindness, how they
would travel, what pretty things she should
have to set off her lovely hair and eyes.

"I can't marry Oscar, even to help out
Evelyn," Pollyop kept saying to herself as
she watched Bob stride away. "I'm going
to help the squatters some other way."
* * *

But there were dark days ahead for
Pollyop Hopkins, the lover of sunshine.
First of all. Daddy Hopkins was taken by
the strong arm of Marc McKenzie's law. He
had shot a bird. One of McKenzie's hire-
lings "planted" him with a rabbit, and in
spite of the tears of Pollyop and the shrieks
of wee Jerry he was whisked away to the
Ithaca prison, and from there to Auburn.
McKenzie was so strong politically that Rob-
ert Perceval could do nothing to save him.

Next Granny Hope found peace and rest,
and left Polly and wee Jerry mourning for
her love.

Then Robert Perceval's faith in her was
stolen from her.

Evelyn Robertson took Oscar Bennett to
see Pollyop in the storm which shook the
world on the night after Daddy Hopkins had
been sent to Auburn. Polly sat thinking of
Daddy Hopkins and how she needed him,
when there came a cry of terror in the night,
and Evelyn burst in the door.

"I was bringing Oscar here to see you,'
she panted. "Something's hit him in the
road — he's out there dead." She seized
Polly's hand and pulled her to the spot
where Oscar lay and together they dragged
him into the house and put him in Polly's
bed.

Polly started out for a doctor. When
she got outside she heard the sound of
horses' hoofs, and gave the shrill, piercing
squatter's call. Robert Perceval answered
her.

"I got some one sick in the house," Pollyop
said simply. In her trusting nature was no
knowledge of the deceit and subterfuge of
the more experienced worldly woman.

"Eve dear, you're not sick," Bob said anx-
iously, on seeing his cousin.

"No,"' she answered nervously, "there's a
little boy here and I came to bring him a
box of candy, and this man," — pointing to
Oswald — "was sick, and I told this girl she
ought to get a doctor."

"It's Bennett," .said Bob approaching the
bed. "What's he doing here?"

"He's in love with Polly Hopkins, and it's
really none of our business," said Evelyn
with great self possession. "Every squatter
woman has a man."

Bob's face went white, and he swept his
hands over his face as if to brush some-
thing terrible away. But he had no reason
that he knew of to doubt his cousin's words.
Pollyop said nothing to deny them. She
was too stunned to speak. So he took Eve-
lyn from the house with hard, unforgiving
face, then went on for the doctor. But there
was nothing that could be done for Oscar
Bennett. In the tin patched house of
Daddy Hopkins his evil life went out. And
before summer had shone her heart to the
world, Oscar Bennett's farm was in the pos-
session of Marc McKenzie, and the wed-
ding day had been set for Evelyn Robert-
son's marriage.

Evelyn, in the midst of her happiness, had
only one fear. That was that Pollyop would
some day tell the truth about her. So she
went down to the shabby Hopkins shanty
one day to see if there was not something
she could do for Pollyop.

"I promised not to tell — and I won't,"
Pollyop said sadly.

(Continued on page 114)

\Plqys and T^cayers

Real news and interesting comment about
motion pictures and motion picture people.

MISGUIDED producers thought that
by starring the director instead of
the actor they were letting them-
selves out of a lot of worry. In-
stead, some of them seem to have let them-
selves in for a lot of litigation. The Fa-
mous Players-Lasky and Mayflower com-
panies are among the sadder-but- wiser:
George Loane Tucker, maker of "The Mir-
acle Man," in January filed a suit alleging
violation of contract. Various were his
complaints. That these companies have not
used him justly is the tenor of the suit.
His name, says Mr. Tucker, did not, as
agreed, appear in the some size as the pro-
duction type and three times as large as the
name of Mayflower. He also states that
the unfinished negative of the second Tucker
production, "Ladies Must Live," was un-
lawfully seized by Mayflower. You see
Tucker agreed in an unguarded moment to
make a series of six pictures. He was given
carle blanche to make the "Miracle Man"
the great picture it is, and without that

By Cal York

backing which the Zukor organizations af-
ford it is doubtful if he ever would have
attained his present vogue.

WHEN "Doug" was little, he was a
short, stocky lad. His small stature
worried him a great deal, because his one
aim and ambition was to be an actor, a se-
rious actor, if you please ; and a fellow
can't do a Booth or an Irving when he's
undersized. So young Fairbanks, as he
grew in years but not in stature, used to
try every conceivable trick to add an inch
to his height. He would practice his exer-
cises by the hour; he even put weights on
his feet. His athletic career really began
at this time, for he went in for every sport
and kept right at it. A neighbor tells how
he used to spend the rest of his time on the
back porch, imitating the delivery boys.

FLORENCE VIDOR is much more inter-
ested in being Mrs. King Vidor, her hus-
band's wife and her daughter Suzanne's de-

voted mother, than in the film career she
has ahead of her. Florence had no more
started on the glory road, beginning when
Photoplay Magazine helped discover her in
"A Tale of Two Cities," to her fine part in
"Old Wives for New," with DeMille — than
she retired to become the mother of smiU
Suzanne. Now that her husband is an in-
dependent producer and Suzanne older he
wants her to come back. So in "The Family
Honor" Florence Vidor will appear in the
leading, but not the stellar part. There are
no poster "stars" in Vidor's productions.

LET there be national rejoicing in all
female boarding and day-schools. Jack
Holt, who as a villain has made more friends
for himself than most heroic actors, will
play leads at last. He has just signed a
long-term contract with Famous Players-
Lasky. His first work will be in "Held by
the Enemy." Holt has come up to the front
from the ranks; he used to do bits.
(Continued on page 88)

Idea being we want to inaugu-
rate a contest forthe best caption,
in fifty w^ords, of tbe dialogue
between tbe movie star and the
home-run baseball expert. Here
—at the left — is Wallace Reid.
one of the film's most efficient
matinee idols, and at the right,
"Babe" Ruth, the home-run
hitter of baseball, the slugger
w^ho set a ncNv record for
runs last season.

■^^■r-

PHOTOPLAY offers to its
readers a first prize of $23.00
and a second prize of $10.00
for the best fifty-word caption,
describing the dialogue which
occurred when the celluloid star
met the star of the diamond.
Sharpen your pencils and fill
your fountain pens now. for
all ans-wers must reach Cal
York, care this Magazine, by
April Isf, 1920.

Photoplay Magazine — Advertising Section

■■

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UP.WYOP.K

Mavis Perfume, Toilet
Water, Sachet, Soap —
all the Mavis preparations
— with their wonderfully
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combine to make you, truly

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Send /5c to I itaudou. 1 ime< Bidg.,
N. Y., for a generous sample of Mavis
perfume — or better still, ask for any
one of the delightful Mavis prepa-'ci-
tions at any toilet goods counter.

vtfy. fi^ fl^raWTc?

.^looco ™or,Hnn PTTOTOPTjAT MAGAZINB.

Photoplay Magazine — Advertising Section

Plays and Players

(Continued from page 86)

Wanda Hawley

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Rockford, 111.

PRESS-AGENTS have learned one se-
rious lesson from the D. W. Griffith
trip. The alarums in the press over the
temporary disappearance of the Griffith
party were justified, for it was a bona-fide
experience, not a cooked-up publicity scheme.
If there had been the slightest move on the
part of any press purveyors to use a similar
disappearance stunt on any of their stars
or directors, they would have been kidded
to death. So when Marshall Neilan and
his company went up to Bear Valley in the
San Bernardino mountains, and it snowed,
and snowed, until it snowecl Marshall's com-
pany in, in a one-room shack near Bluff
Lake, and they built a fire and cut a hole
in the roof to let the smoke out, and they
didn't have a bite to eat and stayed up all
night listening to Mickey and Lewis Stone
telling stories; and it kept on snowing, and
finally Matt Moore went back alone over
the mountains and walked for fifteen hours
through the snow, to get help; and brought
back guides and food — when all this hap-
pened, they couldn't use the story!

ABOUT two weeks after the story of
David Wark's disappearance, cables
came all the way to New York from Sicily
telling about Herbert Brenon's disappearance
on Mt. Aetna. It seems he was up there
making pictures with an Italian company
and wantdered away from the party at lunch
time. Set upon by brigands he was held
for ransom until the beastly fellows dis-
covered he was an American citizen with
his Government backing the search for him.
He turned up safe and sound. Oh dear!

WITH so many brand-new "Lincolns"
appearing overnight on stage and
screen, Ralph Ince decided to get out his
Emancipator make-up and let them see how

he played the part in one of the first im-
personations photographed by the camera
for Vitagraph, years ago. He will take the
role of Abraham Lincoln in one of his own
pictures.

IT was a great party that a group of
motion picture and theatrical celebri-
ties pulled at the Ritz-Carlton, one of the
most exclusive of Manhattan hostelries.
after a Sunday meeting of the Sixty Club.
A famous little comedienne, coming east
from California picture-making for a hoU-
day, was there, with one of the officials of
her company; a former Follies and present
film queen, known for her charm, her beau-
ty, and her abOity for livening up any little
gathering, was one of the party, escorted
by a Britisher high up in military circles;
one of the blondest of New York's blond
beauties, with her reported fiance, a theat-
rical magnate — they all started at the club,
and wound up in the middle of the dance-
floor where the little comedienne had sug-
gested they start a merry game of ring-
around-the-rosy. The Britisher, when he
managed to extricate himself, was heard to
mumble something about "those bally Cine-
mese," but the game went right on until
it included everyone in the hotel and all
along the way to the respective homes and
hotels of the merry-makers. Now the little
comedienne is working hard in the west;
the film queen is completing her umptieth
picture for the Utopia Company, and — well,
anyway, to quote the blonde, who'll say that
they should not have their little fun occa-
sionally ?

A "LICE BSADY has signed a three-year
contrat' wiH^ the Zukor organization.
This means she will continue to make pic-
tures for Realart, which is merely an arm of
the giant Paramount-Artcraft octopus.

Wlio would ever think that Marguerite Clark and her devoted husband, H. Palmerson

Williams, would ever let anything come between them? But it's only the Williams

family dog, and this picture of the three -was snapped while Marguerite was vacationing

in her husband's home in Nc'w Orleans.

Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

Photoplay Magazine — Advehtising Section

Become an Artist

Our wonderful NEW METHOD of teaching art by mail has exploded the theory
that "talent" was necessary for success in art. Just as you have been taught
to read and write, you can be taught to draw. We start you with straight lines
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order, until you are making drawings that sell for $100 to $500. No drudgery
— you thoroughly enjoy this method. It's just like playing a fascinating game!

Crying Demand for Trained Artists

Never before has there been such an urgent need of
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advertising agencies — business concerns — department
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Take any magazine — look at the hundreds of
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millions of pictures they require. Do you won-
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of the lack of competent commercial artists.

The Ideal Profession

Get into this fascinating business NOW !
Enjoy the freedom of an artist's life. Let
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you ! Read what Frank Godwin, well known
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Free Book and Artist's Outfit

Mail coupon noiv for this valuable book,
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Every drawing you make while taking the course receives
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Mr. Chandlee has had over 35 years' experience in com-
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inside and out. He teaches you to make the kind of pic-
tures that sell. Many of our students have received as
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paid to a good beginner !

1 124 H. Street, N. W. WASHINGTON, D. C.

I THE WASHINGTON SCHOOL OF ART, Inc. I

. 1124 H Street, N. W., Washinston. D. C. |

I Please send me, without cost or obligation on my part, your
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When you write to advertisers please ment on PHOTOPlt^Y MAGAZINE.

Photoplay Magazine — Advertising section

How to Find

the Cream

You Need

Stand in a good light —
examine your face care-
fully in a mirror, and
then —

Study this Chart

Acne Cream — for pimples
and blackheads.
Astringent Cream — for oily

skins and shiny noses.

Combination Cream — for

dry and sallow skins.
Foundation Cream — for
use before face powder.
Lettuce Cream — for cleans-
ing in place of soap and
water.

Motor Cream— for skin
protection, before exposure.
Tissue Cream — for wrinkles
and crows' feet. ?

Whitening Cream— fofi-^
freckles and bleaching.

You do not experiment
whenyou use Marinello
Creams. Their value has
been established by use in
more than 4000 Beauty Shops
and employment by millions -
of women.

The advice of Marinello Ex-
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Eastern Office :

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Marinello Toilet Prepara-
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Plays and Players

(Continued jrom page 88)

Here's Harold Lloyd minus Kis specs-without-glass, and plus tis partner in fun, H. M.
Walker, neNvspaper man -who writes all those Lloyd sub-titles. Once ^Valker was up
against it for a funny caption. Harold was being "fired", in a scene. He w^as thrown
out; his coat, dog and dinner-pail ■were thro'wn out after him. Here Lloyd raises his
hand and speaks. The title man tried for tw^o days and nights to find suitable words
to suit the action. None came. He began to think of the six best ■ways to commit
suicide ■when a thought arrived. When Lloyd raised his hand to talk back to his irate
ex-employer this title ■was flashed on the screen, " 1 quit. It made "em laugh, \Valker
decided to live a little longer, and — he's still ■writing more titles like that.

DID you know that the South .Americans
have their Pathe Weeklies and their
Kinograms? Sure; things happen down
there, too. The moving picture concerns
of those big little countries send their cam-
eramen scouting over the continent to find
news stuff, even as Tracy Matthewson and
the Pathe people.

THE month's puzzle: Why did Universal
change the title of 'The Primrose Path"'
to "Burnt Wings?"

SPEAKING of engagements and rumored
engagements, which we were not, is
there anything in the report that the leading
farceuse of the screen, blonde younger sister
of one of our foremost emotional stars, has
decided to shed her radiance, in private life,
on a fortunate popular composer of typi-
cally .American songs? She says not; and
she has been the subject of so many false
reports anent matrimony that one can al-
most believe her, particularly "when she
looks at you with those big brown eyes of
hers. Once it was her leading man ; again,

and more recently, the leading man of her
best friend, another screen comedienne. She
remained single. But this time: there she
is, with a handsome ring, on the appropriate
finger; a perfectly willing mother, and a
seeming willingness to go to every new play
or opera or roof entertainment with the
equally willing young man. He gave her a
sapphire and diamond bracelet for Christ-
mas.

OF course you can get rid of your old
clothes by selling them to the old
clothes man, or handing them down to little
sister. Geraldine Farrar has her own way.
She holds sales twice a year and all those
gorgeous gowns which you see in her pic-
tures, or which she uses in concert or in
private life are sold at a very moderate
figure. It is said that Miss Farrar rarely
wears her gowns more than two or three
times, and that when she goes out on con-
cert tour she takes a regular case, like they
use in a store, to carry them in. On one
trip she was accompanied by 75 gowns.

(Continued on page gz)

When you write to advertisers please mention PHOTOPLAT MAGaZIXE.

Photoplay xVIagazine— AftvEirnsiNG Section

IVe Took in $59790
In One Month

That's the statement of a drug store in Cleveland. We quote from their letter to us.

'"We were very much surprised at the amount of business our Butter-Kist

Machine did from the very outset And business has steadily increased.

In one month we did a business of $597.00." (Written to us by drug store located
in Cleveland, Ohio. Name gladly g^ven on request.)

WOOio^S^tZO^f^

The Butter-Kist Pop Corn and Peanut Machine brings new profits
and new trade to stores and theatres

We keep records on what storekeepers
and theatre owners are making with the
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net profits is from $600 to $3,120 a year.
This means an extra $600 to $3,120 in clear
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But that is not all you can count on
making with the Butter-Kist Machine.
It draws trade. It multiplies all your
other sales. It will amaze you to see the
full possibilities. Let us tell you all that
this wonderful machine means to you.
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owner in Electra, Texas.
(Population 6-1 0.)

Pays Four Ways

1 — Motion makes people stop and look.
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3 — Toasty flavor brings trade for blocks.
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452 Van Buren Street
INDIANAPOLIS, INDIANA

Full particulars sent free to
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HOLCOMB & HOKE MFG. COMPANY, 452 Van Buren St., Indianapolis, Ind. /

/ Business

Address-

When you w:ite to advertisers please miritiou PHOTOPLAY MAGAZtXK

Photoplay Magazine-

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-Advertising Section

Plays and Players

(Continued from page go)

THE butcher, the baker, the candlestick-
maker" — And now the baker has
come into his own, on the screen. When
they wanted a realistic bakeshop scene in
Madge Kennedy's new picture, director
Beaumont went out and hired the neighbor-
hood baker. In one scene he bakes twenty-
five loaves of bread, and in other scenes
puts over the idea merely by rolling up his
sleeves and putting his hands into a bowl of
flour. Beaumont got many good tips about
the scenes, too; and says that in the future
he will enlist the personal service of any
craftsman the script calls for, to get the
benefit of his practical advice.

GEORGE FAWCETT said, when he left
the Griffith organization, that he "surely
would miss Dorothy Gish." He went to
Vitagraph to direct Corinne Griffith in one
picture. Then Dorothy began work on her
new comedy, "Her Majesty"- — went through
the script and started rehearsals — all without
a director. For Chet Withey was assisting
D. W. Griffith. So Mr. Griffith, to make up,
called Fawcett back to the fold and assigned
him to conduct Dorothy. They are working
together again at the new Griffith studios,
with a cast which includes young Ralph
Graves and George Siegmann, our admirable
villain.

Married? Well, maybe only engaged. Persistent reports on the west coast say that Priscilla
Dean is soon to change her name to Mrs. Wheeler Oakman. Oakman — who first became knoWT»
in pictures in "The Spoilers " for Selig, and who lately regained bis position as a leading man upon
hif return from U. S. A. service — plays in Miss Deans new^ pictures. Mrs. Dean, mother of

Priscilla. has confirmed their engagement.

WATCH out for Roscoe Arbuckle ! This
portly comedian is going in for big
things: deserting for a while his own series
of slapstick coniedies, he will adventure into
the Lasky studios to do The Sheriff in the
feature production of the stage play, "The
Roundup," which George Melford is putting
on. This will be Fatty's first attempt in the
field of legitimate comedy.

SOMEONE in Hollywood started a story
that Viola Dana is to marry Lieutenant
Orme Locklear, formerlyXof the A. E. F.
aviation service, but now Wiving exhibition
flights in California. MissjDana denied the
report promptly, but her denial as quoted in
a Los Angeles newspaper had a curious
phrase. She is quoted ^s saying, "We are
not even thinking very seriously about it."
If this means that Miss Dana and Lieut.
Locklear are thinking about it but not
seriously, the question arises, how serious
are thoughts about marriage which are not
serious? Still, as Locklear is said to have
a wife, the story hardly seems plausible.
It is about a year since Miss Dana became
a widow through the death of her husband-
director, John Collins. Incidentally, she has
been wearing a rather magnificent ring since
Christmas.

HAVE you ever wondered why picture
producers depend so much upon arti-
ficial lighting in the shooting of scenes when
so many of them have the benefit of the
sunshine of California? You know that, with
your own kodak, natural light is much more
effective than inside stuff. But the motion
picture man has another angle to consider.
The sun never stands still, whatever a cer-
tain Biblical gentleman may have done about
it. Therefore, when a set is in work in the
morning, and the company keeps right on
working through the afternoon, the light nec-
essarily changes. Night work is often es-
sential and so the artificial light is resorted
to anyway. If a company begins in the
morning, inside the studio, under the arcs
and with the spotlights, they can keep right
on going until late at night with good and
uniform lighting.

HERE is good news for any filmgoer who
likes to see real things in celluloid.
Raymond Hatton, the French king of
"Joan" for Lasky, who recently joined Gold-
wyn, is to do William J. Locke's "Septi-
mus."' If you know "Septimus" you'll re-
joice. If you don't know him, we advise
you to see Hatton play him.

(Continued on page 94)

Every advertisement In PnOTOPLAr MAGAZINE Is guaranteed.

Photoplay M.\gazine — Advertising Section

Iffahs four 'Mir

'■■

This clear, pure, and entirely greaseless product, cannot possibly
injure, and does not dry the scalp or make the hair brittle, no matter
how often you use it

Two or three teaspoonfuls will cleanse the hair and scalp thoroughlj*.
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dance of rich, creamy lather, which rinses out easily, removing every
particle of dust, dirt, dandruff and excess oil. The hair dries quickly
and evenly, and has the appearance of being much thicker and heavier
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fresh-looking and fluffy, wavy and easy to do up. You can get Watkins
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should last for months.

Splendid for Children
THE R. L. WATKINS COMPANY, Cleveland, Ohio

When rou write to advertiserB please mention PHOTOPLAY MAGAZIXE.

Photoplay Magazine — Advertising Section

Like Nut Bubbles

Yet It's Whole Wheat Puffed

There lies the fascination of Puffed Wheat.
The grains are light and airy — puffed to eight times normal
size. They almost melt away.

An hour of fearful heat has given them a taste like toasted nuts.

Yet they are whole wheat. Every food cell is exploded so
digestion is easy and complete.

They supply whole-wheat nutrition as no other food can do.
In lesser ways of cooking, the outer wheat coats pass largely
undigested.

Dozens of Delights

The three Puffed Grains with their different flavors offer
dozens of delights. They are not for breakfast only. Every
home finds countless uses for these nut-like, flimsy grains.

Remember These Three

Puffed Wheat in milk is the utmost in a food. With every
food cell broken it is easy to digest.

For luncheons, suppers and at bedtime there is nothing to
compare with this dish.

Puffed Rice or Corn Puffs mixed with fruit adds a delicious
blend. It adds what a light and dainty crust adds to shortcake
or to pie.

Puffed Rice or Corn Puffs, crisped and lightly buttered,
become a food confection.

Have a dish ready when the children come from school.
They will eat them like peanuts or popcorn. And they take
the place of foods less healthful, less easy to digest.

Millions of children are now enjoying Puffed Grains, but not
half of them get enough.
Every home should keep all three Puffed Grains on hand.

Puffed Puffed
Wheat Rice

Also Puffed Rice Pancake Flour

Corn
Puffs

To Make Royal Pancakes

Our food experts have
worked for years to make
an ideal pancake mixture.
Now it is ready— with
Puffed Rice Flour
mixed in it. The
ground Puffed Rice
makes the pancakes
fluffy and gives a

Rice

nut-like taste. You can
make the finest pancakes
ever tasted with Puffed
Pancake Flour.
Add just milk or
water, for the flour
is self-raising. Order
a package now.

3244

Plays and Players

(Continued from page g2)

CHIC SALE, the young man who counter-
feits old age so admirably in the Win-
ter Garden entertainments, and in vaude-
ville, will give some of his impersonations
on the screen. Irvin S. Cobb wrote a story,
"A Smart Aleck," built around the old man
character that SaL plays; and it will be
seen soon.

THAT brilliant brunette, Florence Deshon,
has come back to New York to take
part in a new play. She made "The Cup
of Fury," a Rupert Hughes photo-novel, oa
the coast. Miss Deshon will continue her
film work in the East, living meanwhOe in
the Washington Square downtown district
she much prefers to the shiny new apart-
ment places uptown.

THERE are almost as many pugilists in
pictures as there were prima-doniias.
James J. Corbett was the first fighter to go
in for films; he made a real success. But
then Jim was an actor always before he
was a "pug." Now Jack Dempsey has
thrown the well-known hat in the better-
known ring, and will make a serial called
"Daredevil Jack" for Pathe. Dempsey, while
not exactly handsome, is a husky chap and
not bad-looking. Jess Willard made one
picture. Bennie Leonard is going to make a
serial. That's all.

A SOMEWHAT intriguing situation is
found out at the Robert Brunton stu-
dios in Los Angeles. Mary Pickford and
Owen Moore are working on the same lot.
Miss Pickford has been making her present
pictures there and will continue to do so,
while Moore left Manhattan the first of
the new year, to make his future Selznick
films in the West, and space was engaged
for his company at Brunton"s big plant.
Because of the reported domestic differences
in the Moore alliante the gossip hounds
are hanging around waiting to pick up any
little morsel like "they walked right past
each other and never spoke." Remember
when Moore was Prince Charming to Little
Mary's "Cinderella?"

DOROTHY PHH.LIPS and Allen Holu-
bar have left Universal City — but not,
says Carl Laemmle, the Universal company.
They have a legal contract with that pro-
ducing organization, but for one reason or
another desired to break it, and abruptly
left the lot with bag and baggage one day.
According to Mr. Laemmle, they are going
to be subjected to a stiff legal fight if they
refuse to make the remaining pictures in the
agreement. Universal has always been more
or less subjected to this sort of thing from
stars; once made, they turn from the old
company to fresher, smarter fields, only, in
some cases, to come to grief — or back to
Universal City. It is said the Holubars
want to sign up with Famous Players.

WHILE on this topic, we might mention
that _ Eric von Stroheim, whom
Laemmle picked from obscurity i risking
many scores of thousands of dollars, to
direct his own conception, "The Pinnacle,"
("Blind Husbands"), has become dissatisfied
and contemplates taking some step or other
to get himself out of the annoying contract
obligations. Laemmle was right when he
said it was a cruel and ungrateful world.

IN recognition of his services in producing
a film showing means of fire prevention,
Thomas H. Ince was elected honorary: naem-
ber of the Fire Chiefs Association of the
Pacific Coast at a recent convention in: Los
Angeles. A gold badge set with diamonds
went with the official action, but, as yet,
no red shirt and no helmet.

Every advertisement in PH0T0PL.\Y MAGAZINli is guaranteed.

PiiOTOPLAY Magazine — Advehtising Section

Plays and Players

(Continued)

MARCUS LOEW, head of the Loew the-
atrical enterprises, and Metro Pictures
Corporation have effected a business affilia-
tion. Loew. Inc., has purchased Metro stock,
in a transaction involving several million dol-
lars, and the large circuit of the Loew thea-
ters will provide for the exhibition of the
pictures which Metro will produce. Metro
has been buying stage successes and well-
known novels, and this policy will be con-
tinued; while Richard A. Rowland will con-
tinue as president of Metro. The deal means,
in brief, an expansion of the producing or-
ganization and a greater facility in distribu-
tion and e.xhibition.

ASIDE from being an eminent actress,
a poetess, and a writer of short stories
which sell (if you've ever tried to sell one
you know it isn't any joke), Mme. Olga
Petrova is a comppser' of music. She has
written the wordij^and music of "The Road
to Romany," a/song just published, and a
song which she has just sung into phono-
graph records] "The Dawn\of an Indian
Sky" is another of Madame's \nusical com-
positions whirhxjas been made ibto a record.
On her vaudeville tour during! the winter
Mme. Petrova app^red at ywenty-three
vaudeville houses in which^SafM Bernhardt
played on her vaudeville tour of the United
States a few years ago. In eighteen of these
she played to larger audiences than did the
Divine Sarah. She was recently called back
to New York for a few days business con-
ference, and it is said that she will soon
again be seen in pictures.

SPEAKING of clothes reminds us that
recently Norma Talmadge turned down
$2,000 worth of new clothes just as coolly
as if she were refusing another helping of
butter at the table. It seems that a foreign
manufacturer who wished to introduce . a
certain weave of goods into this country,
offered to furnish the material and pay for
the making of $2,000 worth of sports clothes
if Miss Talmadge would wear them on her
tirp to Cuba and Palm Beach. She would
not.

THE STORY is being told on Broadway
of how a prominent literary agent
called at the office of a well known film
company, the other day and asked to see
a gentleman whom she had good reason to
believe was in his private office. He had
been avoiding her on the telephone for sev-
eral days. The girl at the information desk
camQ iack with the announcement that the
gentleman had not come in yet. "Very
well," the caller returned, "knowing this

company and Mr. in particular as

well as I do, I just brought my lunch along
with me and I'll sit here until he comes in."
She planked herself down in front of the
door where every one coming in would have
to pass her. The information girl disap-
peared for a moment, then came back say-
ing, "The funniest thing has happened. Mr.

has just come in the back way, and

he will see you at once." The literary agent
now carries her lunch.

JOHN EMERSON and Anita Loos are
going abroad in May. The little human
sub-title and her directing husband have
been turning out scripts for Constance Tal-
madge with a regularity that has somewhat
sapped their energy and they are to do
England and "the continent" to rest up.
While it is an avowed vacation, the couple
will take along David Kirkland and a
camera, which may or may not mean some
Emerson-Loos foreign-made productions.
Don't be gone too long, 'Nita and John.

(Continued on page 100)

When you write to advertisers please mention PHOTOPLAY ilAGAZINE.

THE

jQmnel Lc

A.GNUTT

F.\"ER before in the history of this squirrel
cage have you readers had sucli an honor 'VOU are all familiar perhaps with the story
thrust upon you as you are about to have * about the motion picture producer who,

thrust upon you in the next few para
graphs.

Up till now you Iiave only been invited to
read the jokes and kernels of useless information
tliat ye editor of this squirrel cage has gathered
for you with great labor and many blisters to
his scissors and paste pot fingers from the lead-
ing journals of the world. You have never
been encouraged to write in saying that you
first read our choicest chestnuts in "Fudge^'
twenty-five years ago. And you have never
done so.

But now ye ed has hit upon a great scheme —
a super-nut idea. Perhaps you have noticed
all the contests they are having in the other
pages of this movie mag. — caption writing con-
tests and letter contests (though, thank Heavens
no more beauty and brains contests!) and
everything. Well now the Squirrel Cage i>
going to have a contest too.

You are going to be honored by being invited
to contribute to tliis page, and to the one who
writes the best last line to tlie following limer-
ick, ye ed. will turn over bis five years' sub-
scription to this afore-mentioned movie mag.
(i: e. Photoplay) which was given him last
Christmas. (The S-yrs' sub., he means.)

A. Gnutt.

P. S. This limerick idea also gives the man
who runs this movie mag. a chance to see how
much it would mean in your
lives to get a five years' sub.
to it (the mag.) for notliing
but writing the finishing line ti>
a foolish poem that doesn't have
any sense to it anyhow. It also
gives him a chance to see how
many of you read this page.

A. G.

P. P. S. That five years' sub.
to this magazine, would cost you
ten bones. a. g.

•ymS is the limerick, the
■* best last line to which will
bring its author a five years'
subscription to Photoplay Maga-
zine :

I married sweet Alice

Malone
And fed her on cheese and

bolo^ue.
Till she said, "I shall scream
For some chocolate ice
creain

after reading a motion picture script adapted
from one of Charles Dickens' novels, said, "Dot
is pretty goot. _ Vire Mr. Dickens und ask him
to do us a serial."

He had nothing on one of the employees of
the Fox Film Company (Not Adv.) who was
heard to say in an elevator the other day, "We
got Cleraenceau working for us now." "The
Tiger of France" would no doubt be interested
in knowing that in putting forth arguments as
to why the American i»ublic should want to
see "his one and only work for the first time

"VJT/HERE in the world," cried the orator,
'"' "do we find wrongs righted, virtue re-
warded, and happiness assured us?"

"At the picturesl" was the sharp answer of
some Mary Miles Minter Fan,

' — ^Fragments. . 1

IX^OOD'S boom has started off spifUngly. A
'" well known brand of alcohol has been named
after him. — fFrom the Minneapolis Journal. )

0,.„ ., . , . , . <• , portant to know that the heat or friction burning

UK idea m nothing to be is 'the worm caused by the savage onslaught of the profes-

holer" recently advertised for by some manu- sional shoe shiner is responsible for most of

facturer of antique furniture in a New Eng ' . ■ . .
land newspaper. "Worm holing" is quite a

business — just as is the manufacture of rasp-
berry and strawberry seeds to be used in dolling
up apple jam to make it look like the real stuff.
The "worm holer" shoots a spray of shot
into the wood that he is making look ancient.
The seed manufacturer uses wood, too, as a
usual thing, tliough some who have a more
conscientious regard for the stomachs of future
jam caters than otliers, use grass seeds.

(The dots mean that you can
fill in the last line as you like,
just so's you make it rhyme
with "Malone" and "bologne,"
and as has already been re-
marked the one writing the line
which is considered best by every
body in the office, including the
editor, will be given a five year's
subsci iption free of charge.)

"VV/'^'^f I'-N must abandon the
" traditions of generations
and no longer dress to capture
tlic fleeting fancy of the male
or to be prettier than others of
her sex," says a middle-aged
Miiglc lady who edits a club
woman's magazine. Her argu-
ment is that all women should
dress alike. Imagine Madame
Petrova in Mary Pickford's
(lothes, and on the other hand
]\lary Pickford in Madame Pe-
trova'sl

Keep the suggestion from
T.ucy Page Gaston, the deadly
( iieiiiy of the cigarette. If she
(vcr gets to be president that's
iust the sort of thing she'd rush
through Congress.

HE: "So she has lost her
husband. Has she recovered
from her grief yet?"

She: "Not yet. You know
how slow these insurance com-
panies are in settling."

T^O all appearances this is a family of fat rascals on its way to the circus.
Are we right? Non — the two fat rascalettes, distinguished by lolly-
pop and balloon, are corn fed natives from the tall peaks of the Sierras,
who were found by Paul Powell, M.iry Pickford's director, in time to make
this scene for "Pollyanna." The plump gentleman is F. E. Benson, manager
of Mary Pickford's studio, and he was called into the cast because they
w-ere shy on actors with sufficient avoirdupois to balance the children.
Now every time , I feel myself weakening towards bananas or French
pastry or potatoes au gratin," he says, "I shut myself up in the projec-
tion room and look at this picture. It strengthens my morale."

the cracking of the uppers."

It shows a very helpful spirit on the part of
the shoe dealers in convention assembled, that
they should be willing to let the public in on
any secrets that will make shoes last longer —
especially as there are probably a great rtany '
more people who have never been inside a shoe :
shining parlor than those who have.

THE anniversaries we always remember are'
* those we would rather forget. - , . -^ ,'

" A REN'T you ready dear?"

** called hubby from down

stairs. ..- .

"As soon as I fix my hair,
Henry," came the reply. ' ".

"Haven't you fixed your hair
yet?" came from Henry an hour
later. , .

"Fixed it?" shouted the female
voice, "I haven't found it yet."

A WRITER on hygienic sub-
^"» jects declares, A young
man should kiss a girl either on
the left or right cheek." ".^s
the option of either cheek is
given," remarks Punch, "many
young men will no doubt hesitate
between the two."

lyilSS PRIMROSE: "Don't
^''•'- you ever give your dog any
exercise?"

Miss Hollyhock (fondling a
fat pug dog) : "Of course. I
feed him with chocolates every
few minutes just to make him
wag his tail." — N. Y. Telegraph.

"THE proprietor of the largest
^ dance hall in Chicago has
startled the World (A^. Y. Morn-
ing) by saying that ugly girls
are better dancers than pretty
girls. "They are more graceful
than pretty girls because they
work harder to make up for
their lack of facial beauty-
Pretty girls are as a rule, beside
being conceited, lazy and indif-
ferent," savs this gentleman who
has a chance to watch thousands
of girls every day.

JsJElV Authors For Old Fic-
■'- ' tion :

"To Have and to Hold," by
Samuel Gompers.

"Paradise Lost," by Ji'illiam
Jennings Bryan.

"The Trimmed Lamp," by
John D. Rnckcfcllcr.

"In His Steps," by IVilHam G.
McAdoo.

"Why the World Laughs," by
Charlie Chaplin in collaboration
with Secretary Biirleson. — Life.

THIS is all for this time.
In closing ye ed wishes to
say that no last lin" ending
in Salome will be considered
for the limerick contest.

^tie %nported Qoinpad 9owckrJrom ^aris

The Tea Hour at Palm Beach

THE most picturesque time of day at this famous
winter resort is late afternoon when society
gathers at the hotels for tea and gossip. At such
close range under the tropical sun every imperfection
of the skin is magnified; but the wise sojourner in the
South has invariably provided herself with Dorin's

Compactes to soften the surface of her complexion
and to reduce or enhance the natural coloring as she
requires. Dorin's Compactes are to be found at all
famous resorts, not only in the smarter shops but in
the bags and vanity boxes of the great majority of
the guests.

WHAT IS YOUR COLORING?

Send description of your hair, eyes and complexion
with 2Sc in stamps, and we will send two minia-
ture compactes, La Dorme, and one of Dorin's
Rouges. Also booklet reproducing, in full color,
seven exquisite types of beauty with directions for
choosing the correct compactes for each type.

Or for 1 Oc in stamps we will send the booklet
with generous samples of La Dorine and Dorin's
Rouge en poudre instead of the compactes.

.'i'=*^5Vk««%\.

FOR YOUR PROTECTION
DORIN'S preparations are sold only in containers

marked, "DORIN, PARIS'
LA DORINE comes in four shades to harmonize
withevery complexion-Blanche, Naturelle. Rosee
and Rachel. Dorin's Compact Rouges are in a
variety of natural tones of which Rouge Brunette
and Rouge Framboise are the favorites. Large
dressing table size, $1.00.

For arms and shoulders, use the Companion
Powder, La Dorine en poudre. Box $L()0.

F. R. ARNOLD & COMPANY Importers Dept. P, 5 WEST TWENTY-SECOND STREET, NEW YORK

g^^

FEBRUARY 19:

Sun Mon Tue Wed Thu Fri S

1^8

AY 1920

ue Wed Thu Fri Sat

3 45 6^,3

ifTFy

JTl

rii

em:

HAPPIME

}Aa\e Their Tomorrows
as Free From Care as
Their Todays.

Prudential

Monthly Income

Policy

is the Rainbow After the Storm.

On the First Day of Every Month
a Prudential Check Can be Put
into the Hands of Those You Love.

Hundreds of American Homes
Know This Day as

PRUDENTIAL DAY

THE NATIONAL PAY DAY

<^.

Your Life and Memory Can be

Made a Constant Benediction

o Those You Leave Behind.

"iure in

AUGUST 192C

Sun Mon Tue Wed Thu. Fri S.

3)2 345 6:
8 910^213

DECEMBER 1?

Sun Mon Tue Wed Thu Fn Sj

®2 3 4,f*^..
567_8910ir /I

JipHNy

JULY 1920

Sun. Mon Tue Wed Thu Frx Se

(^2 2
4567891

Forrest F 1

President

Home Office
Newark. New Jersey

)" prudential

Dryden vBf^^

INSURANCE COMPANY OF AMERICA

Incorporated Under the Laws ot the State o{ New Jersey

Do -9t

Title Keg. U. S. Pat. OB.

' I 'HIS is YOUR Department. Jump right in with your contribution.
■*■ What have you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of absurdities in pictures you have seen.
Your observation will he listed among the indictments of carelessness on
the part of the actor, author or director.

Maybe She Met the R. F. D. on the Way

IN Charles Ray's "Crooked Straight," his leading lady is
given a letter by her father presumably to be mailed. She
places it in her hat and wears the hat to the next scene,
where Ray is. There she removes the hat and we were
all expectantly waiting to see the envelope flutter to the ground.
It didn't. J. H. P., New York City.

"The Papers" Again

THAT must have been a long letter that Lord Grimwood
was supposed to have written to his wife Marion (Dorothy
Dalton) in "His Wife's Friend." Dorothy is shown with the
letter in her hand, and it is seen clearly to be closely covered
with writing on four sides. Then it is shown on the screen as a
very short one-page letter. Later when the friend (Henry
Mortimer) reads it, it is seen to cover only two pages.

C. G., Jersey City.

A Rising Young Actress

IN "Hawthorne of the U. S. A.," the "dream garden" of the
*• little princess is surrounded by a wall so high that it takes
the help of a tree on one side and much scrambling on the
other, for the lengthy and agile Wallace Reid to surmount it
• — and yet no sooner has the American roadster started off,
than Lila Lee appears head and shoulders above the wall, in a
del'ghtfully reposeful and unruffled attitude. No ladder or
other means of support was in view on the garden side at any
time. S. G. F., Washington, D. C.

The Setifictt Itivdsioft

"TpHE WESTERNERS"— I always thought it was a period
■*■ picture— ^is certainly up-to-date. It was supposed to
carry us back to the days of the small mining towns where the
men carried revolvers in their belts and whisky and other
drinks were sold in saloons and dance-halls. On the wall,
however, in one of the scenes, were two pictures that drew
my attention. They were
both copies of the Police Ga-
zette. One was a picture of
George Burns of the New
York Giants and the other
a striking likeness of a Mack
Sennett bathing-girl.

Fhiltp C. Halper,
New Haven, Conn.

Keep off the Grass

THE UNBELIEVER" is
probably an old pic-
ture to you Americans but I
can't resist reeistering a kick
against it. The scenes arc
supposed to be of "battle-
torn France;" most of them
"No Man's Land." Did the
director ever see France?
There were no lawns in No
Man's Land; nor were sol-
diers allowed there without
their gas-masks. Not a gas-
mask was seen throughout
the film, not even on the

German soldiers — and who ever saw a German at the front
without his mask? Who would take the trouble to saw down
trees at the front? No need of sawing them, they came down
anyway. Who ever saw civilians living in No Man's Land,
who — like the rabbi in the picture — would stand in the middle
of the street and not blink an eyelash while shells were burst-
ing all around? There were hoitses that — after the bombard-
ment— still had glass in the windows! I've seen a good many
incongruous war pictures, but this is the limit and therefore
worth recalling. H. E.

U. S. S. Gazelle.

Anything May Happen in a Fog

IN "The Better Wife" Kathlyn Williams was in an automobile
with wire wheels and electric lights. She rode through the
fog and later on, she and her car turned over. We see a close-
up of the car with wooden wheels and gas lights.

K. M. L., Crawfordsville, Ind.

Maybe He Developed a Tooth-ache

IN "Sage-brush Tom" the hero hit the villain in the chest.
This is plainly seen. But in the next scene the villain had
his jaw bandaged. A. K., Canton, Ohio.

That Carey Is a Smooth Feiler

IN a late Harry Carey picture, "The Gun Fighting Gentleman,"
Harry wanted to get even with a certain retired rancher, by
holding up an automobile containing the monthly payroll. As
soon as the auto left, Harry jumped from the fence where he
was sitting by the gate. The gate was closed. He ran for his
horse nearby, and the next minute he was going through the
open gate full-speed ahead. C. R., Sioux City, Iowa.

It Had to Be a Good Wreck

IN "The Wreck," the president's train starts out three coaches
in length. Later, in another view, at least six larger coaches

are on the train.

H. Jones,

Fort Madison, la.

Scared Out of His Boots,
You Might Say

MR. HART— beg his par-
don — Bill, in "John
Petticoats," threw off only
his hat before jumping from
the wharf to rescue Rosalie,
but when he emerged from
the water with the young
lady* it was noticed that he
was in his stocking feet.
F. W. H.,

Rochester, N. Y.

The Caption Writer Had a

Cold
IN "The Thirteenth Chair,"
1 the name Grossby is of-
ten changed to Crossby and
back again.

F. Duenas, Jr.,
Pasadena, California.

Photo
Campbell

Studio,
N. Y.

Listen to Marion Davies:

"Hyglo packages are so handy to
carry 'when traveling, and they
do their -work so satisfactorily I
•would not he 'without one."

The public likes Marion Davies.
An atmosphere of charm, simplicity
and beauty surrounds her that endears
her to us all. Like all stage and screen
stars, she knows what toilet and mani-
cure preparations best preserve and
heighten her charms — her judgment is
an expert one. To keep her nails pretty
and attractive Marion Davies uses

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GRAF BROS., Inc. M

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Selling Agenti
17 1 Madison Ave. ,N.Y. and
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Plays and Players

(Continued from page gs)

OLIVE TELL, the exquisite blonde who
used to be with Metro, will appear in
Jans Pictures Inc., the first of which will
be "Love Without Question," an adaptation
of C. Wadsworth Camp's novel, "The
Abandoned Room," James Morrison will be
her leading man. Miss Tell appeared in
"Civilian Clothes'' on Broadway «this win- *
ter.

Remember that page we had, "Hey Little
Boy, What's Your Name?" About the
little boy comedian ^vho strayed away
from Sennett, and Mack went out to
look for him? He must have seen his
picture in the papers, for he came back
and has been ■working hard ever since.
His name, he says, is Don Marion.

NORMA TALMADGE SCHEXCK and
her managerial husband spent the first
two months of 1920 in Florida and Cuba.
This is the first real vacation Norma has
had since she became a first magnitude star.
Last summer she tried to rest a month but
before two weeks had passed it was the old
story : she couldn't stay away from the
studio. But this time, being one release
ahead on her contract, she spent her months
in the southland in the most carefree man-
ner she liked. She and her husband went
first to Havana, Cuba, and from there to
Palm Beach, where the rest of the family,
personal and artistic: Mrs. Talmadge and
Constance and Natalie, and John and Anita
Loos Emerson, joined them. Constance had
to work.

THE monthly announcement that Elliotf
Dexter has recovered from his recent
.severe illness and will soon begin his Lasky
starring engagement, which has been delayed
since last summer, is now accompanied by
the information that Mr. Dexter will be well
enough to make a trip to New York and
back, and anyone who can stand that is
believed to be in condition for picture acting.

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Plays and Players

(Continued)

WHOEVER believed for a second that
Irene Castle, the adored of all who
dedicate their hearts to those who trip the
light fantastic would settle down in a small
town and really like it? It is hard to be-
lieve that one who had danced before the
King and Queen of England, who had been
entertained in the most brilliant society, who
has had more attention from the smart mag-
azines than perhaps any other young woman
of this generation would find a great deal
to amuse her in Ithaca, New York. But it is
reported that when she gets home with her
husband, Robert W. Treman, she forgets
totally the white lights and the Famous
Players-Lasky studio and it is all they can
do to get her back. According to every
indication, the former Mrs. Castle is very
much in love.

ANOTHER little girl has been made
the star of her own company, without
any previous stage or screen experience. She
is Hope Hampton, whose^roductions, made
by the Hope Hamptjm con^pany, are spon-
sored by Jules BruMour. The first release
will be "A Modern Salome,'^ It does seem
that Miss Hampton \jightyhave chosen a
more modest vehicle forlfie debutante dis-
play of her talents; but then we suppose if
she played a country girl or something sim-
ple like that she couldn't wear her pearls
and silk stockings.

ALMA TELL is the sister of Olive. Like
most sisters of well-known beauties,
she is a sort of understudy, never consid-
ered quite so pretty as the first Miss Tell.
But of a certainty her brunette good-looks
showed up to advantage the other day in a
scene directed by George FitzMaurice at the
Famous Players 56th St. studio, New York.
She seems very willing, nay, eager to work;
and she wants to get on. Alma Is a good
foil for the blonde Mae Murray Leonard,
featured in this production of "The Right
to Kill." It is, by the way, originally a
French story, from a novel by Pierre Louys,
author of "Aphrodite,'" but the locale has
been switched to Turkey and with the ex-
ception of one big situation, the yarn bears
no resemblance to the original of the adapta-
tion. Anyway, it gives the men of the cast
a fine chance to wear those military capes
which moving picture custom decrees should
be worn by Turkish officers.

LOTTIE PICKFORD has come back,
making the third Pickford to be man-
ufacturing stellar pictures. While Jack has
thoroughly established himself in the film
field, Lottie, perhaps because of her infre-
quent appearances, has dropped out of recent
years as far as filmgoers are concerned.
Any Pickford packs 'em in, I suppose; but
the mere fact that the brunette sister re-
turns with her own company, producing in-
dependently, doesn't mean so much as her
consistent future accomplishment and its
harvest of possible popularity. Meanwhile
Mary Pickford Rupp, Lottie's little girl,
remains in strictest seclusion as far as the
studios are concerned ; she has not appeared
before the camera, and her mother and her
devoted aunt Mary do not intend that she
shall, at least not for some years to come.

A SCENARIO romance to culminate in
a spring wedding, is that of Frank A.
Dazey and Miss Agnes Christine Johnston.
Miss Johnston is doing continuity for
Thomas H. Ince, "Twenty-three and a Half
Hours Leave" being one of her big successes.
Mr. Dazey is the son of Charles T. Dazey,
author of "In Old Kentucky," and is
handling the Underwood for the Louis B.
Mayer company.

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Plays and Players

(Continued)

SYLVIA B REAMER, that dusky jewel of
many Ince pictures, and later a decided
adornment to J. Stuart Blackton's films, has
gone to Mayflower, where she will be starred
under the direction of Sid Franklin.

GRACE CUNARD would seem to have
given up serialing. Another one of her
"come-backs"' will be staged as the lady-
director of a new series of two-reel comedy-
dramas, for National.

SEENA OWEN, the lovely blonde discov-
ered at Fine Arts, and more recently lead-
ing woman for Tom Moore, is in the east
now. She is playing opposite another Moore
— Owen— in "The Woman Hater."*

COLES — I'm afraid I snored terribly in
the theatre tonight.
Mrs. C. — Nobody noticed it, my dear. It
came right in the middle of the third act, in
the storm scene, and everyone clapped be-
cause they thought the thunder so realistic.
— California Pelican.

"(^ OT to have a colored quartette for our
Vj cabaret scene," the director said to the
studio manager. "All right, but don't have
too many in it," was the reply.

HELEN HOLMES made a rapid recovery
after an operation for appendicitis in
December and in January began making a
serial, "The Danger Trail," under the direc-
tion of Gilbert P. Hamilton, for Warner
Brothers. It will not be a railroad story,
though it will have some engines in it to
make Miss Holmes feel comfortable.

SOME New York filmgoers have been heard
to remark that in preference to attend-
ing the Capitol, said to be the world's 1 rgest
theater, and assuredly Manhattan's biggest
picture-house, they would go to a neigh-
borhood theater where they would see a good
picture and a comedy or scenic, without
having to while away an evening watching a
tiresome and seemingly endless "revue," such
as The Capitol presents to its patrons. Since
its inception, the policy of this theater has
been to stage elaborate "song and dance''
tabloid entertainments, featuring show-girls,
fancy electricity, and popular songs. The
entertainment usually lasted three-quarters
of an hour. By the time the picture you
tame to see was thrown on the screen, you
were too dazed to enjoy it. Ned Wayburn,
a well-known stage director of revues, put
on the non-cinematic show at the theater
until recently, when he resigned. Now they
are planning another revue. How long will
it last — the new revue, we mean?

AT i/OUB DEAUeR,- A LARSE BOX- 50 erg

LON CH.y«r7>wh>>. played "The Frog'
in "ThuMVIiracle MaiK has been engaged
to instruct /Jack Dempse^ in the gentle art
of making»up. Il is said Jack's nose had
to be considerably altered before it looked
good to the iraiDera.^jnan.

HUGE advertismg campaigns, prominent
jewels, a good modiste and a faithful
financier don't make screen success, so some
little Broadway belles are busy discovering
right now. One pretty girl in particular has
had a chance that other girls of talent have
waited aeons for: her name in letters of
three feet on the White Way, her own press-
agent, the best stories and directors — every-
thing money could buy; and still she isn't a
star. And the funny part of it is, she
doesn't know it. Her press-agent has kidded
her so that she actually believes she could
make good on her own. Not being particu-
larly hard-hearted, we wouldn't like to see
her trj' it.

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Plays and Players

(Concluded)

THEDA BARA has gone in for drama.
She will do "The Lost Soul" in the le-
gitimate, having agreed to lend her expert
vampire services to A. H. Woods, producer.
But her new part, we are assured, will not
be vampish all the way through; rather,
Theda will have a chance to differentiate her
dramatic talents. When will she come back
to pictures? Oh! When this stage play is
off her mind, she will make a picture ver-
sion of it.

M.\URICE TOURNEUR has moved his
base of operations from the Goldwyn
Studio at Culver City to Universal City, in
order to get more room. He has extensive
plans in view, but has three or four more
pictures still to make for Paramount before
he will begin independent production as a
member of the Big Six, the new organiza-
tion of moving picture directors.

CREIGHTON HALE, as soon as he fin-
ished the D. W. Griffith picture for
which he was specially engaged, went into
vaudeville in a dramatic sketch.

SOME scenario v.riter should use the story
of the gay lady from Paris who swindled
some film men out of many thousand dol-
lars' worth of film. She came over here,
purporting to be the representative of a
most reliable Paris firm, and ran up accounts
with New York exporters amounting to more
than $200,000. She ordered prints of various
pictures and at the last moment sent out a
hurry call that she must catch a certain
steamer and that if the prints were sent
post-haste to the dock payment would be
immediately forthcoming. She got away
with it. The prints were delivered and
stowed away on board but the exporters
never saw the money. Any number of
clever actresses we know of could play that
part.

DOUGLAS FAIRBANKS and his mala-
mute dog Rex went for a walk in the
Santa Monica mountains back of the new
Fairbanks home one day in January, and
were attacked by a pack of half-starved
coyotes, according to a report from Los
Angeles. Fairbanks was, carrying a heavy
stick and between him and Rex they routed
the pack. If you don't believe this story,
there is a picture of Doug and Rex to prove
it. The coyotes are not in the photograph,
but that is a small matter anyhow.

CONSIDERABLE time may elapse be-
tween "Pollyanna" and Mary Pickford's
next picture. Shortly after "Pollyanna" was
completed, Miss Pickford suffered from a
nervous collapse, and a long rest was ordered.
She had planned (to begin work at once on
Barrie's "Hop o' NMy Thumb," Jack Dillon
directing, but this\was /'delayed. Another
plan of Miss PickfomJa/is to go to Europe
in the spring to make "Little Lord Faunt-
leroy" and "True Tilda," both English
stories. Furthermore, it is said she is con-
sidering an invitation to play in the annual
British pantomime of "Cinderella" next
Christmas. All these matters are undecided
pending the star's recovery to perfect health.

CONWAY TEARLE, who has been in
great demand as a leading man for sev-
eral years, will be starred for the first time
in a production now being made by the
Equity Pictures Corporation, "Michael and
His Lost Angel," from Henry Arthur Jones'
play. The same company will make a screen
version of the comedy, famous half a gen-
eration ago, "Old Jed Prouty," starring
Edward Kimball, father of Clara Kimball
Young.

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The Girl on the Cover

(Continued from page 58)

took to give herself a comic trip to Europe.
Her house is splendidly furnished, but it is
not, as many of her ardent devotees probably
believe, the upholstered answer to a dizzy
outpour of gold. She has a marvelous side-
board which would grace any home — yet she
drove a bargain for it at an auction — an old
estate. A dealer hunted many months for
her wonderful set of old China. Her glass
service, some of which is of rock-crystal
comparable only to the displays in the
Metropolitan Museum, was the chance treas-
ure of a dusty auction-room. Her books,
many of them rare volumes and first edi-
tions, she has picked up in the same way in
this country and abroad. I wonder how far
most women, or even most men, would have
gotten in acquiring the fine things of mere
living had they been given Pearl White's
money carte blanche?

But it was not in a recounting of bar-
gains, a resume of property or a look through
a pile of world-gathered mail that I was
particularly interested.

It was in the psychology of a woman who
has garnered, before thirty, more fame than
a queen, and more actual adventure with
life than the wildest of her serial heroines.

What next?

What, of interest, can be next?

The answer I found in Miss White's
healhty, red-blooded interest in life just as
— life. How much she has done that other
successful young women have not done, or
have neglected to do ! In the first place
she is, I suppose, in about as good physical
condition as Mr. Dempsey when he entered
the Toledo ring. She eats sparingly. She
lives quietly. She has many acquaintances,
but her circle of real friends is limited to
very few. The jazz of metropolitan exist-
ence does not appeal to her at all. About
once a week she stays in town to see a new
play, merely to keep up with the times. Two
or three evenings a week friends in the
neighborhood come in to play bridge. She
sleeps seven hours every night. She is al-
ways on hand, at her studio, early in the
morning. Sometimes it is the chauffeur and
her Rolls-Royce, at the Bayside door at
eight a. m. Other times she drives her Stutz
into town, herself— for the girl who saved
her pennies under an old jug in a Missouri
cellar until she had fifty of them against the
possible arrival of a circus can now, without
any cheap ostentation or vulgar extrava-
gance, select her car of a morning as many
an envious and infinitely less worthy woman
selects her dress.

For one thing, her literary career did not
end, as it began, with "Just Me." I think
I am telling, for the first time, that she is
half through a novel! What it's about she
doesn't want to say. In fact, she doesn't
want to say anything about it at all, for
the literary works of non-professional writ-
ers are wisely not counted in the incubator.

But she has made a great friend — a pal,
almost — of a man who has written several
worthy things, and who, if properly encour-
aged, should be a credit to his community
and his home paper. This man is Vicente
Blasco Ibanez, and, during several visits
paid her at her place, they talked, as Miss
White says: "In gestures, his Sp:inish, my
bum French, and my eight words of Italian."
But this is not doing justice to her French,
which would carry her anywhere that the
international language of courtliness is used.

One of Ibanez' most amusing stories,
which he told on numerous occasions during
his New York visit, was of seeing people,
during an air-raid in Paris, running wildly
to a theatre. TSiinking it an unusually safe
place, probably, the portly author ran the
(Concluded on page 105)

Every adVLitisemciit in PHOTOPI-.W MA(!.\ZINE Is giiaranteed.

Photoplay Magazine — Auvkrtising ^kction

The Girl on the Cover

J 05

(Concluded)

same way— and found that the attraction
was not dynamite sanctuary, but a Pearl
White serial. He laughed so heartily, lie
says, that he almost forgot to look at the
screen, but he resolved that he ought to
know any foreign woman who could so oc-
cupy the minds of people in jeopardy. And
now that they do know each other, Ibanez,
with his customary energy, is plotting a
novel of his own that shall have as its base
that marvellous mushroom of the arts, the
cinema, and I believe that a transcription of
Pearl White will be the heroine.

She welcomed her Fox affiliation because
it should, thoretically, give her a real chance
to play real parts. She deplored it because
it removed her from the kindly and pleasant
associations of many years at Pathe. But
in the Pathe organization she was bound (o
the wheel of the serial, and as long as she
remained a Pathette there seemed to be no
escape.

She went into the movies, first, because her
voice failed on the melodramatic stage, but
her Voice returned to her, long ago. So I
asked her if she had any ambition to return
to the footlights.

"You bet I have. It is a question of the
play — and the money. But I do want to
play a human part — a real p.art — a real
American woman — on the stage. And 1
shall."

As the stage and the screen are affiliating,
now and rapidly, this should not be difficult
of accomplishment.

Pearl White's motion picture career is en-
tirely encompassed between the year 1912
and now. In that year, playing with a stock
company in South Norwalk, Conn., she
abandoned a none too lucrative profession
which had been unkind to her throat, and
came to New York. Two studios had no
work for her, but she finally found a small
part at the Powers' filmery, at 241st street
and Broadway, and was carefully instructed
in her first scene by Joseph A. Golden. She
was an indifferent success, and afterward,
for more money, she went to Lubin's, in
Philadelphia, where she played briefly with
Florence Lawrence and the late Arthur John-
son— and was let out, finally, because Lubin
could not see her as an actress. Then, a brief
Visit to the Pathe studios, where she was
leading woman for Henry Walthall, and a
longer session as a pie-slinger in the old
Crystal comedies, after which came her self-
made trip to Europe, and on her return, the
first of her serials : ''The Perils of Pauline."
This was the first of her "always-in-danger''
pictures which have become known in every
town and hamlet in the world.

Believe It Or Not —

CHARLES M. HUGO, a representative
of the Outing-Chester Company, writes
of a new kind of alarm clock he has dis-
covered in the wilds of China.

It seems that Mr. Hugo stayed over night
in some little inn in the interior of China.
He wanted to be on his way about 5:30
the next morning, so he left a call for 5
o'clock. Imagine his distress when the pro-
prietor, bell boy, chambermaid, cook, waiter
—all in one — came up to his room as he
was retiring and set a rooster inside the
door. He rebelled. "This ees five o'clock
rooster," they said. And sure enough, at
four minutes before five the next morning,
the big bird flapped his wings and crowed
until Mr. Hugo got up.

It seems that at this hotel they kept
three, four and five o'clock roosters. A six
o'clock one isn't necessary for every one u
up by that time.

Well — anyhow — there it is.

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In Quaker Oats .
In Average Meats
In Average Fish .
In Hen's Eggs . .
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The Shadow Stage

(Continued from page 68)

THE TREE OF KNOWLEDGE

— Artcraft

THE impression might easily be gained
from the printed announcements that
Theodore Kosloff and Yvonne Gardelle ap-
pear in person at each showing of "The Tree
of Knowledge," to dance an Edensque
prologue between the overture and the first
reel. But they don't. They are merely a
part of the picture. Mile. Gardelle appears
as Lillith, the legendary predecessor of Eve,
and the lady, who, some aunties believe, put
all the bad thoughts into Adam's mind. She
is clothed in an atmosphere of apprehension
and a long, thick. Lady Godiva wig. M.
Kosloff, as Adam, a gent of shreds and
patches of excelsior, seeks the interesting
Lillith's acquaintance and is thereafter
damned because of all the things she could
tell about him if she wanted to.

Thin as this little prologue is it is the one
original sprig growing out of "The Tree of
Knowledge." Even workers as capable as
Margaret TurnbuU, who made the adapta-
tion from R. C. Carton's play, and Wm. C.
De Mille, who directed it, could not, or at
least did not, save if from a soggy con-
ventionalism. Nigel Stanyon (Robert War-
wick), a modern Adim who had devoted his
youth to a profiteering Lillith (Kathryn Wil-
liams), discovers her finally to be interested
only in his money and not at all in his soul.
He returns then to his old home town and
to a sweet faced girl (Wanda Hawley) who
insists on loving him in spite of all. The
wicked Lillith turns up again as the wife of
Nigel's best friend and does her best to
provoke a scandal, an enterprise which hap-
pily for most of the company is unsuccessful.

"The Tree of Knowledge" is to me of neg-
ative. A good, husky "heavy" is wasted
whenever they cast Robert Warwick as a
hero. Miss Hawley is again decorative as
the innocent heroine. Irving Cummings adds
another to his list of passionate pilgrims and
Tom Forman capably assists.

THE GARAGE-Arbuckle

THE gentleman who exhibited "The Tree
of Knowledge" at the theater I attended
had the excellent judgment to show on the
same bill the first of a new series of Para-
mount-Arbuckle comedies called "The Ga-
rage." I, who detest most of the slapstick
farce of the screen, mention it here because,
to me, it is so far ahead of the Sennett and
Sunshine brands that any comparison great-
ly favors the Arbuckle creation. And yet
the fun is as broad as "Fatty" himself, and
the pace as swift as any of them. Even the
oft-quoted pie of custard has a smashing
exit in one scene, though it lands against the
side of a limousine, and not against the face
of an actor.

"The Garage" is superior slapstick stuff
because someone connected with the crea-
tion of it has had the courage to use his
wits as well as his Rabelasian instincts.
Good farce has as rightful a place on the
screen as it has on the stage. Even good
rough farce. But when it is permitted to
degenerate into the pictured ravings of vul-
gar half-wits is becomes a menace. This
first Arbuckle sample is at least a heartening
promise. I hope sincerely that all the would-
be farce directors see it.

MARY'S ANKLE— Ince-Paramount

IT isn't easy to preserve the spirit of an
extravagant farce on the screen. So much
depends uf)on the personalities of the players
— their voices, their facial contortions, their
studied fear of the consequences hinging

rrcrj- advertisement in PHOT0PL.\Y MAGAZINE is guaranteed.

Photoplay Magazine — Advehtising Section

107

The Shadow Stage

(Continued)

upon their actions. "Mary's Ankle," how-
ever, seems a more convincing adventure in
pictures than it did in the theater. This is
partly true because the screen comedians and
their director accept the story as being
frankly preposterous and play it. only for
the fun that's in it, while the talking
actors and their director were always trying
to convince audiences that both story and
characters bear some relation to reality.
Which they do not.

Three improvident young men conceive the
scheme of announcing the wedding of one
of their number, a physician, hoping thereby
to extract a few solid silver wedding gifts
from distant friends and a check from a
tightwad uncle. Their scheme is a complete
success, excepting insofar as the gifts and
the uncle's donation are concerned. The
distant friends send lingerie in place of silver
and uncle comes in person to meet the bride.

Mary is providentially picked up outside
the door of the hero's office. She has twisted
her ankle and needs help. It then transpires
that both her name and address tally per-
fectly with those sent out on the bogus mar-
riage announcement. Complications follow
until a real marriage is substituted for that
which was phony. The financial embarrass-
ment of the young men is made amusingly
real by Douglas McLean, Victor Potel and
Neal Burns. Doris May and ankle are a
success as Mary, and a lot of fun is had
with the animated titles that dance to ex-
press the elation of the conspirators. This
title feature, which is growing in popularity,
can easily be overdone — so the boys had best
beware.

THE LONE WOLF'S DAUGHTER—

Hodkinson

NOT the least of the war's influences was
to make an honest man of Louis Joseph
Vance's friend, Michael Ledyard, otherwise
and usually known as "The Lone Wolf."
Some time after the trouble started in France
it appears Michael became a respected mem-
ber of Scotland Yard and took a hand in
running down the plots of that naturally
wicked person, Prince Victor.

In "The Lone Wolf's Daughter," which is
Mr. Vance's sequel to "False Faces," the au-
thor has been to considerable pains to de-
velop an exciting story at the expense of
such plausibility as barred the way. Delv-
ing into the Lone Wolf's past, he presents
him with a daughter whose mother was the
Princess Sonia, wife of Prirrce Victor. The
girl is reared in ignorance of her parentage,
and eighteen years later, when she is threat-
ened by Prince Victor, is rescued by her
father.

As a story of adventure "The Lone
Wolf's Daughter" holds together as well as
need be. The attempt, however, to take the
interest away from the Lone Wolf himself
and center it on the daughter is nullified by
the fact that he is much the more interest-
ing figure of the two. Louise Glaum has
difficulty in sustaining interest in the girl.
This weakness, added to those forced situa-
tions in which underground passages, Chi-
nese criminals and boats that seem to plow
through the streets of London figure, mini-
mizes the picture's chances for anything re-
sembling a lasting popularity. Miss Glaum
is an attractive heroine.

THE BEAUTY MARKET— First
National

KATHERINE MacDONALD'S beauty is
of a kind that makes a good picture
great and saves a poor picture from beins
dull. Although "The Beauty Market" is the
conventional story of the society girl who
feels she must sell herself to the highest

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The Shadow Stage

(Continued)

bidder in order to live comfortably, it is
lifted a Utile away from the commonplace
by the gorgeousness of the star. In trying
to remain honest with herself, the heroine
confesses her need of funds to the usual poor
young man who loves her for herself alone.
He, reflecting the attitude of his cave men
ancestors, decide that she also needs a les-
son, as a result of which decision he first
loans her money on the engagement gift her
rich suitor has provided and then marries her
himself. He delays the lesson until some
lime in the suggested future, however, and
thus the pleasant ending is guaranteed.

Miss MacDonald suggests the Maxinc El-
liott of twenty years ago and she is also
blessed with an intelligence and a poise that
give character to her performances. Her
supporting company in this instance includes
Winter Hall as the rich but lonely million-
aire, and Roy Stewart as the handsome youth
with cave-man instincts.

GEORGE LOANE TUCKER AT
THE BAR

I AM glad to read that Mr. George Loane
Tucker is making so valiant a fight for
his rights as a director. As the producer of
"The Miracle Man" he certainly is entitled to
his part of the fame resulting from the suc-
cess of that picture, and the advertising
campaign conducted in its behalf. So far
as the screen version is concerned, he is prac-
tically the creator of the best picture of the
year.

And if it happen that Mr. Tucker wins
the suit and is thereafter properly mentioned
in the publicity, I trust it will at least sug-
gest to him the rights of another gentleman —
one, Mr. Frank L. Packard — who first wrote
the story of "The Miracle Man," and whose
name I fail to find printed, even in the-j
smallest type used, in most of the advertis-
ing of this particular feature.

If it had not been for Mr. Packard, neither
"The Miracle Man" nor Mr. George Loane
Tucker as its gifted director, would ever
have been heard of, and I'm sure any man
who will go to the Supreme Court in search
of redress for his own wrongs is certain to
be inspired with generosity toward the wrong
he may have done others, even unwittingly.

B)/ Photoplay Editors

A MODERN SALOME—
Hope-Hampton Productions, Inc.

IT never would have happened if she
hadn't had her portrait painted — as "Sa-^
lome." Leaving the projection room after
viewing this picture my mind was in a daze
— but I was sure of one thing : she shouldn't
have had her portrait painted. Then Hope
Hampton, who played the part of Salome,
wouldn't have had to go through all she did
^ust what it is I don't quite collect; and
she wouldn't have had to heave so painfully
in the close-ups or perform that hula-hula
before Herod. The title is justified in a very
brief biblical allegory. A trade-paper, re-
viewing this production, the first of the Hope
Hampton, Inc., releases, said: "The star
. . who is as well known for her act-
ing ability in handling the light and shade
of difficult situations, as she is for her ap-
pearance . . ." As Miss Hampton has
never made an appearance before, on stage
or screen, this is interesting. She is a pretty
woman with an extraordinary coiffure and
poor taste in clothes. Manifestly an ama-
teur, her willingness to work herself up to
the climaxes— in which this picture abounds
—is apparent. The story is one of the wild-
est you ever saw; if you like a lot of at-

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

h'ilOrOPLAY MAGAZINE — AUVlittllSING ^bX'/JION

The Shadow Stage

(Contimied)

tacks and quarrels and degenerations and
regenerations and semi-bohemianism and so-
called "society" stuff, you may sit through
this. Leonce Perrct, who according to the
caption is the "adapteur et directeur" (Oh,
Lord!) of this, simply piled on the lavish
settings and took so many close-ups of the
stir that she occupies most of the footage;
which was evidently the desired objective.
Miss Hampton strives valiantly; someone
should tell her not to pant. She is always
dressed as for a party. Wyndham Stand-
ing is here, there, and on a park bench. He
is a wizard at make-up; you'd never recog-
nize him. Agnes Ayres plays his down-
trodden wife in the usual crestfallen fashion.
Another Standing, Percy, is the impossibly
good husband who believes in his wife ail
the time and who finally kicks the villain
into the fountain before he takes Salome
in his arms for the final fadeout.

HIS ROYAL SLYNESS— Rolin

THIS is the most pretentious of all the
Harold Lloyd comedies, but I don't
th=nk you are going to like it as well as hi^
first ones: "Bumping into Broadway" or
"From Hand to Mouth." It only goes to
prove that Lloyd himself is the whole show
and as long as he is provided with a rea-
sonable situation or two, an involved story
isn't necessary. This is another mythical
kingdom story — my word, where will it ever
end? The film producers seem to be as keen
about mythical kingdoms as the legit, is for
China. Lloyd makes the most of everything
that comes his way, from a beautiful princess
to a lot of bolshevik bombs. His new little
leading woman, Mildred Davis, is an appeal-
ing child — but not, alas, a Bebe Daniels.
Snub Pollard is one of the genuinely funny
grotesque comedians in films. We have Mr.
Lloyd's brother here, too; he is a ringer for
resemblance but he is fortunately not called
upon to be funny.

RESPECTABLE BY PROXY—
Blackton

WHEN we named "The Fear Market" the
worst picture of the month we hadn't
seen J. Stuart Blackton's latest. Beyond a
doubt it is one of the dullest things ever per-
petrated upon an unsuspecting screen. If it
weren't for Sylvia Breamer— but there is
Sylvia — dusky, fragile, and always interest-
ing. There is dramatic depth in Miss Breamer
that has never been sounded ; she should have
her chance; she should do much better
things. The story of this is laid in the Old
South — and if you have always cherished a
sneaking fondness for the Old South you
will change your mind. The captions are
plentifully sprinkled with so-called Southern
dialect ; all the men kiss the women's hands
upon coming into the set; and a black
"mammy" is eternally muttering voodoo in-
cantations over an open fireplace. Robert
Gordon is continually miscast in these Black-
ton affairs. The story is far-fetched and
impossible.

THE WOMAN IN ROOM 13—
Goldwyn

Unfaithful husband; upright wife; di-
vorce. Re-marriage of wife to worthy, up-
right young man. Entrance of scheming
employer who wants wife. Re-entrance of
first husband, who schemes against wife.
Murder of employer in Room 13 by upright
second husband. Certain conviction until
wife tells on husband No. i. Verdict Not
Guilty; wife and husband No. 2 go home
happy. This melodrama-with-a-murder was
a play by Samuel Shipman and Max Mar-

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The Shadow Stage

(Continued)
cin, and we rather suspect there was more should

*> -Ml » 111 Itl.

suspense in the legitimate version than in the
screening. Frank Lloyd's is the credit for
a swift and fairly creditable production.
Pauline Frederick's is the credit for a fine
and sincere performance, as is always the
case when Polly does a picture. John Bow-
ers has never done anytlrng nearly so good
as Husband No. 2 ; Charles Clary was sim-
ply horrid as Husband No. i ; and the cast
welcomes back such old favorites as Mar-
guerite Snow, the real "Woman in Room
13''; Robert McKim, and Sydney Ains-
worth. There is also a youngster named
Emily Chichester who looks as if she might
do something in an acting line, some day.

THE FEAR MARKET— Realart

This, the prize celluloid lemon of the
month, might be re-named "Don't Waste
Your Evening." It might just as well
never have been done or have remained in
nice seclusion on Realart's shelves. Alice
Brady has never been seen to greater dis-
advantage; good settings are lost in an in-
adequate sequence of scenes; and while Ken-
neth Webb's direction is doubtless fair, it
presents nothing new. From a story by
Amelie Rives^a mechanical scenario has been
constructed, with the "plot" apparent from
the first reel — and the "plot'' not worthy
of anyone's time or trouble in the first
place. Frank Losee is the owner and pub-
lisher of a scandal sheet, and he doesn't want
his daughter, played by Alice Brady-Crane,
to know about it. So he makes her live
abroad. She is involved in a near-intrigue
over there by an unscrupulous opera -singer,
Henry Mortimer — and helped out by a
kindly woman who is at the moment being
black-mailed by the father's agent, so that
an affair in her past — in which she was en-
tirely blameless — will not be printed in the
sheet. The woman refuses to be coerced;
and, reading the nasty item sometime later,
dies by her own hand to escape the shame
and notoriety. Alice comes home to Amer-
ica, to avenge her friend. The climax, of
course, arrives with Alice when her search
leads her to her own father's home. Like
the brave girl she is, she denounces him,
father promises to mend his ways, and at
the end we sec Alice in the arms of a
young mj.n who at decent intervals in the
course of the picture has made decorous
love to her. Is there anything in this to
induce a first-time picture-goer to pin his
flag of faith to the silent drama? A thou-
sand nevers! Alice Brady acts in a dispirit-
ed way which doesn't help the piece along.
She might have brightened it considerably.

NOTHING BUT THE TRUTH—
HoImes'Metro

Taylor Holmes' genial personality, rather
obscured in past months by poor vehicles,
is again up to the "Ruggles of Red Gap"
standard in "Nothing but the Truth." Not
that this first picture from his own stu-
dios is nearly as good as "Ruggles," but it
gives Holmes a chance to demonstrate his
skill as a neat farceur. He paid a very fair
price for this Willie Collier stage success —
you know the story of young Robert Ben-
nett, who makes a large wager to tell noth-
ing but the truth. There are many chuckles
in this, and a few stomach-laughs. Holmes
is funny— and the thought occurs that he
would make a good romantic actor: he is
more polished, more sincere and better-look-
ing than many of our leading men. Ned
Sparks, who played in the stage version, is
the best thing in the cast. Marcelle, little
French wife of composer Earl Carroll,

screen well— but doesn't. Elsie
Mackaye, Holmes' leading woman, must be
an acquired taste, like olives. Having heard
her on the stage, we rise to thank this
drama for its silence. Edna Phillips Holmes
is a good actress and deserves a better part
than that of the partner's wife. No expense
was spared on the sets, but the scenario
wasn't good. It would seem, too, that every-
one worked but the title-writer. David Kirk-
land has not bolstered up his artistic rep-
utation by his part in this; the direction is
irregular. Holmes will do "Nothing but
Lies'' later on.

DOUBLE-SPEED— LASKY

Here is half an evening's blithe entertain-
ment. J. Stewart Woodhouse wrote it for
Wallace Reid, and it tells the story of
young "Speed'' Carr and the adventures
that befell him when, set upon by tramps, he
ii robbed of everything but his watch —
and he has to pawn that. The best part
comes after he has got a job as a chauffeur,
fallen in love with the pretty daughter of
the house, and is suddenly prevailed upon to
masquerade as Speed Carr, when he himself
is that worthy. It's all cleared up and
Wally gels his watch back after some good
speed stuff, some gorgeous glimpses of
Wanda Hawlcy's Cinderella foot in a small-
size slipper, some ingratiating shots of Wally,
who is one man who can look ingenuous
without taking on the general aspect of an
ingenue; and fine characterization by our
old friend Theodore Roberts and his partner
in intrigue Tully Marshall. A new director
— to us — Sam Wood, handles this well. The
puns in some of the titles are terrible.

THE STAR BOARDER— Sennett-
Paramount

All of Sennet t's late comedies follow the
same formula. This two-reeler is pulled
out of the usual rut by the tiny star boarder
himself — the new Sennett baby, Don Marion.
He's funnier than Little Davy ; his queer lit-
tle bobbed head is good for a laugh from
any one of the Photoplay Magazine Ed-
itors, any time. He is aided by Teddy, the
greatest canine performer of all time; Louise
Fazenda, who contributes another one of her
justly-celebrated lady-boob acts; and Ben
Turpin, who does a loaded-cigar stunt in
the first part of the picture that leads you
to expect the rest of it will be up to the
same sandard. It isn't. But Harriett Ham-
mond is awfully pretty. L«n't she?

ALL'OF'A'SUDDEN PEGGY— Lasky

Shure an' this Marguerite Clark has a way
with her. She's not only blessed with per-
ennial beauty, but perennial charm as well.
Her present material has been nowhere near
the high-water mark of her first screen
efforts, such as "Still Waters,'' but she has
managed to bear up very well. In this, a
little better than the average comedy-drama,
she essays the role of impish Peggy O'Mara,
daughter of a mother whose chief interest
in life is the "Life of the Spider.'' They
are the guests of a titled British house
whose foolish young bug-hunting Lord loves
Mother O'Mara, whose crotchety lady-
mother doesn't approve of the O'Maras, and
whose nice younger son, played by Jack
Mulhall, falls in love with Peggy. Mulhall,
by the way, looks like Eugene O'Brien and
Wallace Reid without acting like either of
them. All through five frothy reels Peggy
loves Jimmy without knowing it, finally dis-
covering she wants very much to marry
Jimmie — all-of-a-sudden ! Mother O'Mara

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I II

The Shadow Stage

(Continued)

is delightfully described by Lillian Leighton.
Walter Edwards directed in his dependable
stately style. Edith Kennedy made a good
scenario from the play by Ernest Denny.

THE WALK'OFFS— Metro

Frederic and Fanny Hatton saw their
comedy on the screen the same time I did,
and if they didn't complain that the real
satiric spirit of it was lost, I suppose I
shouldn't. It is very mild entertainment,
and it seems to be played a little too se-
riously by its star, May Allison. A word of
praise for May however: she is one of the
most sincere of our celluloid actresses; one
of the prettiest, and one of the least self-
conscious. If you know the story at all, it
is a light satire on the shams and foibles of
the "smart set" — and a very motion-pic-
turish smart set, here. It gets its name
from an old darky story that the Creator
made people without brains, went away, and
forgot to come back ; the people walked off
—and the darkies always call high-falutin'
Deople "WalkrOffs." May, as Kit Ruther-
ford, is one, but she finally agrees to stay
put and love a young Lochinvar with lots
of money. Emory Johnson plays that part,
and we wish he might be seen more often.
Darrell Foss is good as Schuyler Ruther-
ford; Joseph Kilgour impressive as usual as
Murry Van Allan — such an exquisite name
for a society heavy I The Hattons are great
satirists and the screen has somehow never
been able to reflect their philosophy.

THE RIGHT OF WAY— Metro

It is extremely doubtful if this most ex-
cellent transcription of Sir Gilbert Parker's
novel will ever be popular. It is heavy, slow,
and it has an unhappy ending — Parker's own
ending. But it is one of the most thought-
ful things that has ever emanated from a
studio, and certainly it is one of Metro's
most faithful film adaptations. It brings
Bert Lytell as an actor of surprising force.
I knew Lytell could act — but I never sus-
pected him of such dramatic discrimination
and reserve. As Charley Steele, the brilliant
but inebriate young English-Canadian law-
yer, with his supercilious, blasphemous view-
point, his monocled indifference, he is a new
Lytell. Rather, he is not Lytell at all; he
loses himself absolutely in his character.
Long scenes with him alone on the screen, are
neither tiresome nor unconvincing. There
are no fireworks. Jack Dillon's direction
was never sensational but always logical.
Antrim Short is Billy. Leatrice Joy, a com-
parative newcomer, is sweet and sane as
Rosalie. And the guide of "The Blind Hus-
bands," H. Gibson-Gowland, contributes a
real characterization as Joe Portugais.

THE LUCK OF GERALDINE LAIRD
— Robertsori'CoIe

We may have called "The Pinnacle" "Blind
Husbands"; we lent weary assent to the
changing of "The Admirable Crichton" to
"Male and Female." But Kathleen Norris'
"The Luck of Geraldine Laird" remains "The
Luck of Geraldine Laird" in these pages.
What do you suppose they re-christened it?
"Woman and Wife!" Seemingly forgetting
that a Select version of "Jane Eyre" done by
Alice Brady masqueraded under that very
title. This brings back the old Bessie Barris-
cale of "The Cup of Life," in a big-time
story of small-town life. Not since her
Ince-Triangle days has she had a better
vehicle. Not even the stilted posing of
Niles Welch could spoil it. Its psychology
is that of the people who read the papers
but never believe that "such things can really
happen"— to them. The director could

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The Shadow Stage

(Continued)

hardly have done better if his name had
been Tucker or Dwan or Powell or Frank-
lin. Kathleen Norris and Bessie Barrbcale
together provide a one-hundred per-cent
woman appeal.

THE BLOOMING ANGEL— Goldwyn

A nice little picture. Particularly if you
happen to be one of those who consider no
Thursday evening complete without the Sat.
Eve. Post. If so, you will enjoy seeing onei
of your favorite romances brought to life I
by Madge Kennedy, who is a delicious far-
ceuse if there ever was one. The story by
Wallace Irwin has been pretty faithfully fol-
lowed and while it isn't nearly so funny in
pictures, it is bright, and then there is al-l
ways Miss Kennedy. We like her new coiffure.
Pat O'Malley, remembered from old Edison
days, plays Chester Framm. Margery Wil-I
son is Carlotta, the scholarly, behind hugh
tortoise-shell-rimmed glasses. The elephant
wasn't a bit funny. Why aren't elephants
ever funny in pictures?

ON WITH THE DANCE—
Fitzmaurice-Artcraft

Here is a picture we have been waiting
for. It is a picture of New York. The
story — and there is a story — is a melo-
drama, curiously lifelike. It's too long to \
tell. Ouida Bergere made the scenario from'
Michael Morton's book, providing the back-
ground upon which Fitzmaurice built his^
glittering panorama. This is a Fitzmaurice-
Star production, and makes one wonder
why no producer has ever thought to rec-
ognize Fitzmaurice's talents before. This
Irish-French maestro has made it at once
a pageant of our greatest city, and an inti-!
mate drama of personalities. He has a
satirical, yet kindly philosophy; and he!
really does understand men and women.
There isn't an inch of excess footage in this;!
it is crammed with color and vivid sets, —
you can fairly see colors in Fitzmaurice's!
black-and-whites — logical and yet melodra-
matic action, and acting. David Powell's fine
sensitive delineation of Mr. Peter is as good
as anything that has ever been done on the!
silversheet. Alma Tell, sister of Olive, is a
womanly Lady Joane. Mae Murray does
her best work as Sonia, the sensuous little
Russian dancer; she is Sonia. Don't be
fooled by the advertisements; it isn't Mae's
dancing you'll stake to see; it's her acting.
And — just watch Fitzmaurice!

STARVATION— Fred Warren

"Starvation" has many, many reels and!
titles calculated to infer that the picture
will show how Mr. Herbert Hoover, w'th
the co-operation of the United States, has
been feeding a starving, wartorn Europe.

The picture, decidedly a compilation and
not in any sense a production, is made up
of scenes dealing with the unloading of
food ships, soup kitchens, emaciated hungry
people, executions of Bolshevist persons bv
German authorities and views of some prom-
inent public buildings in European capitils-
The "punch" at the end shows two prison-
ers compelled evidently by the Russian Bol-
shevists to climb the gallows and ban;;
themselves. The picture is calculated to
make you want to help feed the starving
nations. It very likely will.

OTHER MEN'S SHOES— Pathe

Many directorial roads for some time no
doubt will lead from "The Miracle Man."
Whether Edgar Lewis in making his first
Pathe production was conscious of it or
not, one feels that he took his cue for a
great many of the incidents of "Other Men's

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Photoplay Magazine — Advertising Section

The Shadow Stage

(Concluded I

Shoes" from that established success. One
of the great d'fferencos in the pictures is,
though, that "The Miracle Man" never sank
into mere sentimentality, — unless perhaps ior
a moment at the end. Mr. Lewis' pic-
ture drips with it. He hangs a bit of it on
every possible peg. Nevertheless, "Other
Men's Shoes" will appeal to very many, es-
pecially to the sort of ladies who dote on
ministers— for the hero is a handsome cler-
gyman. And since the minister develops
from a coward into a person of punch and
virility, commanding the respect of his con-
gregation, men will like it. The catch in
the picture is that the strong, aggressive par-
son and the weak-willed one are two distinct
persons. Craufurd Kent plays the dual role
of the clergyman and his weak brother. If
you don"t mind slush, go to see him.

TREASURE ISLAND— Fox

This is not your "Treasure Island'" — the
one you have read and re-read these many
times. There could be only one "Treasure
Island," of course. This Artcraft picture is
Maurice Tourneur's "Treasure Island." He
has maintained much of the charm of Robert
Louis Stevenson's magic words in the atmos-
phere of the picture. But the plot — aside
from a general semblance to that of the
classic pirate story — is Mr. Tourneur's own.
It might be said that he has been very free
in his translation of "Treasure Island" from
literature to the screen. It is Mr. Tourneur's
version which suffers. He has juggled the
plot and has introduced a great deal of
action of his own — some of which is very
ingenuous. But in attempting to paint the
lily, he has cheapened it by more than one
tawdry stroke. Nevertheless he has made
a very entertaining story of a hunt for
buried treasure.

Tourneur's reputation is largely based on
a genius for artistic detail. Except for
occasional slips, his genius works wonders
in this picture of old England, pirates,
sailing vessels and powdered wigs. Such
scenes, such sellings, such a Jim Hawkins!
Where is there a player of boy's parts who
could have endowed the role of Jim with
such a delightful, fiercely boyishness as
Shirley Mason? The director's choice of
Miss Mason for the boy here, might be
called another inaccuracy in the translation,
but it is one we do not mind. Heaven
forbid a motion picture production with-
out a woman. Charles Ogle, as "Long John
Silver"- — a considerable tamed and much less
changeable and oily villain than the original
due to the change in plot and limitations
of the screen, — is another candidate for
honorable mention — as was the entire ad-
mirable cast.

THE BEGGAR PRINCE— Ha worth

Some producers just can't be happy un-
less they have a mythical kingdom or two in
a current production. You would think
they had run out of real-life stories, whereas
they have scarcely sampled them. It .seemed,
to me to be really too bad to waste Sessue
Hayakawa, lavish settings and good scenery
on such comic-operatical material as this.
] It's called a fantasy, and if a fantasy means
i a jumble of far-eastern islands with cruel
princes and poor but noble fishermen and
lovesick grand viziers' daughters and beauti-
ful net-menders' daughters — then this is it.
Hayakawa plays two parts: that of the cruel
prince and the fisherman, Niki. They ex-
change roles so that the prince may learn
true contentment in poverty and Niki may
reform the kingdom and go back to his
nets. Chubby little Sosad, who loves the
prince, is Thelma Percy. Eileen's pretty
younger sister. Beatrice LaPlante plays
Olala, Niki's sweetheart.

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Polly of the Storm
Country

(Continued from page 85)

Feeling under the circumstances that she
must promise something else, Evelyn said
that she would try to persuade Marc to let
Polly and little Jerry go to see Daddy Hop-
kins— that Polly might have any one of her
dresses that she wanted. She could come
and select one that night.

Polly got her dress — but she also received
a note after she got home from selecting
the gown saying that Evelyn could not ar-
range the trip. So Polly decided to take
things in her own hands.

When Evelyn Robertson and her mother,
with Robert Perceval and Marc McKenzie,
seated themselves in the drawing room on
the Auburn coach the following day, they
did not guess that snugly tucked away un-
der the seats in which they sat were a curly
headed girl in one of Evelyn's gowns cov-
ered with a man's rough coat, and a little
boy wrapped in one of Granny Hope's old
shawls.

They would not have found it out at all,
in every probability, if a heavy boot had
not come in contact with an acquiline nose.
There was a short exclamation from above,
and Polly Hopkins, in agonized embarrass-
ment and quantities of dust was dragged
into view. She proclaimed her right to go
see Daddy Hopkins. McKenzie said she
was a thief — stealing a ride. Mrs. Robert-
son brought forth evidence that the girl
wore one of Evelyn's dresses, stolen without
a doubt. Evelyn, though Polly looked at
her beseechingly, did not deny the charge.
And there Polly stood, in utter, abject mis-
ery until Robert Perceval said that he would
stop the train and take her home. They
were still in the outskirts of Ithaca. The
conductor complied willingly to Bob's request
to signal the engineer on sight of a green-
back. The women gladly stepped aside while
Pollyop fished out wee Jerry from under
their seat, and the weird little couple dashed
after Robert and out of the train.

"Try and be good," Bob said to Polly
almost savagely as he rowed her across the
lake. It was a long time before he finished
his sentence, "because — I — I — love you."

Shortly after the marriage of Evelyn Rob-
ertson and Marc McKenzie took place.
* * *

Then came the moment that crucified the
loving heart of little Pollyop Hopkins and
left in its place only hate and loathing for
any but her own people.

Marcus McKenzie did what he had long
threatened to do — though Polly knew noth-
ing of his threats. He took away wee Jerry
to a children's home.

And with that all her sweetness died
within her. Her face grew sullen.

The night before Thanksgiving Larry
Bishop and several squatters dropped a
heavy bundle on Polly's bed.

"We had a hell o' a time gittin' her,
Poll," Larry said. "But there she air."

"Scoot out and keep watch," the girl
commanded. Polly leaned over and untied
the wrappings of the bundle on her bed and
exposed the pale, terrified face of Evelyn
McKenzie. She was bound and gagged, so
she could neither move nor make a sound.

"I'm goin' to kill you," Polly gloated
savagely. "You lily-livered — " apparently
she could find no name to express her con-
tempt for the woman before her, so she
did not try.

"Marc McKenzie's in the town lookin' for
his gal," came Larry's voice from the door.

"Come in," Polly invited, "come in, an'
we'll laugh at him when he comes here till
our sides split."

"I guess the squatter people know how
to pay their debts," hissed Polly as she

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Polly of the Storm
Country

(Concluded)

covered Evelyn's body with pillows and laid
down beside her in bed.

McKenzie came into the house. Grief had
left his face white and drawn.

"My God," he said, "my wife's gone. She's
gone. I want you to help me. I'll pay you
for it"— what a different McKenzie !

But Polly and Larry only laughed cruelly.
"Maybe your woman's freezing in the snow,"
suggested Polly heartlessly. McKenzie left the
house frenzied, followed by harsh laughter.

"You're going to die," Polly kept repeat-
ing over when Larry had again gone out,
and she lifted the covers that hid Evelyn
from sight. "But I'm going to tell you some-
thin' before you do. D'ye hear?"

Then Polly told the story of Larry Bishop
and his wife and babe, of Daddy Hopkins
and wee Jerry and herself. "Now you see,"
she said, "you're the one thing that can
hurt ol* McKenzie like he has hurt us — an'
you're goin' to gpt it. Maybe old Marc
won't be so mean to us for a while."

For many weeks now, Polly had kept a
coat hung over the picture of the greatest
mother in the world which Robert Perceval
had given her. Tonight old McKenzie had
brushed against it, and the coat lay in a
heap. As Polly glanced about the room her
eyes became riveted on one spot. There
from the wall the great sad eyes with their
message of love looked straight into hers.
Against her will, the picture of the slim
straight boy who had called her "the littlest
mother in all the world" swept into her
heart for the first time in days and days.
Then old memories, old emotions, old sensa-
tions came flooding back. She went closer
to the pleading mother and stood looking at
her for several moments. Then she turned
back to Evelyn McKenzie and took off the
ropes which bound her.

"I'm going to take you back to your
man," she said simply. And she did — on
Daddy Hopkins' old sled, up to the great
house where light poured forth from every
wi.idow.

At the door Pollyop turned to go, but
Evelyn McKenzie pulled her into the library
where Mrs. Robertson and Marc McKenzie
sat in agonized silence.

"I was going to kill her," said Pollyop —
the old Pollyop always ready to take the
blame.

From her place in her husband's arms,
Evelyn told her story, and for the first time
in her life, she told the entire truth.

Finally Polly thought she must be going,
but Evelyn would not hear to her staying
alone in her shanty overnight.

"Marc, you go with her and bring her
back," she asked, "and mother, bring down
my fur coat and hat — Polly must be warm."

When Marc McKenzie and Pollyop ar-
rived at the Hopkins shanty, a bright light
streamed across the snow to welcome Chem.
Polly's heart stopped beating at what she
saw inside the window. There, against the
wall, stood Robert Perceval, and opposite
bim was Daddy Hopkins with wee Jerry on
his shoulder.

It was not easy for Marc McKenzie to
enter the little place and admit that he had
been wrong — but he did so. And when Daddy
Hopkins and wee Jerry and Pollyop had
hugged enough, and kissed enough and wept
aiough, and when Marc had repeated the
story from beginning to end that Evelyn had
taid, Bob Perceval reached out his arms and
d«Ew a shiniiK Pollyop to his heart.

then she ftiought, did Pollyop, that this
was Thanksgiving time, and they had much
to be thankful for.

•granny Hope said 'Love is stawnger'n
hate,' " said Pollyop, "and she was right."

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Mary, the Well Beloved

(Continued from page 2q)

straight hair pulled back grotesquely, the
children stood around and gazed from one
to another of the ,players. They had been
expecting their Mary, but did not recognize
her. Finally Miss Pickford singled out a
diminutive cherub intimately known as
Mousie, an especial favorite of hers, and
picked the baby up in her arms.

"Dat id /ooMawy Pitford," Mousie de-
clared emphatically. You couldn't fool her
with any kind of makeup.

For more than half a century this insti-
tution has been caring for orphans, for
thirty years the present building has tow-
ered above the city upon one of its high-
est hills, for si.x years the present Mother
Superior, Sister Cecilia, has been watch-
ing with deepest love the welfare of the
flock, and the live last years, since Mary
Pickford has taken a personal interest in
the children, have been the golden ones
in the history of the home. What has she
done? Ask rather what she has not done.
She has had a hand in all matters that have
contributed to the happiness of nearly three
hundred children, ranging from toddlers to
girls who have been taught some trade or
profession and ready to go out into the
world and be selfsupporting. Not only has
Miss Pickford herself contributed to these
things but she has interested other mem-
bers of the California moving picture col-
ony.

It is -a little thing, perhaps, that the chil-
dern in this institution are not garbed uni-
formly. Little, but how big to the tiniest
girl, the bow in whose hair is a little dif-
ferent in shape or size or color from that
of her playmate. Nor are gay colors barred
nor laughter nor any of the merry din of
childhood.

It is a little thing, perhaps, that the chil-
dren are not all herded into one huge din-
ing room for their meals, big, . little and
medium at long tables like rabbits in a
hutch, which is the customary way one
imagines the eating arrangements at such
places. The littlest ones have a little room
of their own, with little tables, ?rom one
right close to the floor for the babies, grad-
uated upwards. .\nd in other rooms are
served the larger girls and the girls who
are neither little nor big but just in be-
tween. Moreover, illustrating the thought
which is expended to make the children
feel that they are not just peas in a pod,
these small tables are not arranged in long
rows in mathematical regularity, but there
is a carefully studied disarrangement, break-
ing the long monotonous lines.

And there are books from which the good
Sisters read to little rapt audiences, and
hours of play in the sunlight, and wash
basins set close to the floor where the tiny
ones can paddle to their heart's content
and make toilet time a merry occasion, and
the little hospital room, happily seldom oc-
cupied by anything more serious than a
■'tummy ache" or case of mild sniffles.

Into all these corners of this hospitable
home for homeless babes the presence of
Mary Pickford has crept, and the love that
ihe has given has been poured back upon
her a thousand fold.

■'She never forgets anything,'' said Sis-
ter Cecilia. 'One day when she came to
call on us she noticed that I was looking
a little glum, and asked me what was the
matter. I told her I had just received no-
tice of an assessment for street improve-
ment, $3,700 we were required to pay. I
did not know where the money was to
come from. T'll take care of it,' she said.
A few days passed and I thought perhaps
she had forgotten, because she is so very
! busy. But soon I heard from her about
I it. She was organizing a benefit perfor-

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Photoplay Magazine — Advertising Section

117

Mary, the Well Beloved

(Concluded)

R
Y

rnancc at once of the Los Angeles theatres,
; and sure enough, we received our badly
I needed money."

1 And there was, among innumerable other
incidents of Mary Pickford's interest in
these children, the most wonderful picnic
that ever was — all arranged by Mary her-
self. It was away olit in a beautiful spot
in the foothills of the Sierra Madres —
first a ride on the interurban cars, and
then automobiles to
their destination.
And there was a
band and a regular
outdoors festival of
every imaginable
dehght. But guess
what was best of
all. Mary was
there too. And it
cost her something
to be there. She
was in the middle
of a picture and the
people who insist
that p'ctures must
be made by ;t cer-
tain date were

hurrying and hurrying, so it was impos-
sible for Mary to be with the children all
day. So she had things arranged in such
a way that she could be absent from the
studio for three hours in the middle of the
day, and by defying all the speed laws
managed to motor to the picnic, spend an
hour with the children, and get back on
time. How easy to give checks, when you
think of this little woman, every energy
needed for her work, finding time and
strength to give a few poor orphans a lit-
tle hour of joy I

When Mary was making "Daddy Long-
legs" she used the Orphan Asylum for the
childhood scenes. One of the children was
quite ill at the time, but seemed to im-
prove considerably while Mary was with
her, for the hospital ward, when it has
any occupants, is one of her first interests.
When she had left, the child, half delirious,
cried for her to come back, and she did
so. While she held the baby's hand it
slept and rested comfortably, but the in-
stant she tried to release herself the baby
woke. And so she sat there, ate her din-
ner with one hand, and finally, aided by
the sisters, made herself as comfortable as
possible and slipped beside the little patient
remaining there all night. In the morn-
ing the baby was almost recovered.

Stop a moment, you who think of the
movie stars as devoting their nights to
hilarious gaiety, their only thoughts in the
hours when they are not working being

The children also sing to the melody of
'The End of a Perfect Day" these words:

is for Mary, the children s friend
and the friend of the soldiers too
for the ardor with which she has served
our glorious "Red, White and Blue"

for the Rosary we whisper for her
in the tranquil hour of prayer,

for the years that ■we hope she w^ill
live scattering love everywhere.

of vast extravagances! Picture this scene —
the highest salaried woman in the entire
world enduring a night of discomfort —
merely because a baby cried when she took
her hand away. You who have wanted
to know why Mary Pickford is a great
favorite and why her popularity never
wanes — can you not see in this little story
some clue to the mystery?

It would be unjust to many other gener-
ous persons to leave
the impression that
Mary Pickford is
the sole support of
this great institu-
tion. There are
several other screen
notables interested
likewise, but ss one
of them said, "What
all the rest of us
do isn't a patch to
what Mary does—
not a patch." But
just the same — we
were compelled to
swear not to divulge
these names — a cer-
tain genial Irishman who recently has been
elevated to stardom by Lasky, and a certain
other genial Irishman who used to be a
director but who is scoring a greater success
as leading man in Allan Dwan productions,
and still another genial Irishman who has
long been one of the chief funmakers in
Mack Sennett comedies — these three for
example provided one of the most glorious
Christmas trees that ever was for the delecta-
tion of the orphans. There was a stocking
for every one, with her own name on it, and
the tree was lighted with hundreds of little
incandescent lights and flying birds and silver
streamers, 'neverything. And the same lads
sent over more turkey than the whole lot of
them could eat, 'neverything. And one of
them — the Mack Sennett one — played Santa
Claus. And Fatty Arbuckle has promised
to go over and play with them one day soon.
'Neverything.

But that sacred little shrine which every
girl cherishes in her heart as the place where
she keeps the thoughts of the best beloved
of all, is Mary's own, or perhaps Mary
shares it, as she would wish to share it,
with Sxiter Cecilia with her kind smile and
her "God bless them, who could live with
them and not love them?" And in their
dreams — I am not of the Church and I
hope this is not irreverent — I believe that
the Madonna with the Blessed Babe, and
Sister Cecilia, and Mary, all look very much
alike.

A Distressing Result from Reading Too Many Subtitles

By Harcourt Farmer

rjlHAT Night" "While All Is Still", "And So It Goes"; "Life Dances Down the
_£ "She Keeps Her Tryst

"He Waited with the Papers" "In
the park" . . . ;
"The Hand of Fate Gives Life Another
Twiit",
"Her Truant Spirit Slips into the Dark."

Street";
"What Does it Matter if the Child is

Spared?"
The Morning Glories Smile and Roses

Greet" . . .
"And So, as Hours Sped By, Angela
Darrd"

"Their^ Little Child", "A Gleam .of Saving ..j ^^ ^^^ ^^^^^ ^^^^^^^ ^^^^ you

Mean ..."

Sense'
"The Touch of Goodness" and the other

stuff ;

"I Cannot be Your Lover, But Your
Friend I r

•Give Me a Thousand Kisses" "And— Ten "Oh, Miss Carruthers, What— What— Might
Cents"— Have Been!"

"His Grasp was Brutal," "She Recoils"
"You're RoughV

"And Now I'll Tell You Everything"
. . . "The End"

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Photoplay Magazine — Advertising Section

They Both Came Back

(Concluded from page 33)

"You're Afraid"

"I am 'f afraid."
"You are."

I ain't.'
You are."

What would have happened next if you
were a boy ? A frightful mix-up. With
the calm unreasonableness of youth
these two boys fought without even know-
each other — just as you have fought many
a time — just because vou couldn't help it.

MARK TWAIN

2S Volumes

Perhaps you think you have read a good
deal of Mark Twain. Are you sure? Have

you read all the novels ? Have you read all the short
Slorics? Have you read all the brilliant fighting essays?
— all the humorous ones and the historical ones?
Think"of it — 25 volumes filled with thtj laughter
and the tears and the fighting that mad*- Mark
Twain so wonderful. He was a bountiful giver of
joy and humor. HeVas yet much mf>re,
for, while he laighed with the world,
his lonely spirit struggled with the
sadness of human life, and «ought lo
find the key. Beneath the laughter is
a big Iiuman soul, a big philosopher.

Paine*s
Life of

FREE-

MARK TWAIN

4 Volumes

ft happens that we have a few sets
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Photoplay Magazine — Advertising Section

The Toll Gate

{Continued from page 40)

suffering. But Mary Brown was not asleep.
She hadn't been. She had faith and trusted
this man, but when he moved toward
her bed she sprang up in a crouching
position, badly frightened, but still brave.
The m^'s hands went to the lapels of his
coat; his face was set in merciless, blackened
cast of revengeful thought; he was a black
shadow of vengeance.

"I'm still trusting you," she said, with
unmistakable faith shining in her upturned
eyes. Man-killer and outlaw was held by
that which he could not dominate, — the
square streak in himself. Slowly, the danger
passed. Black Deering's soul became white.
He turned from the girl and passed slowly
to the door, bestowing one last glance at
the "little feller" sleeping beside his bow.
The Biblical quotation still burned in the
mind of the outlaw; he opened the door,
quickly :

"Roll out, boys," he called, "I ain't Jim
Brown. I'm a liar. I'm Black Deering."

Suiting the action of his word the outlaw
presented his guns butts first to the astounded
Sheriff, then he handed over the money he
had taken from "The Ace." Facing this para-
dox of bad men, the Sheriff looked upon a
man who had fought a terrific fight with
himself — and won, — and admiration showed
in the officer's face, as he told Deering:

"They may call you Black Deering, but,
by God. you're a white man."

At this juncture, the cabin door was flung
open and one of the posse staggered in,
badly wounded. He was a messenger.
"Jordan's gang's got the boys cornered," he
explained, "an' if we don't get there before
them Mex's" can see to shoot, they'll be
wiped out in half an hour." Before the
deputy succumbed to exhaustion, he warned
the men that if they didn't reach the rest
of the posse by dawn the trapped men
wouldn't have a chance. Leaving two men
behind to care for the wounded deputy,
and to guard the prisoner, the Sheriff pre-
pared for fight. ,

One wish burned in Black Deering's
heart. He knew his life was forfeit but
he wanted to get Jordan before he died.
"Sheriff, I'm goin' to the rope; give me a
chance to die like a white man," he pleaded.
"It's white men that are in danger. Give
me a chance to help pull them out." The
Sheriff was hard up for fighting men and
he knew how Black Deering could fight.
"I've never been any good and I don't know
nuthin' but how to handle a pair of guns,
but Sheriff, I can sure do that," continued
Deering. The Sheriff looked into the out-
law's face and was convinced. He would
play square. His manner of saying was to
hand back Deering's guns, turned his back
and led his men out the door. With great
relief the outlaw slid the guns back into
his holsters, and as he followed, Mary Brown
stood in her bedroom door. He hesitated.

"I'm hopin' you'll try to think I ain't all
bad," he ventured, and the girl, her lips a-
tremble, with tears welling in her eyes, re-
vealed the pride and trust she had in him.
Silently he kissed her hand and was gone.

Dawn found a few desperate men waiting
beside a smoldering campfire among their
rock refuge for the rush that meant the
end. With the word from Jordan the
Mexicans came on them fast. The posse and
Black Deering arrived on the cliffs above at
the same time. The Sheriff took his men
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attackers off, but the outlaw took a short
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rodis, alighting in the little group. Under
the outlaw's leadership they rallied desper-
ately and attacked the Mexicans with a fury
that demoralized them. Superior numbers
were telling, however, when the Sheriff and

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PlIOlOPLAY MvCAZIXE — ADVERTISING SECTION

121

The Toll Gate

(Concluded)

his men fell upon the Mexicans from the
rear. The fight was soon over.

Like the rat he v/as, Jordan deserted
his men and made his getaway on a fast
horse. But one man saw him go — and that
man was Black Deering. He left the fight
in pursuit. A member of the posse attempted
to stop him with rifle, but the Sheriff
struck it aside. "He'll come back," he
promised.

In the running gun fight which ensued
between Black Deering and Jordan, the
latter was brought to bay when his horse
fell under him. The rat was cornered. This
was the reckoning and the craven Jordan
cowered in the face of death. Before the
■"Judas" stood a grim avenger of justice,
who tossed his gun away in contempt, and
spoke in the cold measured voice of an
executioner:

"I'm goin' to kill you, Jordan, for two
reasons. One of 'em yoii know, and the
other I reckon you'll never know."

Jordan begged for his life, then treacher-
ously drew a knife, but like a great panther
Black Deering leaped upon his prey, his
great hands clutching eagerly. A little later,
the buzzards circled over some carrion laying
in the bottom of the canyon.

Back with the posse. Black Deering again
handed in his guns. There was no word
spoken. These men were alike — e.xcept that
one was the law and the other the outside.

The North Trail began at the Utile cabin.
Black Deering approached Mary Brown and
the "little feller" who had prepared to go
with the posse. They both knew and under-
stood what was in each other's hearts. They
also knew that the man was going North to
his death.

"We're all goin' the same way," he said,
"Let me carry the little feller." But the
Sheriff and his men had reached an under-
standing. "Deering, we ain't all goin' the
same way," said the Sheriff as they faced
each other. "We're below the Mexican
border line and I can't take you.'' The out-
law stared at the Sheriff, scarcely under-
standing. The girl realized the other's mean-
ing first and a glad light came into her eyes.

Apparently without the slightest friend-
ship the Sheriff stated: "As long as you
stay South of that line, you're safe, but
don't cross it, Deering, for my sake." The
outlaw's eyes traveled off toward the hills.
The Sheriff's words meant life and freedom,
and the girl was looking up at him with
her heart in her eyes.

Black Deering felt a tug at his boots; he
looked down upon the "little feller" — and
Mary Brown faced him, confusedly. "Th.-
little fellow wants to go with you,'' she
struggled, and suddenly the words came in a
great sob — "and — and — so do I."

Mary's words hit Black Deering like an
electric shock. The greatest thing that had
come into his life had been offered him,
pnd yet he was held back by many barriers.
He had killed her husband, he was an outlaw
without a home, he was going to a country
that was no place for a woman. He knew
he must go alone. There was love in his
eyes and love in her eyes as he told her very
gently: "The Sheriffs goin' to see that you
get to your own people — that's best. An'
down there is no place for a woman an' a
kid."

He realized he was hurting the girl deeply,
but he could not help it. Suddenly leaning
forward, with the greatest reverence, he
kissed her. Then he caught up the "little
feller'-' and hugged him tight in his arms for
a second. Black Deering, outlaw, mountel
his horse quickly, his hand went up in a
good-bye salute to the Sheriff and the posse,
he whirled his horse toward the border and
was gone.

Joa-

OLAXAA crt^vJi^ -4<5^Cfi, ^trurhj^,

Up to the present time it has been almost
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This unusual powder is called La-may,
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St., New York. Save this notice.

For SO Cents

You can obtain the next three numbers
of Photoplay Magazine, delivered to you

by the postman anywhere in the United States.
(Canada 65c.) This special offer is made as a trial subscription. AKso it will avoid the old story of
"Sold Out," if you happen to be a little late at the news-stand. Send postal order to Dept. 17-D.

PHOTOPLAY MAGAZINE, 3SO NORTH CLARK STREET. CHICAGO. ILL.

OSOJO^

Comics. Cartoons. Commer-
cial. Newspaper and Masa-
zine Illustratinf;, Pastel
Crayon Portraits and Pash-
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list of successful atiidcntii.
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Kill The Hair Root

My method 18 the only way to prevent the hair from grow-
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When vou write to adve tlscrs please menfon PHOTOPLAY MAGAZINE.

122

GLORIA bWANSON
Cecil B. DeMUlii Arlrra/I I'hiu.

WALLACIi KKIIJ

I'ai mununt Star

Photoplay Magazine — Advertising Section

! Questions and Answers

(Continued jrom page 76)

W. O. G., Worcester. — They say — al-
though I have never met the lady, therefore
cannot give the report credence — that Phyl-
lis Haver's audible giggle is even more di-
verting than her optical glances. I hope
j Phyllis never deserts Mack Sennett and me,
] to go in for that horrid dressed (up) drama.
She is awfully young, apparently and really;
and you may write to her at the Sennett
studios on the west coast. She and Louise
Fazenda are the best of friends. I'm stronger
than onions for Louise, myself.

Hermo "Hair-Lustr"

(Keeps the Hair Dressed)

FOR MEN AND WOMEN

The hair will stay dressed after Hermo "H AIR-
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Two Sizes — 50c and $1

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HERMO CO., 542 E. 63rd St.. Dept. 14. CHICAGO

Yes, It's True —
You Know It's True

"There's only one way to secure a
satin skin; Use Satin Skin Cream
and Satin Skin Powder." Modern
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E. F., Washington. — I never received the
one very small piece of almond cake and one
rather small piece of fruit cake. But it
makes. my mouth water to read of them and
I wish, if possible, that you would send me
a detailed description of each crumb, so I
can mourn over what I've missed. Thanks
for wishing me new patience for the new
year. I need it.

Inquisitive Peggy, Vandergrifts, Pa. —
It should be Piggy. I never saw anyone
so greedy for information — and I have been
an Answer Man lo, these many years. Shir-
ley Mason and Viola Dana share the family
name of Flugrath. But they selected their
present nom-de-plumes as being more eu-
phonious. Viola is a Metro luminary; small
Shirley a Fox featurette. The latter's first
new picture is "Her Elephant Man," with
Shirley not in the title role. Julian Eltinge
is very much alive ; he is still impersonating
beautiful women on the stage. Your other
questions are rather silly, don't you think?

Anita Stewart Admirer. — Some one once
said a play is like a cigar: if it's good, you
want a box; if it's bad, no amount of puffing
will make it draw. Could I tell you how to
get a book published? Yes — write a good
one. House Peters in the Harry Garson pic-
ture, "Silk Husbands and Calico Wives."
We have had a story about him lately.
Others already answered.

H. B., Taylor, Texas. — You say I am so
ugly to you. I don't see how a good looking
man can be ugly to anybody. You say, too,
that you might as well have addressed your
last letters to "Santa Claus" as to the An-
swer Man, as I never answered them. I'm
sorry; so I'll answer everything you ask
from now on, including this time. Theda is
not dead. Norma Talmadge is Mrs. Joseph
Schenck in real life, the wife of the theatrical
and moving picture manager. Constance is
never in one place long enough for a mere
man to propose to her, much less slip the
ring on her finger. As to your last ques-
tion: "Why don't you ever come to Texas?"
I never saw any reason why I should come
to Texas — before.

Cecil Iler, Vancouver, B. C. — So you
knew Wallace MacDonald while in training
at Halifax. He is a nice chap, lives in Los
Angeles at that city's Athletic Club, and has
played opposite Anita Stewart, and other
feminine stars. Not married. Wallace Reid,
Lasky, Hollywood. His latest is "Double
Speed," Cullen Landis in "The Girl from
Outside." Landis is coming along rapidly.

Peroxide Blonde, Mo. — Norma Talmadge
is twenty-three. She was married in No-
vember, igi6, to Joseph Schenck. Constance
is rumored to be engaged but not to the man
you mention. Theda Bara is not in pictures
just now. Look elsewhere for mention of
her. I'm not certain about how many let-
ters I receive a day, but I do know that the
mail men on my route have become stoop-
shouldered. Am I married? Oh, I'd rather
not tell!

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Photoplay Magazine — Advertising Section

Questions and Answers

(Continued)

Jinny, Austin, Texas. — You ask if I am
in love with my stenographer, implying that
it would be interesting if an Answer Man
might love an up-to-date amanuensis. I am
not, but I might. And I don't think you are
rude, aa you happen to be a. stenographer your-
self. Ormi Hawley hasn't been do-'ng much
picture work in the last year. Florence Law-
rence has been retired for some time; she
lives over in Jersey. I "got" "For Husbands
Only" as a satire essentially; I wasn't able
to make any character definitions. It was
all de'icious to me. Fred Goodwins, now in
England producing comedies, was the hus-
band; Mildred Harris Chaplin the little wife,
with Lew Cody holding all male vamp hon-
ors.

123

Clare, Algiers. — I have never been prop-
erly impressed by the motion -picture Man-
hattan. To me, Sixth Avenue is always
more interesting than Fifth, while the Bow-
ery is ten times as fascinating as Broidway.
Bebe Daniels' real name is — Bebe Daniels.

C. M., Chicago. — If I were you, I should
■weigh my opinions before committing them
to paper. Nothing looks quite so sick as a
half-baked opinion, done in black-and-white.
Mary McLane's half-baked potatoes had
nothing on it. By the way, what's become
of Mary? Or, to be picture-correct, what's
happened to her? Dick Barthelmess, Griffith
studios, Mamaroneck, N. Y. Mary Pickford
is and always has been The First Lady of the
Films, in my humble estimation.

Gunner's Wife, N. Y. — My wit, what
there is of it, comes quite naturally. If I
carried a pad and pencil around with me,
as you imagine, jotting down all the clever
things that occur to me while riding to the
office — or walking occasionally to save car-
fare— I'd bring home a blank paper. Clever
things never occur to me. Always, I am
afraid, to the other fellow. You would be
very much disappointed in me; I am as wild
as one of the poets of Saffron Park and as
exciting as an evening at home with the
Sat. Eve. Post. Tom Mix, our rough west-
erner, may be reached care Fox.

Genevieve M., Erie, Pa. — No, no — the
true test of devotion comes with the Christ-
mas bills. If instead of showing the future
son-in-law the family album some mother
•would show him the daughter's bills, there
wouldn't be so many coos. I have heard it
rumored that Dorothy Gish has a sister,
Lillian. Mary Pickford is said to have a
brother Jack, and report has it that Norma
Talmadge has a sister Constance. Charles
Ray is. married, to' a non-professional.

Kathleen, Brooklyn. — You can't bore
me with a short note. Short notes, however,
usually lead to long ones. Then is the time
for apologies you don't really mean. I don't
read Victoria Cross — at least, not often ; the
only Cross I know is Charing. So I must
have missed her masterpiece, "Five Nights."
Will you always catch me up on little things
like this?

Margaret O. C, Washington. — You and
your brother, above, have entirely too much
curiosity for one family. At that, you go
him one better, exercising your feminine pre-
rogative for wanting to know nothing but
the truth. Conway Tearle is with Garson.
Tom Moore, Goldwyn, Culver City; Elame
Hammerstein, Selznick, West Fort Lee, N. J.;
Eugene O'Brien, ditto Hammerstein. Hope
you get so many pictures your mother makes
you throw most of 'em out. (Of course
I don't really mean that.)

(Continued on page 125)

A Brighter Future

for

Stenographers

You Too, Can Earn

$100 to $150

per Month

Typewrite
The New Way

Awonderful new method of ar-nuir
ing speed on the typewritfr Iihr
been discovered. Almost overnigiit
it has revolutionized the whole type-
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or forty words a minute are writing 80 to 100 WORDS, with m-inrarv practically perfect, with infinitely
less etfort than ever before -and they are drawing salaries increased in proportion.

Nothing Else Like It— SO to lOO Words per Minute Guaranteed

The New Way dififere as does day from night from every system of the past. There has never been any-
tliiuK like it hefore. The secret is the use of GYMNASTIC FINtiER-TKAINING EXKRC^ISES. practiced
entirely away from the machine. These quickly make the fingers tlexible. swift, perfectly <ontrolled— tit
them for typewriting. Results are astonisliing. You make speed-gflins in DAYS which ordinary macliine
pra<'tice will not bring you in YEARS. The new syetem is the greatest step in typewriting since the
typewriter itself was invented--alread.\ its success has become nation-wide. Yet the principle is so simple
and reasonable that you wonder why it was never thought of before.

And the NEW WAY is amazingly easy f<»r any one— there are '^nly ten concise leaaona, and they can be quickly completed at home.
Your daily typewriting improvea from the very etart. No mon»-y retained if we fail to increase your speed to 80 to 100 accurate
Words per minute.

Doubles and Trebles Salaries

Among the thousands of operators, who have taken up this new system are hundreds of graduates of business colleges and special
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If you are ambitious to get ahead — if you want to make your work
easier— if you want to put more money in your pay envelope — get
this book at oncf , It will be a revelation to you as to the SPEED and
the SALARY that is now possible to typists. Mail coupon today.

7574 College Hill, Springfield, Ohio

have prepared a 32 page book which tells all about it in detail -

THE TTU.LOSS SCHOOL.

7574 College Hill. Sprinj^tield, Ohio,
(lentlemen: Please send me the FREE New Way
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When you wriie to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

-4'

< 'Jsy^-J'-'^=^

I TreUfMleWHe%ses

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Send two dimes for one fniniature " IVedding Day' '
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/^Indoors or ouit\

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that Cou!^

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Studio
Directory

AJIEBICAN FILM MFG. CO., 6a2r Broadway,
Chicago; Santa Barbara, Oal. (s).

ARTCEAFT PICTUliES CORP.. 485 Fifth Avenue,
New York City; 516 W. .'•.4tli St.. New York
City (9): Fort Lee, N. .T. (9i ; Hollyivood.
Cal. (s).

BLACIvTON PHODDCTIONS, INC., 25 W. 4 5th

St., N'ew York City (9); 42.S Classon Ave.,
Brooklyn, N. Y.

ROBERT BRUNTON STl'DIOS. 5300 Melrose
Ave., Los Angeles, Cal.

CHLiRLES CHAPLIN STXTDIOS. La Brea and De
liongpre Aves.. Hollywood, Calif.

CHRISTIE riLJI CORP., Sunset Blvd. and Gower
St., Los Angeles, Cal.

FAMOUS PLAYEBS FILM CO., 48.i B^ifth Ave.,
New York City; 128 W. 56th St., Niw York
City. (8).

rO.V FILM CORP., 130 W. 46th St.. New York
City; 1401 Western Ave., Los .Angeles (9);
Fort Lee, N. ,T. (8>.

THE FUOHMAN AMUSE.MKXT CORP., 310 Times
Building, New Y'ork City.

(Jor.DWYN FILM CORP.. 469 Fifth Avenue, New
York City'; Culver City, Cal.

THOMAS INCE STUDIO, Culver City. Cal.

LASKY FKATURE FLAY CO.. 485 Fifth Ave.,

New York City: 6284 Selma Ave, Holljwood.
CMl. (s).

METItO PICTCRES CORP., 1476 Broadway, New
Vuik City; 3 \V. Olst St., New York City (») :
1025 Lillian Way, Los Angeles, Cal.

EXHIBITORS-MUTUAL DISTKIBUTIXG tORP.,

1600 Broadway. New Y'ork City.

PATHE i;XCHANGE, IND., 2". W. 45tli St., New
York City; ASTRA FILM CORP., CJlendale, Cal.
(s); ROLIN FILM CO.. 60". California Bldg..
Los Angeles, Cal. (s) .

PARAI.TA STU;DI0, 5300 Mrtrose Ave.. Los Ange-
les Cill. (8).

lif)THACKlli! FILM MFG. CO., 1339 Plversey
Parkway, Cliii'ago, 111. (a).

SELIG POLYSCOPE CO., Western and Irving Park
Blvd.. Chicago (s) ; Edendale. Cal.

SELZNICK PICTURES CORPORATION, Wtst Ft.
Lee, N. J.

UNIVERSAL FILM MFG. CO., 1600 Broadway.
New York City; Universal City, Cal.; Coytesvilb,
N. ,T. (9>.

VITACnAPII COMPANY OF AMERICA. E. 15th

St. and Locust .^ve., Brooklyn, N. Y.; Holly-
wood, Cal. (9).

WHARTON, INC., Ithaca, N. T. (g) .

WORLD FILM CORP.. 130 W. 46th St.,
York City; Fort Lee, N. J. (s).

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1190 Strongfort Institute NEWARK, N.J.

Ask your exhibitor when he is going tf
show the Photoplay Magazine Screet
Supplement — Glimpses of tiie Players in Real lift.

Every advertisement in PHOTOPLAY JIAGAZIXID is guaranteed.

Photoplay Magazine — Advertising Section

Questions and Answers

(Continued from page 123)

Harriett S., Valley City. — Don't be so
sure that I'll forgive you. A woman's for-
giveness is usually forthcoming immediately
if she means to forgive one at all; but a man
— particularly an Answer Man — can cherish
a long, long grudge. Oh, you'd bo surprised.
Did you know how Irving Berlin got his
inspiration for that clever song of his?
Constance Talmadge and her chum Dorothy
Gish used the expression so often that Irving
wrote his own musical version of it. Phyl-
lis Haver, Sennett, Los Angeles; Margery
Daw, Marshall NeUan Productions, Holly-
wood. Miss Daw isn't married; she lives
with her young brother in a pretty bunga-
low; has a car of her own and everything.

lou c&n ea.rn from k\{o^^
\\\ hour in L)ourspAn? time/
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Esther, Iowa. — Is Ben Turpin really cross-
eyed? It's a good thing you didn't write Ben
himself and ask him that question. He is
the only artistic cross-eyed actor in captiv-
ity, and proud of it. He is very funny in
"T?he Star Boarder." Someone said that Ben
is to appear in "The Cross-Eyed Bachelor"
but I have heard, since, that it isn't true at
all. Enid Bennett will send you her pic-
ture, I presume, if you write her pretty, care
the Thomas H. Ince studios, Culver City,
California. Have I found a friend, or made
an enemy?

Toots Becker, Ont. — Douglas MacLean
has never announced his age, but I do know
that he was born in Philadelphia and had a
university training. He is married and may
be reached care Ince, Culver City, California.
His intentions are good about answering his
mail, so with this as your inspiration try
some of your sky-blue ink on him. Address
Dorothy Gish, Griffith Studio, Mamaroneck,
N. Y., and Lila Lee, Lasky, Hollywood.

Violet Kemp, Chicago. — Constance Tal-
madge is not married, though her engage-
ment is buzzed about. Address her Talmadge
Corp., 318 East 48th Street, New York City.
Neither is Dick Barthelmess married. Bach-
elorhood still has him in chains. He is with
Griffith at Mamaroneck, N. Y. Lastly, Jack
Holt is with Lasky, Hollywood, Cal.

G. E. S., Pa.— Well, on the third try
you won out. Here's your answer. Valeska
Suratt was born in Terre Haute, Ind. She
is an out and out American and darn proud
of it. Photoplay had an interview with
her in March, 1916. Fox is the only film
company she was with. There she starred in
"Jealousy," "The -Victim," "She," "The
Slave," "The Siren," "Wife No. 2," "The
New York Peacock." At present she is in
vaudeville. Not married.

Sigthora Josephson, Minn. — Well, for
a mite of twelve, and considering you have
only been to four movies, your acquaintance
with stars is remarkable. Now I shall set
about to answer your questions. Write Alice
Joyce at the Vitagraph, Brooklyn, N. Y.,
mention your tender years and I am sure a
picture will be forthcoming. Norma Tal-
madge is married but has no kiddies. Look
elsewhere in column for her address. Pearl
White is unmarried. Vernon Castle died from
an aeroplane accident and Irene is now Mrs.
Robert W. Treman, living happily at Ithaca,
N. Y. Jack Pickford served in the navy,
not in the army. He is now back in pictures.

H. J. S., Pasadena. — The nice blond man
whom you are stalking is Robert Gordon.
And be it known to Robert's credit he donned
the khaki when his country called him. This
should enhance his man-value with you, and
if I'm any judge of girls it does. In our war-
time days a girl fell for a uniform like a
cookbook cake.

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126

DMi

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Hair-free Underarms

WHETHER your costume be
athletic togs or evening gown,
the underarms should be smooth.
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return it to us with the DeMiracle Guarantee

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At all toilet covnti-ys, or dh'ect from iis

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iraeic

Dept. D-23, Park Ave. and 129th St.,
New York City

Photoplay M.\g.\zine — Advertising Section

Questions and Answers

(Continued)

Carl Stafford, Mich. — That story you
heard in England about Mary Pickford was
; made out of whole cloth. "Our Mary," so
lovingly dedicated by the country, is very
much alive, dispensing sun.^hine and cheer in
lavish measure, particularly in "Pollyanna.'"

ItlililrWiAWl^

\"i0LET, L. I. — You ask for an answer in
an early issue, but darn it all, in your raving
about Eugene O'Brien you didn't ask me
anything, except perhaps about your type-
writing (written by hand). Ask me some
real questions, or I'll lose my job.

Jeff of Baltimore. — Your outburst about
bobbed hair was amusing and diverting.
Yes, it is being done this year, and I sup-
pose that even our staid old senators have
come to recognize it. Try it some time on
your cold-hearted boss — the worst he can
do will be to fire you. You asked for en-
lightenment from my great and boundless
wisdom and here it is.

MiR.\CLE Man, Jr., III. — What a bear
you are on ages. Norma Talmadge is the
oldest of the Talmadge girls. Natalie is the
youngest and Constance slips in between
with nineteen years to her credit. Kenneth
Harlan is twenty-five and Robert Harron is
twenty-si.\. I'm glad you are getting ac-
quainted with Photopl.ay. Here's to a long
and lasting friendship.

Flora Temple, Mich. — Yes, Johnny
Hines was on the stage eleven years ago. Be-
for his screen career began, he had eight suc-
cessful years on the stage. Frank Campeau
played Bull Madden in "The Man from
Painted Post." Richard Travers never left
the screen, except to go to war — he was a
captain. His latest picture is "The House
Without Children," released by Argus En-
terprises, Cleveland, Ohio. Too, he played
with Pearl White in a late Fox production,
"The White Moll." All companies will pay
for ideas that have the germs of stories. You
will find a list of companies in any issue of
Photoplay.

W. D. M., Montreal.— May Allison's
golden hair is not bobbed, though of late she
has cut it to a fashionable shortness which
curls delightfully. I think her pretty and
know you will agree with me when you get
her picture. Write her at Metro studio,
Hollywood, Cal. To be on the safe side
you would better send the customary twen-
ty-five cents.

Tho moHt concentrated and ex-
Qiiisite pf'rfumeevprmade. Pro-
duced without al6ohol. A single
drop lasts it week.

Bottlo like pictur©, With loBg
KlaBsptopper,Eoseor Lilac. $1.50^
Lily of the Valleyor Violet. $1.75.
bend 20 cts. silver or Btamps foP
miniature bottle.

PER ^K^E t TOIL^T'^ATEH

HbwcrBrops

The above comes in less con.
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at $1.50 an. ounce at druggists or
bv mail, with two new odors.
"iMon Amour," "CiardenQupen,"
both vcr.v fine. Send $1.00 for
Houvenirbox,five2.5c bottleseama
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Ank your druggist — he knows
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mmi^ Send for Miniature

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^,'--!CCC3»<':* ..'■PAULRIEDER ,136 FIRST ST. S6N FRANCISCO ■

CiERTRrDE SuHR, Cal. — I was feeling par-
ticularly sprightly this morning until I read
your salutation to "dear old man," and then
the sunshine went out of the day and I
wearily switched on the electric light. Pris-
cilla Dean is with Universal, Universal Citv,
Cal.

B. H. C, Minn.— Awfully glad to hear
from you after two years' silence. Has the
world been well with you? I have some-
thing to be grateful for to Eugene O'Brien
in that he is the confessed cause of your
comeback. While with Norma Talmadge he
played in "Safety Curtain," "The Right of
Purchase," "De Luxe Annie." Arnold Daly
is at present in London. Yes, that's his real
name.

Harry Gilbert, Can.— Your Query about
Miss Arline caused a furrowed brow for a
moment, and then I knew you meant Arline
Pretty. And Pretty, by the way, is not a
screen name; it's her real name, and appro-
priate. Yes? Age twenty-six, single father
English, mother American. Address Wista-
ria Productions, Glendale, Long Island, N. Y.

Needed

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in wet weather

Because Piso's pro-
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Keep Piso's in the medicine cabinet
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Dlalogs,MunologBf%| ■ W AVaudevllle Act9
Musical Readings 1# I ■ W V How to Stage a Play
Drills, Fageantsl kM I VMake - up Goods
Tableaux, Jokes, Folk Dances, Entertainments,
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Every advertisement in PHOTOPL.VY MAGAZIXE is guaranteed.

Photoplay Mag/Uine — Advertising Section

127

Questions and Answers

(Continued)

Miss Eddie, Wash. — Your French-Ens-
lish effusion left me in doubt as to whetht'i-
I got from it all you intended I should
Anyway, I did grasp that you make fudge,
which left me hopeful, as I carry insurance.
Our artist is very much rushed making beau-
tiful covers, so I can't burden him with a
plea for a new pose. Alice Brady has re-
cently completed "The Fear Market" and
"Sinners." Yes, light comedy is Constance
Talmadge's forte. So you would like a new
cover of her. Well, keep watching.

N. S., Syracuse. — Theda Bara is scheduled
to appear in a stage production of A. H.
Woods' "The Lost Soul"; so just at present
she is out of pictures. Alice Brady and
Mary Miles Minter are with Realart,
N. Y. C; Mary Pickford, Brunton Stu-
dio, Los Angeles; and Norma Talmadge
has her own company at 318 East 48tfi Street
N. Y. C. Watch out for Mary Pickford in
"Pollyanna"; it will be coming to your town
very soon. Our subscription rate is $2.00 a
year. Come on in !

V. C, Ala. — Pearl White is not married,
and when asked about her age on one occa-
sion replied laconically she was neutral. We'll
have to let it go at that. Anent your ques-
tion as to whether any of the movie stars
originated from poor parentage, Pearl White
is an outstanding figure. Helen Holmes has
her own company — the S. L. K. Serial Corp.,
112 West 42d Street, N. Y. C. "Please Get
Married" and "The Willow Tree" are two of
Viola Dana's recent releases. The man you
ask about must be suping. He's not known.

R. R., St. Paul.— Of course I have felt
like Billy Baxter in Tarkington's "Seven-
teen." Love is a fire that burns and spar-
kles in men as naturally as in charcoal. Henry
Walthall was born in Alabama in 1878 and
played in stock for a time. His screen career
started in 1910. He has been with Essanay,
Paralta, Biograph, Pathe, Reliance, Fine
Arts. . At present he is with the National
Film Corp., Hollywood, Cal.

Arleen N., Cal. — The man you ask
about is known to me neither by his
real or reel name. Fm sorry, but if he is
in pictures then he can't have brought him-
self out of the exti-a class. Is there anything
else I can help you on, little Arleen ? That's
a pretty name.

Alta Lockwood, Chicago Yes, Elinor

Field and Cullen Landis have gone stepping
off alone. Elinor is now with National Film
Corp. at Hollywood, Cal., and Cullen Lan-
dis is with Goldwyn. Fm all with you when
you say they were a good couple. Such a
modest question as yours should have been
answered before now, but the old Answer
Man is not as young as he used to be.

Jack Holt Admirer, Ore. — So you want
another interview with Jack Holt. I say
"another" because we had an interview with
him in our August, iqi8, issue. Great boy,
isn't he?

W. D. W., Pa.— Zoe Ray was born in
Chicago, iQio. While this little lady has
been a featured performer in many produc-
tions, she has yet to ascend to leads. But
the future, we hope, is long and bright for
her. Mary Jane Irving is not a star. Fran-
cis Carpenter has been out of pictures for
about a year, due primarily to the fact that
he is neither hay nor grass; in other words,
at nine years he is slipping beyond the young
child age and yet is scarcely mature! Shir-
ley Mason is with Fox, 126 West 46th Street,
N. Y. C.

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When you write to adTertisers please mention PHOTOPI AT MAGAZINE.

128

Photoplay Magazine — Advertising Section

Lift off Corns
with Fingers

Doesn't hurt a bit and "Freezone"
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You can lift off any hard corn, soft
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Tiny bottle of ••Freezone" costs
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lAMONtSp

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hm.

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There are 128 illustrated pages of
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Questions and Answ^ers

(Concluded)

Vincent L. Mulvihill. — You ask for
my friendship and it's yours — always.
Which reminds me that out of Russia comes
the proverb that an untried friend is like an
uncracked nut. You sure cracked me with
your address bombardment, but crack me
again, any time, please. Ben Wilson and
Neva Gerber, Universal City, Cal.; Lillian
and Dorothy Gish, Griffith Studio, Mama-
roneck, N. Y.; Edith Johnson, Earl Mont-
gomery and Joe Ryan, Vitagraph, Holly-
wood, Cal.; Mildred Harris, Mayer Produc-
tions, Hollywood, Cal.; John Barrymore,
Famous Players, 130 West S6th Street,
N. Y. C. ; Irene Castle, ditto on Barrymore ;
Charles Ray, Ince Studio, Culver Citv, Cal.;
.\nita Stewart, Louis B. Mayer, Hollywood.
William Russell,
Fox Studio, Holly-
wood; Pearl White,
Fox, 130 West 46th
Street, N. Y. C.
Johnny Hines has
left the screen for
the legitimate stage.
He played this sea-
son in "Just a Min-
ute." Violet Pal-
mer played Ginger
in the picture of
that name. Ad-
dress World Studio,
Fort Lee, N. J.

C. S. M., Tulsa.
— I've taken a new
lease on life since
you sketched my
stooped, worn back,
and now I can walk
without a brace,
and admire with
the first flush of
youth your lovely
violet ink. I hasten
to tell you that Fay
Wallace played op-
posite Robert Edi-
son in "The Cave
Man," though for a
whole jelly roll I
can't imagine what
you previously

asked me about Lois Weber and Philips
Smalley. It might have been anything from
plays to preference in puppies or cigarettes.
I confess I'm curious.

Nellie Burt played Sunbeam in the "Light-
ning Raider" and Ruby Hoffman played Lot-
tie. Notwithstanding her hair-raising esca-
pades Pearl White is still very much alive
and so is Marie Osborne. Bessie Barriscale,
Brunton Studio, Los Angeles; Kathleen Clif-
ford, Douglas Fairbanks Studio, Hollywood;
Bebe Daniels, Lasky, Hollywood; Casson
Ferguson and CuUen Landls, Goldwyn, Cul-
ver City, Cal. R chard in "The Society Sen-
sation" was played by Rudolpho de Valentina.
Neither Bebe Daniels nor tvatnieen Clifford
have vowed to love, honor and obey any
man, proving they have wisdom as well as
charm, I suppose. Address Gladys Hullette,
cire Hallmark, 130 West 46th Street, N. Y. C.
Perhaps some of the stars who hive not sent
you their photos on
request require
twenty-five cents.
Many have found
it necessary to ask
this small amount, so
overwhelmed have
they been with re-
quests.

Washington newspaper
movies are regarded as

Gertrude and Martha, Mich. — What a
joy it is to answer a shy, winsome note from
two little bashful friends. Bashful flappers
are rather a rarity, and I hope you'll write
me again. Mary Pickford's hair is golden
and her eyes hazel. Her adopted regiment
was in California. Tom Forman is divorced.
When he was released from the U. S. service,
where he reached the rank of lieutenant, he
was given a two year contract with Famous
Players. Address him Lasky Studios, Holly-
wood, Cal.

Louise Ruther-
ford. — Linda A.
Griffith is the wife
of D. W. They
were married a good
many years ago.
Mrs. Sidney Drew
claims birth in Se-
dalia. Mo., i8go.
Whether this is bona
fide or part of a
woman's prerogative
you may judge for
yourself. Here is the
cast of "Let's Get a
Divorce": Mme.Cy-
prienne Marcey, Bil-
lie Burke; Henri de
Prunelles, John Mil-
tern ; Yvonne de
Prunelles, Pinna
Nesbit ; Chauffeur,
R. La Roque; Ad-
hemer, Armant Ka-
lise ; Mother Supe-
rior, Helen Tracey;
Calvignac, Wilmuth Merkyl. Louise Huff,
charming young person that she is, is not
with Jack Pickford in his late pictures. To
sum up your questions, Edna Purviance is
still with Chaplin. The inimitable Charlie
still has four pictures to make under his
contract with the First National Exhibitors
Circuit. Then he starts with the "Big
Four," where his schedule is to produce four
pictures a year. All right, Louise?

dispatches state that the
a cure for bolshevism.

Mae Johnson. — March Photoplay an-
swered your queries anent salaries, and the
size of some will probably take your breath
fiway and sweep away your skepticism.
Film stars do come high ! Margarita Fisher's
hair is brown and her eyes are gray. Why
not write her at 1888 State Street, Santa
Barbara, and tell her you think she and El-
liott Dexter would make a tres jolie combi-
nation ?

Marie Provost Fan, Portland. — Brother!
I, too, missed Marie and Phyllis Haver when
the so-called "original Sennett bathing beau-
ties" came to town. You see Mack Sennett
can't spare his stellar squabs to go on such
a long journey; they appear in every other
P'cture put out by the comedy plant. Har-
riett Hammond and Mildred June are the
newcomers. Or we might just say comers.
Write to all of them at the Mack Sennett
studios, Hollywood, California.

John Avenue, Manila. — Here is the cast
of "The Black Secret": Evelyn Ereth,
Pearl White; Kay McKay, Walter Mc-
Grail ; Frederick Vaux, Wallace McCutcheon.

A. J. B., Chicago. — I can't be much of
a prophet ; the letters are coming in thick
and fast from my home country. Chicago and
environs are waking up; staid Evanston, up
there, cast convention to the winds and
wrote to a strange man ; Hubbard Woods
took its aristocratic pen in hand to write to
me; while you should see the epistles post-
marked Winnetka ! Larry Semon, Joe Rock,
Western Vitagraph ; William Russell, Fox
(West) ; Jane Novak, Neilan Company.

Every advertisement in PH0T0PL.\T JiIAOAZINK is Eniarantep,!.

PiioTOPi.AY Magazine — Adveutising Section

129

May Allison

in "The Walk-Offs"

This Allison child, we'll tell the
world, is an honest-to-goodness
star. Every time she launches a
new "pic" they have to put more
seats in the theatre. Her latest
vehicle is going strong and May
never looked more beautiful.

Metro Picture

Necessarily the strictest care of
one's complexion must be exer-
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(232)

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ijo Photoplay Magazine — Advertising Section

Keep $43 m Your Pocket

A Finer Typewriter
at a Fair Price

Free Trial— No Money Down

Not a cent in advance. No deposit of any kind. No obligation to buy. The coupon is all you need
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1474 Oliver Typewriter Bids., Chicago, III.

^tskil th^ COfJflAtI ' THE OtIVER T¥PEWKITEK COMPANY

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mkM ^^mmt I I — I Ship me a new Oliver Nine for five days' free inspection.

WM%MWW ■ LJ If r keep it. I will pay S57 at the rate of S3 per month.

^^ _ The title to remain in you until fully paid for.

A^. T-k 1 1 .1* ' My shipping point is

Act at once. Kemember you have nothing This does not place me under any obligation to buy. If I

to_ lose. There is no cost to you for the free \ ^^"th'/end'of" "e'dayS"'"'"' ^ ""' "^'^ " ""'"' "* ''°" ^^"^^'^

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for tVip Dlivpr tn fr\T fvoo in i^rvin. r^ffinc nv I '--' book— 'The High Cost of Typewriters— The Eeason and
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home. If you should wish our catalog before I

ordering, mark the coupon accordingly. But . Name

whichever you do, do it now. Clip the coupon |

before you turn this page. street Address

166.02 I „.^ „. .

City State

, Occupation or Business

Every advertisement in I'lIOTOPLAY MAGAZINE is guaranteed.

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f HOTOPi.AY IVLuiazine: — Adnertising Section

The trademark which identifies
all Victor products

This famous Victor trademark is the public's
unfailing proof of Quality — of artistic leader-
ship* It means to the public what Caruso's
name means to opera-goers — the absolute cer-
tainty of hearing the best. It appears on all

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Victor Records

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0®°^

Know Lei(

°®o^

NOT all motion pictures are good. Neither
are all books, all music, all paintings.
You have to use judgment in selecting your
motion picture entertainment.

Sounds difficult. But it's not.
Just make sure before you buy your ticket
that it's a Paramount Picture.

If it is — go in! It's good.

ore you ray

That's the secret of buying your motion
picture entertainment right. A motion picture
can't be Paramount unless it's — Paramount.

The name Paramount is the binding guar-
antee personally to you from Famous Players-
Lasky Corporation that the picture is right.

No need to take chances when you can
know before you pay.

Cpoixunouni^lctures

Latest Paramount Artcraft Features — Released to May 1st

* Enid Bennett in "THE FALSE ROAD"

Biliie Burke in "WANTED— A Husband"
Irene Castle in "THE AMATEUR WifE"
Marguerite Clark in "EASY TO Get"

Ethel Clayton ill

"Young Mrs. Winthrop"

"The Copperhead"

With Lionel Barrymore
Cosmopolitan Production

"The Cinema Murder"

Cosmopolitan Production "APRIL FoLLY"
•■ Dorothy Dalton in "BLACK IS WHITE"

Cecil B. De Mille's Production

"Male & FEMy^LE"
"Everywoman" With All Star Cast

Elsie Ferguson in "His HOUSE IN ORDER"
George Fitzmaurice's Production

"On With the Dance"
Dorothy Gish in

"Mary Ellen Comes to Town"

D. W. Griffith's Production

"Scarlet Days"

Wm. S. Hart in "The Toll Gate"

A William S. Hart Production
Houdini in "The Grim Game"

"Huckleberry Finn" With All Star Cast
*Ince Supervised Special

"Behind the Door"

*Ince Supervised Special

"Dangerous Hours"
"'Douglas MacLean and Doris May in

"Mary's Ankle"

Vivian Martin in "His OFFICIAL FiaNCEE"

*Charles Ray in "ALARM CLOCK AndY"

Wallace Reid in "EXCUSE My Dust"

"The Cost" With Violet Heming

"The Teeth of the Tiger"

With David Powell

Maurice Tourneur's Production

"Treasure Island"

Caorge Loane Tucker's Production

"The Miracle Man"

Robert Warwick in

"Thou Art the Man"

Bryant Washburn in

"The Six Best Cellars"

* Supervised by Thomas H. Ince

Paramount Comedies

Paramount-Arbuckle Comedies
Paramount-Mack Sennett Comedies
Paramount-De Haven Comedies

Paramount Short Subjects

Paramount Magazine Issued Weekly

Paramount-Burton Holmes Travel

Pictures Issued Weeklv

Every aJvertisement in rHOTOPLAY MAGAZINE is ruarantced.

The World's Leading Motion Picture Publication

PHOTOPLAY MAGAZINE

JAMES R. QUIRK, Editor

Vol. XVII

Contents

No. 6

Editorial

Alon Bement

(Photograph)

Delight Evans

Burns Mantle

Illustration

May, 1920
Cover Design, Clara Kimball Young,

From the Pastel Portrait by Rolf Armstrong,

Rotogravure Portraits . . 19

The Strangest Thing in History
The Story Your Hands Tell

Judging the Character of Movie Players.

Easter!

Pictorial Dedication.

Kind to Dumb Waiters

Pauline Frederick, an Admirable Vamp.

West Is East

Miss Evans Meets Three Notables.

The Voice in the Dark

It Called Dorothy Dalton into "Aphrodite."

Intimate Snapshots

Film Stars as Seen and Drawn by Norman Anthony.

Treasure Island (Fiction) Jim Hawkins 38

Pictures and Captions Spin an Exciting Yarn.

Mayo: Chapter III. 40

A Dramatic Product of Three Generations.

Filming Up Father 40

Immortalizing a Familiar Cartoon.

King of the Grocery Boys 41

Charles J. Maguire — Messenger Extraordinaire.

A Rising Young Actor 41

William J. Ferguson, Young at Seventy!

Griffith's New Studio in the East (Photographs) 42

A Former Haunt of Rockefeller.

(Contents continued on next page)

Editorial Offices, 25 W. 45th St., New York City

Published monthly by the Photoplay Publishing Co.. 350 N. Clark St., Chicago, 111.

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

W. M. Hart, Adv. Mgr.
Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba;
$3.00 Canada; $3.50 to foreign countries. Remittances should be made by check, or postal
or express money order. Caution— Do not subscribe through persons unknown to you.

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

Pictures Reviewed in the
Shadow Stage This Issue

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

Page 64

Why Change Your Wife

Paramount- Artcraft

Page 65

The Luck of the Irish. .Allan-Realart

Page 66

The River's End First National

The Fortune Hunter Vitagraph

Page 67

The Corsican Brothers United

The Paliser Case Goldwyn

The 13th Commandment. .Paramount

Page 109

Little Shepherd of Kingdom Come

Goldwyn

Deadline at 1 1 Vitagraph

Judy of Rogues' Harbor Realart

Black is White Ince-Paramount

Who's Your Servant. .Robertson-Cole

Page 110

The Amateur Wife.Paramount-Artcraft

His Wife's Money Select

The Prince of Avenue A. . .Universal

April Folly Cosmopolitan

The Capitol Hodkinson'

The Last Straw Fox

Burnt Wings Universal

Wm. J. Flynn Series Republic

Page 111

The Adventurer Fox

The Strongest Fox

Dangerous Hours Ince- Artcraft

Page 112

Picadilly Jim Select

S3o,ooo Hodkinson

The Hell Ship Fox

His Temporary Wife Hodkinson

The Virgin of Stamboul .... Universal

Page 113

My Lady's Garter. Paramount-Artcraft

The Very Idea Holmes-Metro

Too Much Johnson Paramount

Page 120

Footlights and Shadows Selznick

The Girl Named Mary Lasky

Her Naughty Wink. .. .Fox-Sunshine

Smoldering Embers Pathe

Hoodooed Famous Players-Lasky

Four Times Foiled. .. .Chester-Outing

Copyiieht, 1920, by the PHOTOPLAY PUBLISHING COMPANY, Chicago.

Contents — Continued

(Editorial Comment)
Margaret Sangster

Male (Vamp) and Female (Director)

Otherwise — Lew Cody and Ida May Parks.

A Fan's Prayer

A Revised List of Goat-Getters.

Alice Lake

A Little Lake, But Deep.

Close -Ups

Mother (Verse)

Illustration by Norman Anthony.

The Woman Who Understood

Fictionized Story of the Barriscale Photoplay.

Their Children

Lovely Plots of Filmland Domestic Dramas.

A Villain by Preference

Hisses Are Music to Macey Harlan's Ears.

They Couldn't Keep Him Down on the Farm

The World Was the Playground of Herb Rawlinson.

"Don't Call Me Gretchen!"

Greta, Declares Miss Hartman, is Nicer — and More Exciting.

Jazzing Up the Fashions Mae Stanley

Illustrations by A. Davies.

Rotogravure Section

A New Lincoln

Creator of the Drinkwater Role on the Stage.

The Shadow Stage

Reviews of the New Pictures.

Why Do They Do It?

Where the Producers Slipped Up.

The Camera Is Cruel to Her!

Seena Owen — Though It Seems Incredible.

The Screen Doctor (Verse)

Going Some (Fiction)

The Story from the Stage Play.

Questions and Answers
Sartorial Repartee

Drawn by Ralph Barton.

How to Be Perfect

Rather Strenuous, but Effective Beautifiers.

The Fable of the Good Scenario Writer, Frank M. Dazey

And Why He Quit Writing Them.

Back Again Adela Rogers St. Johns

Elliot Dexter, ex-Invalid, Is Back.

The Man Who Draws the Covers

Rolf Armstrong, A Truly Romantic Artist.

Studio Aladdins (Photographs)

An Art Within an Art.

The Squirrel Cage

Nothing Very Serious.

"Local Boy Makes Good !"

Alluding to Wes Barry's History,

The Letter Contest

Latest Announcement.

Plays and Players Cal York

News from the Studios.

Photoplays We Don't Care to See Norman Anthony

44
45
46

47
48

Elizabeth Chisholm 49

(Photographs) 52

55
56
57
59

Burns Mantle 64

Delight Evans 69

John Arbuthnott 70

Gene Sheridan 72

The Answer Man 79

Illustration 80

Al St. John 84

89
90

A. Gnutt 94

Cinemaphobia

Taking G. G. Nathan a Little too Seriously.

106
125

Addresses of the Leading Moving Picture Producers appear on page 124)

Ask ten women what mc
tion picture actress they
consider the most perfectly
dressed, and nine out of
the ten will say without
hesitation

Norma
Talmadge!

And because Photoplay
Magazine knows that nine
out of every ten women
have confidence in Miss
Talmadge's taste and judg'
ment in clothes affairs, this
magazine has persuaded the
screen's best dressed star
to become

Fashion
Editor of
Photoplay

You want to learn how to
make those irresistable
"batiks"? Have you
"bobbed" your hair and
don't know what to do
with it ? Do you want to
know what is being worn
on "the avenue"? Miss
Talmadge will tell you all
the intimacies of attractive
dressing from month to
month. .

Beginning in
the June Issue.

fHOTOPLAY MAGAZINE — ADVERTISING 2»ECTI0N

A Finer
Typewriter

at a
Fair Price

Pays
for

Latest and Finest New Oliver

Only $57 for the $100 Oliver

A full saving to you of $43 on the famous
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That is what our new selling plan makes pos-
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We found that it was unnecessary to have

such a vast number of traveling salesmen and
so many expensive branch houses. We were
able to discontinue many other superfluous
sales irtethods. As a result, $57 now buys the
identical Oliver formerly priced at $100.

Try It Free— Send No Money

Not a cent in advance. No deposit of any
kind. No obligation to buy. The coupon is all
you need send. The Oliver comes to you at our
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buy or not.

Only the Coupon!

Canadian Price, $72

The Oliver Typewriter Company

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^■^^■^^^^i^^w^^M^w^^r ■ Occupation or Busin

THE OLIVER TYPEWRITER COMPANY

1475 Oliver Typewriter Bldg., Chicago,

111.

□ Ship me a new Oliver Nine for five days free inspection. If
I keep it. I will pay S57 at the rate of $3 per month. The
title to remain in you until fully paid for.

My shipping point is

This does not place me under any obligation to buy. If I choose
to return the Oliver. I will ship it back at your expense at the end
of five days.

□ Do not send a machine until T order it. Mail me your book
—'•The High Cost of Typewriters — The Reason and the
Eemedy." your de luxe catalog and further information.

State.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

J. jnV/ I V7r IjA^ 1 iTXi-V^Ji.-\Zjl-l^ a:* i Xiy 1 Ajll ± iOlA-^^JI fcJL/V. X iV/i^

r '

^ •*

^^•^ij^*- '^ '***«, -i.

CARL LA€MML6

|>I'CSCA('« the

$500000

PROOVCTlOa IK LVXe

- ' V

?^5TAMB0VL

s/a/vv/ip'

a:;

TOD Bi?owninG

Sf'Of't/ h^

i.ii.vAn f-oArv

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

fHOlOPLAY MAGAZINE — ADVERTISING SECTION

"An exciting story ^ pleaseP'

How many times have those words been
spoken over the desk at the Public Library!
Exciting stories! How much in demand
they are with the readers of the popular maga-
zines! The love for them is universal; it begins
and ends with no one class or creed.

Pathe Motion Picture Serials are always exciting; they are
written, produced and acted for the great pubh'c that wishes
to be h'fted for a little while from the hum-drum facts of
everyday life. They are thrilling, entertaining and always
clean. There is a motion picture theatre in your vicinity that
shows Pathe serials; it will be easy to find it!

Now showing; Ruth Roland in "The Adventures of Ruth;"
George B. Seitz in "Bound and Gagged;" Pearl White in
The Black Secret" from Robert W. Chambers' book "In
Secret;" Jack Dempsey in "Daredevil Jack."

Coming; "Trailed by Three" with Frances Mann and
Stuart Holmes; George B. Seitz in "Pirate Gold," (with
Marguerite Courtot) and others.

■;

When you write to advertisers plea-^e menfon PHOTOPLAT MAGAZINE.

lyj

r nyj i\jfi^.\ \ iyi/AU-az-i^m:. jilo iii\i ■.■>ii-<\j kji^^^.i.i\ji-h

Why do women weep?
Why do men chuckle?

Why does the whole audience clutch
their hands and strain their eyes?

REMEMBER how the fat man
ha ha'd right out and got
k- the audience giggling and the
old lady laughed until the tears ran
down her cheeks. What a wonder'
ful picture that was !

And last week even the gruff old
bachelor had red eyes when the
lights went on. You felt as though
you had lost your own sister when
Melissy died.

All the way home you discussed
the story.

Why do you enjoy this picture
or that one so much ? Have you
ever stopped to think why?

First it was such a human story.

And the star was so sweet in the
part. You always did like her. All
the characters seemed just like the
real people.

And the scenes — real rooms in

real houses. The outdoor pictures
were Hke a vacation for you — out
in the open — daisy fields, sunshine,
mountains, deserts.

Perhaps you didn't notice the
photography, you were so interested
in the story, but you will remember
how clear it was — how beautiful the
lighting.

These are the things you will
always find in a Goldwyn picture.
Interesting stories — your favorite
star — beautiful settings — perfect pho'
tography. Goldwyn combines them
all. When you see a Goldwyn
picture you forget your troubles—-
you forget the baby's croup and the
cook's leaving.

You come home feeling as fine as
though you'd had an outing.

Never miss a Goldwyn picture.
They are the ones you know you
will enjoy.

GOLDWYN PICTURES

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advehiising Section

1 1

A".

Marion Davies

When beauty and that subtle charm
called screen personality are com-
bined with well directed photoplay
versioos of stories by the world's
greatest writers, they make for the
highest form of entertainment.

THE DARK STAR By Robert W. Chamber!

Directed br Allan Dwan
THE CINEMA MURDER By E. Phlllipi Oppenheim

Directed by Geo. D. Baker
APRIL FOLLY Br Cynthia Stockley

Directed by Robert Z. Leonard
And a Forthcoming Production
THE RESTLESS SEX By Robert W. Chambers
Directed by Robert Z. Leonard

COSMOPOLITAN
PRODUCTIONS

with MARION DAVIES

Paramount Artcraft
Pictures

Every advertisement in PHOTOPLAY MAGAZIXE is guaranteed.

muiut-L.Ai iTi.Au.A^iAC rvu\tKllJ>ll\u OKCTIUjN

->.J'.'-.''.V

^^mj'^^.

R..f:-TO^..

OflFFITH

presents his ne^vest
personally directed
picture for First Nat-
ional - actually taken
in tKe Southern Seas

<»7

The Idol
Dancer"

hy Gordon Raylfoun^

TKe romance and adven-
tui-e of abeautfulwhite
^1 cast, avray amon^ the
cannibals , head-Kuntei-s
and Jblack hivdevs of the
South Sea Isles ....

Vatch foi- it at
Your Theatre

A FIRST

NATIONAL

ATTRACTION

When*

0 aJve:tisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

FORTUNE

OFFERED TO THE
Film FAN5 OF KnEQ.\Ck BY

HO r>E

HAMPTON?

the dazzling star of

''A Modem Salome"

Distributed by METRO

— brush up on your history !
— whet your critical faculties !
— sharpen your eye for beauty!
— exercise your descriptive powers !

— then answer these fi've questions:

1. Who was Salome in Biblical history and what
did she do ?

What is the strongest dramatic situation in the
plot of "A Modern Salome?"
How would you describe Hope Hampton's type
of beauty ?

What is your ideal of what a motion picture
star should be?

What is the lesson taught by the story of "A
Modem Salome?"

2.
3-
4-
5-

JVin
These
Cash
Prizes:

1st Prize— $1000 2nd Prize— $500

3rd Prizes — 5 winners at $100 each
4th Prizes — 10 winners at $50 each
5th Prizes — 20 winners at $25 each

The Judges Guarantee the Contest:

Mr. Eugene V. Brewster, publisher of Motion Picture Magazine,

Motion Picture Classic and Shadowland.
Mr. Burns Mantle, dramatic critic of the New York Evening Mail

and contributor to Photoplay Magazine.

Mr. Penrhyn Stanlaws, one of the foremost artists of America.

You can be among the j/ prize winners. Your
exhibitor will help you — Give him your essay.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

.o = ->„'

o rO a« o^O 0

Verci;Heath

ScriptEditor

Universal

Photoplay Ideas
Bring Big Honey

THIS year 25,000 new photo-
plays must be produced to supply
the "fans" with new thrills. Each must
tell a new story — give new opportuni-
ties for actors and directors. With such
a demand, is it any wonder that new
photoplay ideas bring big money?

Pi*oduc€rs and Stars
Seek Original ideas

Why don't you get into the photoplay
writing game? Get your name on the screen
and the posters — have your work produced by
world-famous stars and directors— find big
checks regularly in your mail? Without a
constant supply of new ideas — original,
punchy, suitable — the whole photoplay indus-
try would vanish like a "fade-out."

Many of the most successful photoplays
have been built up out of commonplace, every-
day occurrences. If you have ideas and the
imagination to develop them, look at the op-
portunities open to you in photoplay writing.
You can make big money, live where you like,
work as you please.

The Way to Success
Is Shoi*t and Direct

You don't have to be a genius or professional
scenario writer— or know all the hundreds of
studio terms and tricks. Famous stars and
producers are continually crying for new
screenable ideas. All they require is that you
present your ideas in such shape that YOUR
script will be immediately available.
What the producers want, and how they
want it. can be learned by you in a few weeks
from our simple, short, but thorough course.
We teach you exactly what you need to know
— save you time and discouragement by our
expert help— advise as to markets and prices.

We've Put the Facts
In a Book for you

Our new booklet describing the photoplay field
and our course is full of facts, pictures, help-
ful suggestions. It shows the wonderful op-
portunities for you in photoplay writing.
1 The coupon will bring it— FREE. ^

'bkmkbMAIL this coupon laaiaHK

mcrican School

of Correspondence

DCPt. P.715, CHICAGO, U. S. A.

Explain how I can qualify for position checked:

....Architect
....Building Contractor
....Automobile Engineer
....Automobile Repairman
....Aeroplane Mechanic
....Civil Engineer
....Structural Engineer

....Surveying and Mapping; Steam Engineer

....Business Manager Foreman's Course

....Certified Pub. Acc'nt Machine Shop Practice

....Accountant and Auditor Photoplay Writer

....Bookkeeper Sanitary Engineer

....Draftsman and Designer Plumbing and Heatiner

....Electrical Engineer Telephone Engineer

....Electric Light and Power Telegraph Engineer

....Fire Insurance Expert Wireless Operator

..High School Graduate
..Gen'l Education
..Common School Branches
..Lawyer

...Mechanical Engineer
..Shop Superintendent
.Employment Manager

Name..

Address..

CLASSIFIED ADVERTISING

Rate

35 cents

per

word

\h:

All Advertisements

have equal display and
same good opportuni-
ties for big results.

mMMMiiMMJ^M^'U^A

PHOIPBlaMf

This Section Pays.

85'> of the advertisers
using this section during
the past year have re-
peated their copy.

U-U'U y ;UiJ>U:-u'u;g4Jiy^

wmm

FORMS FOR JULY ISSUE CLOSE MAY FIRST

HELP WANTED

TNSYDE TIRES— INNER ARMOR FOR AUTOMO-

WOMEN TO SEW. fiOODS .SENT PREPAID TO
your door; plain sewing: steady work; no canvassing.
Send stamped envelope for prices paid. Universal Co.,

bile tires; prevent punctures and blowouts; double tire
mileage. Liberal profits. Details free." American
Accessories Co.. Cincinnati. Ohio. Dept. 129.

Dept. 21. Philadelphia. Pa.

MOTION PICTURE BUSINESS

WANTED 5 BRIGHT, CAPABLE LADIE.S TO

travel, demonstrate and sell dealers. $25.00 to
$50.00 per week. Railroad fare paid. Write at
once. Goodrich Drug Co., Dept. 59. Omaha, Nebr.
E.AILWAY TRAFFIC INSPECTORS: $110.00 A
month to start and expenses: Travel if desired; Un-
limited advancement. No age limit. Three months'
home study. Situation arranged. Prepare for per-
manent position. Write for booklet CM26 Standard
Business Training Institute. Buffalo. N. Y.

BE A DETECTIVE>— E.\RN BIG MONE^ : EASY
work; write Wagner, 186 East 79th St., New York,
Dept. 584.

$35.00 PROFIT NIGHTLY, SMALL CAPITAL

starts you. No experience needed. Our machines are
used and endorsed by government institutions. Catalog
free. Atlas Moving Picture Company, 438 Morton
Bids,, Chicago.

JIAICIO MONEY FAST— START "JUIVIE" WITH

small capital. Buy complete outfit on easy pay-
ments. Opening everywhere. No experience recjuired.
Catalog free. National Moving Picture Co.. r»ept. 16,
Ellsworth Bldg.. Chicago.

FILMS FOR SALJC: ONE JHIJ^ION FEET, ALL
makes, lengths and varieties $4.00 per reel and up.
Send for list. Feature Film Company, Loeb Arcade,
Minneapolis.

HELP WANTED TO TINT PHOTOGRAPHS. TURN
spare time into money. Experience unnecessary. Fas-

201. Denver, Colo.

TF.T.T. THE READERS OF PHOTOPLAY WHAT
you have of interest to them. You ran reach them
at a very small cost through an advertisement in the
classified section. 85% of the advertisers usine this
section durinir the past year have repe--itcd. The section
is road ami brines results

OLD COINS WANTED

LOOK AT EVERY COIN YOU GET. MANY COINS
worth several times their face value are in circulation.
We buy and pay cash premiums for thousands of coins
and bills, some as late as 1916. Get posted. It will
pay you. Send 4c for our Large Illustrated Coin Cir-

MANUSCRIPTS TYPEWRITTEN

cular. Send now. Numismatic Bank, Dept. 75, Fort
Worth Texas

SCENARIOS, iMANUSritlPTS TVPICD TEN CENTS
Daffe. Carbon included. Sl>ening, punctuation cor-
rected. Seven years' e«perience. ilarjorie Jones. ti08
Reaper Block. Chicago.

IIANUSCRIPTS OF AIX. KLVDS NEATLY TYPED.
Thirty cents per thousand words, one carbon copy.
Promptness and satisfaction jniaranteed. M. G. Hegg.
Ostrandcr. Slinn.. Box 58.

PATENTS

PATENTS. WRITE FOR FREE GUIDE BOOK
and Evidence of Conception Blank. Send model or
sketch for opinion of its patentable nature. Highest
References, Prompt Attention, Reasonable Terms.
Victor .1. KVans & Co.. 703 Ninth. Washington D. C.

MANUSCRIPTS TYPE'D ANT) CORRECTED. TURN
your ideas into money. $l.no per thousand words. 2
CarlK>n Copies. Ralph L. Myers, 725 Montrose Street.
Vineland. New .Terscy.

EDUCATION AND INSTRUCTION

SPANISH— SP0NTANT50US METHOD. YOU AND

AGENTS AND SALESMEN

I exchange private letters exclusively in Spanish every
day. Inexpensive. Particulars free. Guillenno Hedia,
3509 Franklin Ave.. St. Louis. Mo,

TELL THE READERS OF PHOTOPLAY WHAT

you have of interest to them. You <-an reach them
at a very small cost through an advertisement in the
classified section. 85% of the a<ivertisers using tlus
section during tho past year have repeated. The section
is read and brings results.

$40 TO $100 A WEEK. FREE SAMPLES. GOLD
Sign Letters anyone can put on windows. Big demand.
Liberal offer to general agents. Metallic Letter Co.,
431 -K N. Clark. Chicago.

BUSINESS OPPORTUNITIES

DETBCTIVE.S EARN BIG MONEY. EXCEIXENT
opportunity. Particulars Free. Write, American De-
[ectivo S-vstcm. 19<;8 Broadway, N. Y.

SHEET MUSIC

SALESMEN— CITY OR TRAVIXLING. EXPERI-
ence unnecessary. Send for list of lines and full
particulars. Prepare in spare lime to earn the big

$2.00 WORTH OF NEW YORK'S LATEST SONG
hits for 50c. Send immediately. George Sanders. Suite
r08. 145 West 45th St.. New York City.

services rendered Members National Salesmen's Train-

MISCELLANEOUS

ing Association, Dept. l.'?8-E. Chicago. 111.

MIRACLE MOTOR— GAS A.MAZES MOTORISTS.
3o worth equals gallon gasoline. Eliminates carbon,
300% profit. Isom. Idaho, wires; ".Ship 500 pack-
ages. Made $70 yesterday." Investigate. Chas. Y.
Butler Co.. Toledo. Ohio.

TELL. THE READERS OP PHOTOPLAY WHAT
TOu have of interest to thcni. Yim ran reach them
at a very small cost through an advertisement in the
classified section. 85% of the advertisers using this
section during the past year have repeated. Tlie section
is read and brings results.

arn*35to100aWei

BECOME A PROFESSIONAL

PHOTOGRAPHER
Big Opportunities NOW.

Qualify for this fascinating:
profession. Three months'
course covers all branches:

Motion Picture — Commercial — Portraiture

Cameras and Materials Furnished FREE

Practical instruction; modern equipment. Day or
evening classes; easy terms. The school of recoe-
nized superiority. Call or write for catalog No 37

N. Y. INSTITUTE of PHOTOGRAPHY

141 W. 36lh St., New York 505 Slate Sl, Brookyln

DoYou Want Cash?

We pay the highest prices for platinum,

diamonds, watches, old or broken jewelry, old gold, silver,
magneto points, old false teeth, war bonds and stamps —
anything of value. Mail them to us today. Cash by
return mail. Goods returned if you're not satisfied.

THE OHIO SMELTING & REFINING CO.
204 Lennox Bldg. Cleveland, Ohio

PATENTiSENSE

"c%f Book for inventors 6" Mfrs?

Making tRLVt;

Or- TRUE roNG

TUNE-A. JjP

We furnish our accurate teaching device with tools,
.Action Model, lessons, and analysis of business adver.
tisingr which makes you a master of the tuner's art.
Diploma given graduates. IByears' experience in teaching
the mostindependent and lucrative profession by cor-
respondence. SIMPLER and BKTTER than oral InstrsCtlon.
« Write today for FREE illustrated booklet.
_. NILES BRYANT SCHOOL OF PIANO TUNING
402 Fine Art Inst., Battle Creek, Mich.

BvRet

irsOiAc;

Return Mail FREE . Write

Learn Piano

This Interesting Free Book

shows how you can become a skilled
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Dr. Quinn's famous Written Method
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Write Today for P^ree Book
Qoinn Conservatorv, Studio PE. Social rnion Bids'.. Boston Masi.

DlalogB.MonologsMfl ■ %# AVaudevllle Acts
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Drills, Pageants! hH I wMake - up Goods
Tableaux, Jokes, Folk Dances, Entertainments,
Recltatlons.Pantomlmeg.MInstrel Material, Speakers,
Commencement Manual full of New Ideas and Plans,
CatalogFree. T.S.Denison&Co. Dept.76 Chicago

REMEMBER

Every advertisement in PHOTOPLAY is guaranteed, not only by the advertiser,
but by the publisher. When you write to advertisers please mention PHOTOPLAY.

Every advertisement in PHOTOPLAY MAG.\ZINE is guaranteed.

^t'^T^fSs.

Photoplay Magazine — Advertising Section

ftiSiiiiifi

SIrong Cleat

A strong clear, powerful voice of
surpassing beauty can now be yours!

You can have wondertul range of tone,
greater richness of quality, more volume,
more resonance. In your spare moments
at home and in an amazingly short time
you can obtain a perlect voice that wins
admirrition and success.

Wonderfiil New Method Sl&aThS^f C'c^te'
Improves Your Voice J!;7cc„VoroUh*„S"s

wliich actually produce the voice. Learn about the famous
FenchtinKer method. Just a few moments daily scientific,
sile)it exercises of the vocal organs bring amazing results
immediately. Endorsed by leading European singers,
adors. and speakers. It has helped thousands in their
professional and social life. _

Do You Stammer ?

Stammering, stuttering, lisping,
and other impediments in speech are
quickly overcome by the Fenchtinger
method. Huskiness, harshness and
weakness are baniBhed. No matter
how poor your voice Is now you
can easily make it perfect.
DnniT CDrr a handsome.
DUU^ rKLt illustrated book
tells all about this wonderful
ecientirtc discovery of the secret
of a perfect voice. It will be sent
to you without coat or obligation If
you write for ft at once. oeao
postal today. Address :
PERFECT VOICE INSTITUTB
1922 Sunnysid* Avsnuv

Studio 1535, CHICAGO. ILLS.

The Key
To Succesf

QfKW

The secret of busi-
ness and social suc-
cess is the ability
to remember. I can
make your mind an infallible I
classified index from which you can I
instantly select thougrhts, facts, [
figures, names, faces. Enables you

to concentrattt, davelop self • control, I

overcoma bashfulness, think on your |

foot, address 9.n audience. Easy. Simple, [

The result of 20 years' experience de- I

veloping memories of thousands. I

WrifrAT^flav *"<"" f"o booklet "How to I

Wnie lOaay Remember" and Copy- I

ichted Memory Test, alao how to obtain my f

FREE book, "How To Speak In Public.'^

Dickson School of Memory, I74I Hearst Bide., Chicago, IS.

Day or n
General

cameras.
operates
delphia.

Be a "Movie"
Photographer

Earn $50 to $200 Weekly

Fascinating work taitinp you to
ell parts of the wnrld

E. BRUNEI COLLEGE
OF PHOTOGRAPHY

(No connection with\
any other school }

_ 1 269 Broadway, N. Y.

.ghc classes. 3 months' course complete instruction In
Photography and Motion Pictures operating standard
Expert instructors. Installments taken. Emile Brunei
20 studios in New York, Chicago, Boston. Phila-
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BECOME A

udy At Home. Legally trained men win

^high positions and big success in business

and publiclife. Greater opportunities now

' than ever. Be a leader. Lawyers earn

$3,000 to $10,000 Annually

We guide you step by step. You can

train at home durinp spare time. We prepare
you for bar examination in any state. Money
refunded according- to our Guarantee Bond if
dissatisfied. Degree of LL. B. conferred.
Thousands of Bucceseful students enrolled.
Low cost, eaey terms. Fourteen-volume Law
Library free if you nroll now. Get our valu-
ible 120-page "Law Guide" and "Evidence"
books free. Send for them— NOW.

LaSALLE EXTENSION UNIVERSITY

Dept. 5302.L Chicago, MX.

^ I920 IS RABBIT YEAR

BIG MONKV 'n purc-Rred Rabbits (or Meat. Furs and
Breeders \\v ftirnbh protjiable markei. Valuable
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MEEK. COURT & CO. **^"®*'- Madison St, CHICAGO. ILU

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All we ask is the chance to prove it^
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international"correspondTnce schools

BOX 6515. SCRANTON, PA.

Explain, without oblizatine me, how I can quality tor
the position, or In the subject, befort which I mark X.
n SALESMANSHIP
3 ADVERTISING
I] Window Trimmer

ELEOTItlOlI, ENGINEER
Eitetrlg l.lchtlnc and II;i.
Electric Wiring
Teleeraph Engineer
Telephone Work
UEOIIAMUAL EN6IINEEII
UeobaDteai Draftsman
Mfiehtne 6boi> Fraetloe
Toolmaker
Gas Engine Operating
CIVIL ENGINEER
Snrreylnf and filuppln^
UINE FOIIKHANorENtJ'U
STlTIONillT ENfilNEEU
Marine Engineer
Ship Draftsman
ARCHITECT
Contractor and Bnllder
Arebltectnral Ih-aftaman
Concrete Builder
Structural Engineer
PLUMRINM AND HEt'l'INe
Sheet Metal Worker
Textile Overieerorfinpt.
flllKMIST
Q Navigation

3 Show Card Writer

J Sign Painter

URailroad Trainman

DILLUSTRATING

I] Cartooning

JI)l!SINESS MANAflEMBNr

U Private Secretary

n BOOKKEEPER

J Stenographer and T5^Ut

HCert. Pub. Accountant
TRAFFIC MANAGER
H Railway Accountant
Commercial Lanr
DGOOD ENGLISH
D Teacher

G Common Sehool Sobjeeta
n Mathematics
a CIVIL SERVICE
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n AGRlCCI.mUB larreoeh
D I'onltry Railing iQItallan

Name

Present
Occupation™

street

and No.

City.

-SUte.

When you write to adrertisers please mention PHOTOPL-iY MAGAZINE.

J.XV/ X yjET M^r\ X XTxrvvjr&z^xi.'\ lj i. vi-^viJiHiioii^vj vji>v^ i i^/^>i

LEARN
DRAFTING

at home in spare time as you would in
actual practice. Men and women in great
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No previous training is necessary to become a
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Earn$35to$100aWeek

Many of our graduates have reached high salaries
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We supply every student with a Drawing Outfit
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Help You Secure Position

We are frequently able to place our Students in
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tions easily on completing the course. Write
today for Free Book of particulars.

COLUMBIA SCHOOL OF DRAFTING

ROY C. CLAFUN, President

Dept. 1106

14th and T Sts. Washington, D. C.

lou CM1 eb.rn from ^l+o^^
a.n hour in 4our sp^re time-
writing ?how cards';
quickly 6.nded.silij leei^rned

no CAhVASIING

we teevch you how and

SELL YOUR WORK

AntPICAN SHOW (ADD SCHOOL

WOITE TO DAY FOB
FUU WDTICULARS

ZIO. mi BLD6. J?u7/»f; TOROniCCAflADA

"Care for Us!

There is no armistice for the Salvation
A.rmy. The soldier or sailor or marine
is hac\ in civies, but the Salvation Army
wor\ers are still in the thic\ of battle.

ITH the "down-and-outer"' disappearing as a result of high wages and
general prosperity, with the drunkard vanishing, what is there left
for the Salvation Army to do?
A great deal.

The organization that won such high place in the affections of the American
public by virtue of its sterling war service is now gaining that recognition for
its customary and usual peacetime work which these activities deserve by reason
of their extensiveness, effective management and great public value. The lassies
who won decorations and the doughboys' everlasting gratitude by their heroic
service in France are now helping to wage another kind of warfare in New
York and Boston, San Francisco and Seattle, New Orleans and Chicago and
several hundred other cities in the U. S.

And the Army itself is as thoroughly
equipped for its peace time labors as
it was for wartime work. Perhaps there
is some compensation for being num-
bered amongst the very poor, for they
only know the Salvation Army in all
its far-flung human service.

Is there a girl gone wrong, to whom
even the door of her own home is
shut ? There is a Salvation Army res-
cue home and maternity hospital nearby
to take her in and give her the finest
care.

Is there some one in any country in
the world who seeks to find missing
father, mother, brother, sister, son.

daughter, or friend? The Salvation
Army through its worldwide organiza-
tion will undertake to find the lost
person.

Is there a poor mother in the slums
who must needs work to support her
brood or to supplement the father's in-
sufficient earnings? There is a Salva-
tion Army nursery to care tenderly foi
her children each day until she returns
to mother them at night.

The needy man of sixty or more — •
There is the Salvation Army industrial
home where he may go, find easy, con-
genial work and a home and not feel
that his is a charity case.

Such is the Salvation Army in peacetime

Every advertisement in PHOTOPLAY MAG.VZINE is guaranteed.

Photoplay Magazine — Advertising Section

ill

#!!

INFINITE CARE in the production
-■^ of Selznick Pictures gives you the as-
surance that any Seiznick Picture is good.

Every production
that carries the
Selznick trade-
mark must meet
a proved quality
standard. That's

why

EUGENE
O'BRIEN

OWEN
MOORE

Hcnnxs

Create Happy Hours
At Theatres Where Quality Rules

ELAINE
HAMMERSTEI

When you write to advertisers please memion PHOTOPLAY MAGAZINE.

All night . all day . your skin
never rests from its work

O you realize that your
skin is far more than a
mere covering for your
body? It is a living organ with vital
work to perform.

And the whole beauty of your
skin depends on how it works.

Is it soft, supple, fine in terture,
brilliant in color — a delight to
everyone whose eyes rest upon it? If
so, it is simply in its healthy, normal
condition — the condition in which
everyone's skin should be. Its deli-
cate pores are working actively,
freely — bringing it the oil and
moisture that keep it soft and flex-
ible— carrying away the waste prod-
ucts and allowing it to breathe.

But if for some reason your skin
looks tired, dull — if it lacks the color
and freshness you would like it to
have — then you can be sure that it
is not functioning properly. The
pores are not doing their work — the
little muscular fibres have become
relaxed.

This condition can be relieved —
your complexion can be made as
fresh, clear, and colorful as you
would like to have it. For every
day your skin changes — old skin
dies and new skin takes its place.
By the proper treatment you can
stimulate this new skin which is con-
stantly forming, into healthy, normal
activity — you can give it freshness
and color.

How to rouse a dull,
sluggish skin

To correct a skin that has become
dull and sluggish, try using every

night this special treatment with
Woodbury's Facial Soap.

Before retiring wash your face and
neck with plenty of Woodbury's
Facial Soap and warm water. If
your skin has been badly neglected,
rub a generous lather thoroughly
into the pores, using an upward and
outward motion. Do this until the
skin feels somewhat sensitive. Rinse
well in warm water, then in cold.
Whenever possible, rub your skin
for thirty seconds with a piece of ice
and dry carefiiUy.

This treatment with Woodbury's
cleanses the pores gently and thor-
oughly and stimulates the fine mus-
cular fibres of your skin, giving it
tone and life.

Special treatments to meet the
needs of each individual type of
skin are given in the little booklet
which is wrapped around every cake
of Woodbury's Facial Soap. Find
the treatment that is adapted to
your skin — then begin to use it every
night, regularly and persistently.

You will find that the very first
treatment leaves your skin with a
slightly drawn, tight feeling This
only means that your skin is
responding to a more thorough
and stimulating kind of cleansing
than it has been accustomed to.
After a few nights the drawn feel-
ing will disappear, and your skin
will emerge from its nightly treat-
ment with such a soft, clean,
healthful feeling that you will
never again want to use any other
method of cleansing your face.

Woodbury's Facial Soap is on
sale at any drug store or toilet goods
counter in the United States or
Canada. Get a cake today — begin
using it tonight. A 25 cent cake
lasts a month or six weeks.

We shall be glad to send
you a trial size cake

For 6 cents we will send you a
trial size cake of Woodbury's Facial
Soap (enough for a week or ten
days of any Woodbury facial treat-
ment), together with the booklet of
treatments, "A Skin You Love to
Touch." Or for 15 cents we will
send you the treatment booklet and
samples of Woodbury's Facial Soap,
Facial Powder, Facial Cream and
Cold Cream. Address The Andrew
Jergens Co., 505 Spring Grove
Avenue, Cincinnati,
Ohio.

If you li-ve in Canada,
address The Andrew
Jergens Co., Limited,
505 Sherbrooke Street,
'^erth, Ontario.

Every adverUsement in PHOTOPLAY MAUAZINU is guaram.ed.

EvanB

ACAN 1)1 DATE for the throne of the lost princess of thrillers, Pearl White.
Juanita Hanson was once a beach beauty, but, finding that sort of thing too
irksonic, joined the harassed lieroine gr<>u]i, and has since been serialing.

Hoover

A"PKG O' MY HEART" yet to be seen on the screen: Wanda Hawley. How is
it that a blonde can be ingenuous and still remain out of the ingenue class?
Ask Wanda, in private life Mrs. J. Burton Hawley of Hollywood, California.

ONE of the subtlest of screeii-tauf;;ht actresses: Rosemary Theby. ITer celluloid
past, at times shady, was performed for Lubin and Vitaj];raph. But Miss
Theby does strictly leading business now. Perhaps you saw her in "Rio Grande."

YOV (Jon't need to be told tlic name of this Irishman. Tom Moore, loii<>: a
leading' man, was made u star, hy popuhir demand. Since then, by a dramatic
jtaradox, lie has been playing J'inero's Englishmen — and j)laying them well.

Evans

ANEW portrait. Doufjlas Fairbanks, haviii<r l)eeii emperor of picture motion
since "The Lamh," stole a reel out of the news-weekly l)y utili/,in<j the slow-
motion camera for comedy, in one of his new films. Same old smile!

Evans

A1{()M AN holiday was declared in ail boarding-schools recently. It became known
tliat Jack Jlolt, accomplished as a heavy, was to be advanced to stellar promin-
ence. His career has been one of continuous achievement; he used to do bits.

Bull

NO matter wiiat part Madge Kennedy may perform, her audiences are always
convinced that she's a perfect lady. She used to be quite naughty, on the stage.
Of all transcontinental film commuters Madge K. Bolster is the championett*.

npHKY were thinking about Kenee Adoree wFieri they wrote all those French songs.
■■• A native of Lille, that tragic war country, she was a member of the Folies
Bergere in Paris; then eame to America. The silent drama claims her, now.

<C7ie World's Leading cA^ovin^ <Vi6iure cJ^a^azine

PHOTOPLAY

Vol. XVII

Oj^ay, 1920

No. 6

^Zjhe Stvan^e^ Thin^ in History^

TIME, which cannot pause or even hesitate, is standing still.
The Joshua halting the ceaseless order of the heavens is the Moving
Picture. Through it the transient splendors of yesterday become ' the
enduring decoration of infinite tomorrows, the casual is transmuted to the
eternal, and youth and beauty linger forever in the fields of June.

The camera cran\ seems to be measuring Einstein's unthin\able fourth
dimension.

It is the strangest thing in history.

Of course we do not realize all this, because we are those privileged to stand
in the new day's dawn. The recognition of the moving picture is almost an event
of last wee\; its children are still children; its first heroines are still romantic.

The miracle will be the miracle when an old, old man whispers to another
old, old man — as the summer sunshine of long ago leaps lightly across a library
wall on a wintry night — "That pretty girl in the queer, old-fashioned froc\ was
my great- great' grandmother, Alice Joyce I " Or when the hundredth comic film
\^ng digs a dusty reel from his vault and murmurs "This odd little chap was

the laughing daddy of us all, I guess. Let me see what was his name

Chaplin ? That's it !"

Our ancestors left idealized portraits and elocutionary memories of their best
moments. V/e have no news-reel of George V\/^ashington — we have only the
majestic idealization by Gilbert Stuart. T^apoleon, before a Bell & Howell,
might have seemed less an emperor and more a funny little fat man.

What are we doing, in front of these magic windows of immortality ? 7^o
longer can any generation live for itself, or even play for itself. We belong to
all the tomorrows, and our little crowded hour only seems so — it is really the
leisurely afternoon of a thousand years.

To be sure, only fragments of our miles of film will endure — but who \nows
just what those fragments may chance to be ? Half of all history is made up of
inconsequentialities. So photo play-ma\ing is a tremendously serious thing.
The judgment of decades and even centuries to come may be suspended over a
thoughtless effort of today.

Tou pioneer authors, actors, directors — some of you are destined to be
immortal ! Shall you be remembered as Evangels or Judases of your art ?
It is within your power to choose.

No. 1 — "The Land of tke thinker."

BEYOND doubt the hand is an index to character. By
this statement I hope I shall not be confused with the
palmist but I believe that certain types of hands belong
to certain definite types of people. Further than that
I have a feeling that hands are even more trustworthy than
the face in the reflection of character. ■ I have come to the
conclusion, after a considerable period of observation, that
certain definite types of hands belong to certain definite types
of people. With no desire to be confused with the palmist
and fortune teller, J would even go so far as to say that
hands are more trustworthy than faces in the reflection of
character.

There are several reasons why this is true, the first of them
being that the face is trained to concealment while the hand
is not. The hands may be aroused into quite an extraordinary
self-consciousness by having the limelight of conversation
directed toward them, but under ordinary circumstances they

are not self-conscious
and react only to emo-
tions that are genuine.

They will even fore-
tell by their posture cer-
tain physical conditions
that may not be reflected
in the face. I have in
mind one small hand
that curls in on itself in
a most pitiful manner
some hours before the
habitual headache pros-
trates the owner; an-
other that opens and
closes at regular inter-
vals during an attack of
indigestion. In both
these cases the nervous
agitation of the hands
precedes by quite an
interval of time any
change of color or ex-
pression in the face.
People who, like Theodore Roosevelt, are possessed of great
nervous energy are rather apt to carry at least partially closed
hands. In fact, in some cases I have observed them to fold
the thumb inside, which seems in direct contradiction to the
palmist tale that such a position signifies weakness of will and
lack of intelligence. I have seen President Wilson also hold
his thumb in that manner on several occasions. He has never
yet been accused of having a weak will.

Following out this line of thought, it is interesting to find
that the Egyptians, who were very exact in their formal sym-
bblism, represented rulers and officials as having closed hands
and the common people with open ones.

■Beside being an index- to emotions and physical conditions
the hand much more clearly than the face indicates the natural
bent and talents one may possess. At an artists' dinner not
long ago a stranger remarked "These men do not look like
artists, they look more like successful business men," and
what was more they did, but in that company of twelve or
fourteen men there was only one hand that could have been
mistaken as a business man's by a person interested in hands.
Thus showing that the face and head are often misleading and
that a little knowledge of hands would put the observer
straight.

It is always best to observe the hand when its owner is
unconscious of your doing so, for the hand, once scrutinized

No. 2 — "The hand- of artistic po'wer.

The Story

Your Hands

Tell

By
ALON BEMENT

■R. BEMENT is a portrait
painter, who found out early
in his career that he cared
more to paint the hands of the peo-
ple who sat for him than he did to
paint their faces. That was because
he discovered that hands reveal char-
acter even more than do faces. Un-
consciously he took great pains with
the hands in his portraits and since
hands are very hard to draw, they
attracted attention. One day Maxine
Elliot gave him a commission to do
her hands. Others followed. Mr.
Bement began to study and read and
think about hands more and more.
Then he began to write about his observations himself. Today he
is America's authority on character as revealed by the hands.

In this article you will find that Mr. Bement refers by number
to each hand he discusses. That is because he did not know the
identity of the owners of the hands until after his article was fin-
ished. The photographs were given him numbered with no identi-
fying marks. It is an interesting fact that he detected the hand
of Douglas Fairbanks. "That hand could belong to no one else,"
the author says. — The Editor.

out of its habitual repose, can be embarrassed into almost
any kind of a false position. In drawing hands I find it often
necessary to trick one hand into repose — into its characteristic
position — by pretending to work from the other. But some-
times the embarrassment spreads to both, and when panic of
this kind does come, all work is out of question for the time
being. That is why it is not always fair to judge hands from
photographs, for even the most sturdy and self-possessed chai'-
acters are apt to get self-conscious in photography and the
hand take a special pose for the picture. And while this does
not take anything away from the actual structure and propor-

No. 3 — "The hand of sympathy and proportion."

Photoplay Magazine

No. 4 — "A nice, sensible looking hand."

tion, it is apt to give a false idea of the position the separate
members take in relation to each other, and, in this way, give
a wrong impression of character. This is particularly true of
the thumb. A thumb that hangs too close to the forefinger
lacks power, while one that stands at right angles to the hand
signifies pig-headedness. It is the one that takes an inter-
mediate position that signifies real will and determination.
In being held up for show the thumb often overdoes its
independence by standing out too far.
This, I take it, is true of No. 8, though
of course I cannot be certain.

A good way to judge of the charac-
ter of the hands in general is to analyze
those of the people we know, working
from the character back to the hands.
Take for instance, the average business
man's hand, it has a compact, strong,
well filled out palm, and short, sturdy
fingers of rather equal length. Nos. 11
and 7 have the characteristic palm, but
their fingers end in too uneven a line,
signifying that their bent is towards
constructive work. No. 10 is more
typical, but the hand seems in the photo-
graph to be too hard in texture, indi-
cating, perhaps that No. ro is engaged
in some pursuit that keeps him on his
feet and continually active. (This man
has a fine sense of discipline and would

make a cracking good official where he could come in direct
contact with the people under him.) The typical business
man's hand is more soft and well padded like the palm of No.
II. In spite of these differences, however, all three of these
hands are of the aggressive, driving, executive type.

Another class into which you could divide hands is one that
we may call the constructive type. This sort has a practical
palm not unlike that of the executive, but it is thinner and has

Key

Identity of Hands

I^a

sel

ecting hands for Mr. Beraent to 1

agnose

, Photoplay -went out into |

different fields for types. Among this ||

assortnaent

you -will find hands of a

prominent

hanker and educator, those

of an editor

, and those of a mechanic.

No.

.Frank Vanderlip, fornaer head ||

£ the National City Bank of
New York

No.

William S. Hart

No.

Anita Ste-wart

No.

Norma Talmadge

No.

Douglas Fairbanks

No.

. An Extra girl

No.

Xhomas xi. Ince

No.

Clara Kimball Young

No.

A steanafitter

No.

Cecil De Mille

No.

11.

H . 0. Davis, Editor

Ladies Home Journal

No. 5 — "An optimistic hand.

and more uneven in their length, ending in a particularly un-
even line at the tips. To this type of hand belong all the
arts and most of the sciences. It includes professional men,
and even poHticians, but, of course, each has his own individual
difference marked by variations from the central type. No. 2
and No. 3 are almost perfect examples of the artistic construc-
tive type, while No. 8 is right in form, but having its ex-
tremely artistic fingers somewhat overbalanced by a palm too
long and heavy.

The third type, the philosophic, is
not at all common, for those introspect-
ive people who dream and theorize are
not so easy to find. This type of per-
son will have a more delicate palm than
either of the other two; the fingers will
be longer again and heavier, particularly
through the joints. Sometimes there
are decidedly thin spaces between the
joints. The hand is ungainly to look
at, for the whole space occupied by the
fingers seems too great. The hand in
photograph No. i seems to have many
of these characteristics, but the palm
appears too thick indicating, I take it,
that this philosopher has a talent for
business. It is not an ordinary hand by
any means, even without seeing the in-
side it is possible to tell that it is able
and ■ kindly, belonging to a man who
directs and controls not only the actions but the minds of
a large number of people. It is also the hand of a man who
ranks as high in the social as he does in the intellectual and
business world.

Speaking in a general way, the palm may be said to repre-
sent the forces of energy and stamina, both spiritual, intel-
lectual and physical. The natural aversion that we all have
to an over-fat, flabby or mishappen palm, has a good basis in

a deeper hollow in the centre, and the fingers are always longer . fact, for it is the first danger signal of physical or moral decay.

No. 6 — "The hand of indolence.

No. 7 — "Versatile hand."

fnotoplay Magazine

No. 8 — "An erratic hand.

No. 9 — "These hands almost smile at you."

No. 10 — "A direct, forceful looking hand.

The thumb seems to contain the powers represented by the
will. Both its length and its thickness count, but its length the
most. Its thickness, especially between the joints, means lack
of regard for the opinions of others and the characteristics that
go with that sort of mind. Real fighting capacity is often
indicated by a very pronounced second joint and a fairly small
tip. Compare No. ii and No. 6. They show extreme dif-
ference in length and character.

The fingers seem to represent the spiritual and intellectual
dpvelopment. The longer they are the more pronounced is
our development along these lines. If they are equal length
with big ends, they indicate executive power or manipulative
skill; while if they taper toward the tips and are of unequal
length, they are indicative of invention, imagination and adapt-
ability. Look for a moment at hand No. ii.

No. 2 is a wonderful example of the artist-actors hand of
the old school. One of those men so hard to find nowadays,
whose real ambition is to do good work first, and get their ad-
vancement later. It is the intelligent, broad-minded, kindly
hand of a square man. It is gentle and peace-loving and sympa-
thetic, but there is no nonsense about it. It would not be wise
to cross this person too often or too much, for it has moral cour-
age marVed all over it, and that second joint on the thumb
should warn the unwary to shear off. Being a shrewd but
kindly judge of human nature, this man would make an under-
standing, loyal friend, and a just but very bitter and implacable
enemy. Its owner would have
a spare figure, more wiry than
muscular. He would be a keen
observer, and a fine judge of
distance. It is one of the finest
hands I have ever seen, and I
take it to be that of some splen-
did and successful man engaged
in theatrical work.

No. 3 is a feminine duplicate
of Number lo. It is genuinelv
constructive and artistic. It
has a Spartan quality about it
- — an art for art's sake, am-
bitious sort of person, whose
spirit now and again would
drive her beyond her physical
strength. But it would always
be along the lines of artistic en-
deavor, and here as in Number
10, the reward sought would be
one of genuine recognition. It
is a serious-minded hand, a little

hard bv experience, but exquisitely beautiful in proportion and
clean lined symmetry. Delia Robia would have loved to draw
its slim fingers and fine palm, for he revelled particularly in the
reproduction of delicate strength. The thumb swinging out at
just the right angle, is in exact and perfect proportion to the
rest of the hand. It is beautiful in itself, and beside being
long and strong, and delicate, it has the second joint of a real
fighter. It is hard to believe that the owner of this hand would
not have many of its exquisite attributes duplicated in her per-
son.

A very lovely and gentle hand is no. 4 — full of femininity

No. 11 — "Hands of great ability.

and sensitiveness. A certain indication of firmness would lead
one to suppose she had the ability to approach her goal steadily
and surely and safely. Observe the long well-shaped thumb
indicating the power to carry things through. Her career will
never be meteoric — a flash of light and then forgotten — but with
her genuine good temper combined with her fine artistic ability
she should be sure of an advancement that will land her safe
at the top. Her good judgment keeps her ship steered straight
and rarely out of its course through the disagreeable eccen-
tricities of her profession.

No. 5 is again a hand of mixed characteristics. This gentle-
man could succeed along any one of several lines. Its struc-
ture is mainly that of the business man, yet while the deter-
mination and optimism that it shows indicates success, along
business lines, it has few developed qualities of the executive
hand. Neither has it the structure of the artistic hand, though
holding many of its characteristics, with the dramatic and imita-
tive senses so highly developed that it would almost pass for the
artistic hand. Superficially, it bears ever>' ear-mark of the
professional athlete. It shows astonishing physical condition,
that fitness that comes to a few well-trained, outdoor men after
years of conditioning. But it shows also a keeh sense of order
and a well trained brain unusual in the usual type of athlete.
The fingers show tremendously quick mental reactions, and
the length and shape of palm denotes the great physical and
nervous force to answer these reactions. This hand can move

like lightning, and has the power
to hold on like grim death. It
resembles the hand of Jack
Dempsey somewhat. The long
palms are the same, thick at the
heel, worn so calloused and thin
below the finger attachments
that they seem meagre, and the
same short, rather fine fingers
(though Dempsey 's are very
much straighter), and about the
same sort of thumb — ^though
Dempsey's is a bit heavier at
the base and a bit thinner be-
tween the first and second joint.
All things being equal, I should
judge this man to be somewhat
shorter and heavier in build than
Dempsey, lacking only a very
fine edge of his speed, but mak-
ing it up in bodily agility and
nervous stamina.

A very unusual looking hand
is No. 6, and one that contains many extreme contradictions.
The fingers are of the genuinely artistic type, but they occupy
too httle space in relation to the whole of the hand to be
really dominant. The palm is unusually long and deep, and
rounded at its corners. It would denote a good constitution,
but it is not the right shape to be of executive ability. It
seems to suggest a very good physical make-up, with no
nerves, and an easy-going disposition. The thumb is extraor-
dinary, for it is not only short, but it is placed so low down
on the palm that it seems shorter than it really is, and it is
(Continued on page i2y)

A S a rule our editor does not think much of the seasonal stuff that the ladies' fire-place periodicals
•** set such store by ^ June number knee-deep in brides, December issue camouflaged to look like a
holly wreath. But there were a couple of reasons or so why he consented to dedicate this page to
Easter. Reading from left to right: Universal's fair-haired Josephine Hill. Rather chic. What?

Kind to Dumb

ADELA ROGERS

ST. JOHNS

Polly Frederick's anti-vam-
tkem all speechless — from
senger boys down to

She stepped from a
Boston home into
the chorus. But she
didn t remain in the
chorus long. Below,
Perhaps she is auto-
graphing your pic-
ture.

IT is about as easy for an outsider to break into Newport,
as for one to find a p'.ace in the chorus girl's dressing room
sorority — easier, perhaps, because the chorus girl is just
as clannish in her way as the society deb, and better
equipped as to vocabulary. Therefore when Pauline Frederick
stepped from the bosom of her family in the Back Bay, Bos-
ton, into the merry-merry, the girls agreed with grandmama
who thought she ought to stay at home and carry out the fam-
ily tradition. And believe me, it takes more actual, i8-carat
charm, more honesty of lovableness and manner to win a bunch
of jealous women like that than to put a piece of ice down a
king's back.

A woman who was in the chorus with her during her first
season on the stage — one of the Rogers Brothers shows I
believe it was — and who is now in pictures — told me that at
the end of the tour Pauline was the most popular girl in the
company with the other girls, though they started ouC to make
things generally unpleasant for her because of her Boston
accent and boarding school education.

When I invited Polly Frederick, out
at her beautiful home at Beverly Hills,
California, the other day, to aid me in
analyzing her own charm for her
friends, she shook her head. Her su-
perb mental honesty led her to forego
any mock denials or exaggerated pro-
tests.

"Good Heavens, I don't know — and
neither do they, bless 'em. You know
— perhaps it's because I care so much
to be liked. I adore having people
like me. I'm truly heart broken when
they don't. That is, most people.
Some I just naturally can't stand from
the instant I see them."

If you have read Balzac, you have
encountered women like her. I know
of no one else who has drawn, or at-
tempted to draw, her type with its
extraordinary range of possibilities.
Without being faultlessly beautiful or
prettily pretty, she produces exquisite
impressions. She is distinctly the aris-
tocrat, so much so in fact that she can
afford at all times to ignore it. She is
not grand, never "upstage," but she lets
you feel the barriers of her reserve.

Viewing her at close range, one de-
termines that her beauty is largely a
matter of little things — of the ineffable
joy of finding a woman whose elbows,
hands, wrists, ears and nostrils do not
jar on the esthetic sense. The firm,
cold poise of her head is probably re-
sponsible for the undeniable impression

of hauteur, but it is largely counteracted by the warm natural
expressions of her face, the constant gesture of her hands, the
sweetness of her smile. She unites grace and an impression
of strength, but which nevertheless is usually the line of de-
markation between the woman who from the beginning is
destined for a career, and the general run of women. She is
completely natural and therefore never repellent.

It was this superb naturalness that laid the foundation for
the greatness of her most famous stage portrayal — Potiphar's
wife, in the spectacular "Joseph and His Brethren." The lack
of garb necessary to indicate this Biblical siren's lack of char-
acter might so easily have coarsened the performance, but
Miss Frederick gave it a freedom from self-consciousness that
rendered it probably the most seductive and alluring imper-
sonation of the generation. It isn't every lady that can reveal
herself to the world to that extent and still remain a lady —
no matter how gratifying her revelations may be.

Oscar Wilde said that it didn't really matter what a woman
said if she looked pretty while she was saying it. Polly Fred-
erick is an endless, almost irresistible source of delight to the
student of character. However, what she is and does always
overshadows what she says. She is such an unusual type of
woman that it is difficult to focus upon her conversation, which
is brilliant, but spontaneously disjointed. In the days when
conversation was an art to be cultivated for the ornamentation
of salons, she might have been a Recamier. As it is, one finds
one's attention riveted upon her personality.

It is more or less rare to find women whose appeal extends
from justly celebrated admirals to express messenger boys.

Waiters

pireism strikes
haughty mes-
mere admirals.

Now, whether you're admit-
ting it or not, you probably
know something about C. 0. D.
packages. You have possibly
encountered the suspicious and
unyielding gaze of the person
who delivers them. As soon
ask Clemenceau to sing "The
Watch on the Rhine" as to ex-
pect this skeptic to allow you
so much as to display interest
in the parcel before paying.

When he arrived, Miss Fred-
erick didn't have that much
cash on hand. Her secretar\'
was out and she didn't know
where her check book was.
Sweetly said she: "Leave it
and come back tomorrow for
your money." I expected to
see her instantly annihilated.
I didn't think Cleopatra her-

Slie doesn t like women
who like small dogs.
But tke black ball in tbe
lo-wer picture just natur-
ally attached itself to
ber. Above, outside Ker
Hollywood home.

self could get away with that. But
in a minute the boy was cheerfully
whistling down the path while Miss
Frederick began to unwrap her latest
frock. It wasn't because he'd heard
of the fabulous sum Mr. Goldwyn
is reported to pay her, either. The
things were addressed to her mother.
It was just Polly Frederick.

As for the Admiral, he turned out the fleet —
that's all — guard of honor, military escort, flags
waving, guns firing. One great conqueror paying
just tribute to another, I suppose. It is whispered
that in his time the Admiral has made his bows to
not a few famous beauties.

There is about Frederick no possible suggestion
of the domestic, the maternal, the soft, feminine
abandonment to life and compromise with circum-
stance.

This quality was the rock upon which her first
marriage shattered. Wealth, social position and
romance must always prove insufficient for that
type of woman if they rob her of her self-expres-
sion. Therefore to those who knew her, the beau-
tiful actress' return to the stage, after abandoning
it for a brilliant social marriage, must have been
inevitable.

As a biographer, it is only just to say that her
last marriage to Willard Mack, the playwright,
seems to have added the final touch to both her
art and her development.

"One must have suffered to produce the effect
of suffering — loved to reflect love," she said to me.
"A great critic once said that there could never be a per-
fect Juliet because by the time a woman had Hved long
enough to feel her she had lived too long to look her. It
is beaten gold that is malleable. The artist who avoids life,
avoids the birth pangs of art. Sappho, Mrs. Browning,
Patti, Bonheur, Bernhardt — artists of life as well as art,"
Women who occupy as prominent a place in the world's
(Contmtied on page 130)

WEST IS EAST

A Few Impressions
By DELIGHT EVANS

NE night
I happened to

go into
A Little Restau-

"Dick"
Barthelmess.

rant
In Sixth Avenue, for

dinner —
Where they have
The Best Chicken
In New York, or any

other Town.
I Went In, and
Sat Down, and
Ordered Chicken —
One Time
Somebody

Ordered Beefsteak in There, but

That was Long Ago —

And

Two People

Came In and

Sat Down at the Next Table.

I Noticed Them, because

At Another Table there was

A Family Party, with

A Mother and Father and

A Boy and Girl; and

The Girl Dropped her Fork, and

The Mother Stared, and

The Boy Stopped Eating.

The Father Grunted,

"Whassamatter?" — and Looked, Too.

"Sshl" Said the Girl;

"Look— it's

Bobby Harron and

Dick Barthelmessl"

And

Everybody Around

Heard Her, and Looked, Too.

And I Looked; and

The Two Inoffensive Young Men

Took Off their Things and

Sat Down and

Ordered Chicken ; and

The Waiter Smiled at them

And Told another Waiter; and

He Nodded; and

Everybody Kept Right On Staring.

Then

Dick Barthelmess —

He's Better Looking than Ever —

Drew Pictures on the Table-cloth,

And Bobby Harron

Kept on Drinking Water, and

They Both Looked Around and

The Girl Said in a Loud Whisper:

"I'd Know

Dick . ,

Anywhere,

Wouldn't You?" ' •

And The Boy Said,

Scornfully,

"I should Think you would:

You Keep Enough Pictures of him" and

Mother Said to Father,

"Look, Pa— that's

Bobby Harron; he was

The Soldier in that Picture.

My, isn't he

A Sweet Bov!"

And Bobby Took

Another Drink of Water,

And Choked ; and Dick

Tried to Eat; and

Laid down his Fork; and Said,
"I Feel like a Murderer"
And Father Said,
"They don't Look Like
Actors" ;

And Dick and Bobby
Looked at Each Other
Across the Table, and
Shook their Heads Sadly, and
Paid their Check, and
Put on their Things, and
Stumbled Out.
I Wonder if

They'll Ever go There Again?
And By the Way-
Did you Hear
That Both Bobby
And Dick
Are to be
Stars on their Own?

EVERY Time I Try
To See Madge Kennedy

She's Always Busy:
Catching a Train, or
Hurrying to Meet her

Husband.
You See, she holds
The Moving Picture

Commutation
Record; she
Simply Can't Stand
To Stay in One Place
More than a Month.
She Makes a Picture in
Manhattan, and then
Hurries to Culver City,

Cal.,
To Make Another; and

then

She Gets a Reproachful
Wire

From her Husband in New York,

Asking her

Why it is he Never Gets to See her.

Any More.

So Madge

Will Pack her Trunks

And Catch the Next Train,

Back East.

I Caught her

In the Studio.

There's always Plenty of Time

Between Scenes to Tell

The Story of Your Life:

While the Director is Holding

A Conference with the Head Electrician ; or

While they are Waiting

For the Leading Man

To Powder his Nose; so

We Sat Down.

Miss Kennedy

Was Reading

A Book I Couldn't Pronounce;

She Says

She's always Reading, hoping

That Someday

She'll Stumble Across

A Story she'd Like to Do.

And

She was Wishing

It was Summer Again

So she and her Husband

Could have their Home

In the Country with

Robert
Harron.

A Cow and

Dogs and — ^

"Pardon, Miss Kennedy,"

Said The Assistant Director,

"But

What Kind of a Costume

Are you Wearing

In the Ballroom Scene?"

"Why" — and she tried to Explain

To a Mere Man

What a Lucille Dress Looks Like.

"As we were Saying," she Came Back to Me.

"The Best Kind of Story

For Me to Do—"

"Say, Miss Kennedy,"

Said Pete Props,

"You know that

Stuffed Dog

You Gave My Kid?"

"Yes"—

"Well, if

The Little Rascal

Didn't Go and

Chew it until

All the Stuffing

Came Out of it."

"We'll

Get her Another,"

Smiled Miss Kennedy Promptly.

"His Baby

Played in a Picture,"

She Explained to Me.

"Now this Story—"

"All Ready!" Shouted the Director.

"This is My Scene," she Said, and

She Looked Patient, and

Pretty, under her Make-up; and

You always Think

That Not Even

Motion Picture Paint

Can Spoil Madge Kennedy,

— and what a Shame it is

That she Seldom has a Chance

To be Madge Kennedy, she's

So Busy Being

Somebody Else.

KEENAN

Up to the

Madge
Kennedy.

Gone

If they hadn't

Mr. Keenan

Would have Taken us All

And Bought us Some Ice-Cream

He was Thinking

Of Going to France but

r Mustn't Say

Anything about it

Because it isn't Settled Yet,

And he Might Not Go

After All.

FRANK
Came

Office
To See Us.
And

Two Little Girls
Followed him.
They Hung Around
Outside the Door
Until he Came Out.
Then One of them
Nudged the Other,
And Whispered,
And they Both Ran

Away
As Fast as they Could

Go.
so Fast

3i<kE>*

The spectacle that shocked New York's reformers so terribly that
they all went to see it. To avoid censure, we have censored the go-wn.

The Voice in the Dark

It rumbled from the auditorium of the Century Theatre,
and although the producer of "Aphrodite/' was speak-
ing, Dorothy Dalton calls it the Voice of Opportunity.

By BURNS MANTLE

F you had spent the major portion of your working h'fe
keeping one eye on the theater and the other on the men
who run the theater;

If you knew that one of these men, Morris Gest by
name and an artistic plunger (plunger, not plumber) by occu-
pation, was about to make a production of a dramatic spec-
tacle called "Aphrodite," relating a few of the adventures of
a gorgeous wanton of Alexandria in the good old days before

the Christian martyrs began holding good thoughts over our
pagan ancestors;

And if, hearing this, and knowing what you knew, you began
casting around in your mind for the actress person most likely
to be selected for the character of the gorgeous one aforemen-
tioned, and had successively settled upon

(i) Florence Reed,

(2) Elsie Ferguson, and

Photoplay Magazine

Miss Dalton really was showing signs of avoirdupois i
■'ante-Aphrodite" days.

(3) Pauline Frederick;

If then you were suddenly informed that a moving picture
star, yclept Dorothy Dalton, was to play the part,

Wouldn't it give you pause?

Which is to say, wouldn't it cause you to wonder how such
a thing could be? A movie star of whom no one in our
Broadway set had ever heard (as an actress) being selected
for one of the most important roles of the season! It wasn't
reasonable !

But so it happened. Dorothy Dalton was chosen, Dorothy
Dalton came, stayed, played and conquered. The day after
the production of "Aphrodite" at the Century Theater, the
town, if not ringing, was at least tinkling with her praises.

She could act! Her voice was mellifluous and clear! Her
diction better than that of most stars. She was beautiful. She
had grace. She was a real find! And though her part was
pretty awful, she had been able to conquer it.

From that day I was eager to hear Dorothy Dalton's own
story of how she came to be selected for the role of the beau-,
teous Alexandrian. The other day she to!d it me — across a
table which Anna, the maid, had spread with sandwiches and
tea, in a studio dressing room in 56th Street.

(Parenthetically I have discovered why all interviews with
moving picture divinities are linked some way with food. It's
the only time the poor things have. All they do is work, eat
and sleep. You can't interrupt them while they are working,
and it wouldn't be polite to disturb them when they are
sleeping, so there are only the food interludes left.)

Dorothy Dalton
Explains —

How she was chosen as the

heroine of "Aphrodite."
How she made her first hit

on the screen by sacrific-
ing her beauty.
How she nearly lost her job

by getting fat.
Why she had rather act in

the spoken drama than in

the movies.
Why vampires are the most

interesting of screen chat'

acters.
Why she doesn't want the

movies to improve too

much.

"What!" I asked, "is the true story
back of Mr. Gest's choice of you as the
ideal Chrysis?"

"I suspect," said she, "Mr. Gest is
the only man who can tell the true
story. So far as it concerns my per-
sonal experience, however, it started
with my meeting Mr. Gest socially a
year ago. He asked me then if I had
ever considered going back on the stage.
I told him very frankly that I had, and
that I was keen to do it. At that time
I do not believe he was looking for any-
one for this particular part. Later, in
California, we met again, and again ref-
erence was made to the possibility of
my returning to the stage.

"A month or so later in New York a
theatrical agent called me on the phone
and asked me if I had time to go to the
Century Theater with him and have a
talk with Mr. Gest. I was terribly busy
and getting ready to start for Califor-
jjg^ nia. I did not have much time, but I

agreed to go with the understanding that
the interview would be brief. When
we got to the Century, there was no Mr. Gest in sight. I was
pretty mad. In another minute I would have left, but at the
psychological moment the girl in the office suggested that we
might find the absent manager on the stage.

"We made our way to the stage of the Century. Every-
thing was in an uproar. Scenery and costumes were being
unpacked. Several assistant directors were assembling various
sections of the 'Aphrodite' company, and rehearsing them in
comers. But there was no Mr. Gest. Again I decided to
waste no more time and started to leave the stage, when I
heard someone calling to me from the back of the darkened
auditorium.

" 'Miss Dalton,' said the voice, 'I cannot get up there Just
now. Do you mind telling me when I can see you again?'

"I answered rather snippily that I was a very busy woman
and that I was leaving shortly for California.

" 'But,' said the voice from the cavern, 'I am very anxious
to talk with you. I do not just get what you say. Will it
be possible for me to see you tomorrow?'

"I raised my voice, tried to control my temper, and replied
that I did not think it would be possible. By this time Mr.
Gest had come down the aisle until he was just beyond the
orchestra pit. From there we carried on a more or less excited
conversation and suddenly he threw both hands into the air,
and, shouting 'God has been good to me! — God has been good
to me!' began scrambling onto the stage. I did not know just
what to make of this performance, but the next thing I knew
(Continued on page 128)

''By Norman Anthony

Intimate Snapshots

The heroine of "The Daring Deeds of Deha" in her home.

Treasure
Island

Re-told in a manner that the
shade of R. L. Stevenson would
surely forgive, could it appreciate
the present white paper shortage.

By JIM HAWKINS

Illustrations from the photoplay
version produced by Maurice Tour-
neur, for Paramount- Artcraft

PHOTOPLAY has asked me to write down the whole
particulars about "Treasure Island," from the be-
ginning to the end, keeping nothing back but the
bearings of the island and that only because there
is still treasure not lifted. As you will doubtless agree, it
would be difficult for even the most talented of story-
tellers to duplicate Robert Louis Stevenson's thrilling
pirate story. And yet the Editor assures me that I must
confine my narration to two pages, because of the dire short-
age of white paper stock which has come upon all maga-
zines. Crowded with romance and excitement as were the
pages of the original book, it would seem a difficult problem
to give- you entirely the running story as it actually happened
and as I myself witnessed it from start to finish with my
own eyes. But the ways of picture producers are marvelous
and, with the aid of frequent illustrations culled from the
photoplay version, I have no doubt but that you can
tremble over some of the thrills that befell me.

I take up my pen and go back to the time when my
mother kept the "Admiral Benbow" inn and Billy Jones,
that brown old seaman with the sabre cut, first took up his
lodgings under our roof. Those days, comparatively, were
quiet and uneventful; and little did I guess — youth that I
was — that I was destined to take part in the liveliest pirate
story that ever found cradle along the Spanish Main.

I—'

One evening came a horrible, soft-spoken, eyeless
'creature to the inn, tapping before him with a stick.
In pity I held out my hand and he — it was Pew the Pirate,
I afterward learned — gripped my hand like a vise and bade
r^e lead him to Billy Bones. "Sir," said I, "I dare not."
"Oh," he sneered, "that's it! Take me in straight, or I'll
break your arm." I led him in and he tipped poor Billy
the black spot, which was a certain sign of death. Then,
with incredible accuracy and nimbleness. Pew skipped out
of the parlor and into the road. And that night Billy
Bones was killed.

Jim Hawkins.

quire Trelaw ney.

We searched Billy Bones' sea chest, and took from

it just enough to cover the money he owed us. And
I came across an oilskin packet of Billy's papers, which I
also took, to show to Dr. Livesey, who was not only a
physician but our local magistrate. The doctor opened
the seal with great care, and there fell out the map of
Treasure Island, with latitude and longitude, soundings,
names of hills, and bays and inlets. It was the island on
which the infamous pirate. Captain Flint, had concealed his
ill-gained money.

o So Squire Trelawney fitted out a vessel to go after

*-' the treasure, with himself as admiral, Dr. Livesey as
ship's doctor. Captain SmoUet, myself as cabin-boy, three
faithful friends of the squire, and Long John Silver, who
had lost a leg in his country's service, as cook. Long John
also helped get together a crew, not pretty to look at. but
fellows, by their faces, of the most indomitable spirit. The
Hispaniola had been out for some time when I overheard
Long John plotting with the crew to take control of the
ship and the island once we were landed. And I realized
that we were in the hands of a band of ruffians.

Photoplay Magazine

Merry the Pirate.

Dr. Livesey.

Pew the Pirate.

Captain Smollet.

Long John Silver.

_I immediately told to Squire Trelawney, the whole
"details of the conversation I had overheard Captain
Smollett, and Dr. Livesey, who held a council of war.
Believing that forewarned was forearmed, they decided to
go on as though nothing had happened: there were seven
of us against nineteen of the pirates, and a battle then
would have sealed our death-warrants. The next day the
captain gave the crew shore-leave, and they accepted
eagerly, one of them bringing me along although I went
greatly against my will.

g Long Jonn and his crew started the treasure hunt
" early the next day, taking me along for a hostage.
They vowed to kill me, Long John or no Long John, if
the gold did not prove to be where the map indicated.
Before us was a great excavation, not very recent, for the
sides had fallen in and grass had sprouted on the bottom.
All was clear to probation. The cache had been found and
rifled: the seven hundred thousand pounds were gone!
I fled, and Merry the Pirate was after me like a flash, but
Long John pulled a pistol and killed him.

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C Our party went ashore after me, though it had been

*^ their intention to maroon the pirates, and sail back
with an honest crew. On landing, they made for the
stockade that the map had told them of. Meanwhile, I,
as soon as we touched land, plunged into the nearest
thicket, and escaped. I met Ben Gunn, who had been left
on the island three years ago, and he led me to the stockade,
where we defended ourselves successfully against the pirates,
but not without some of our men being severely wounded.
The pirates offered and we accepted truce for the map.
Later, Long John saved me from the band.

At the moment Long John fired, three musket-shots

flashed out of the thicket and our men had the pirates
by surprise. Those who weren't wounded or killed fled
at once. Ben Gunn led us to where he had re-buried the
gold, and we fell to work gathering it. Long John was
afraid that he would be hanged after we got back to Eng-
land, but I promised him that I should save him from
the gallows, as indeed I did. "And let this be a lesson to
you. Long John," I told him, "to lead an honest life
henceforth." And from the expression in his hard old eyes
I daresay he did.

Mayo: Chapter Three

HE may have longed to study law, although he has
never confided this ambition to anyone. Or — who
knows — a literary career might have appealed to
him. He may even have yearned to become a drug-
gist. But he had a theatrical tradition to uphold, had Frank
Mayo, and so he followed the lead of his father, and his
father's father before him, and went on the stage.

The first Frank Mayo trod the boards and made his great
success as "Davy Crockett." He was also seen as "Pudd'n'-
head Wilson."

The next Mayo— Frank's father — was Edwin Frank Mayo
II. A romantic actor of the old-school, a portrayer of swash-
buckling heroes, one of his best parts was in "The Streets of
New York."

Then Frank Mayo III came along. Not only, has he kept
up the family tradition, but he has kept up with the times.
He does his acting in a great bare building with glass walls;
accompanied by the click of many cameras and the sputtering
of myriad lights; and all of California is his theater. He
upholds the Mayo tradition just as surely as did the first
Mayo, in "Davy Crockett."

Frank began his own career in his grandfather's com-
pany, playing "Davy Crockett." His best-known film work
was for World, where he played with Kitty Gordon, Ethel
Clayton, Alice Brady, Louise Huff, and June Elvidge. For
Universal he has done "The Brute Breaker," "The Little
Brother of the Rich," "The Peddler of Lies," and "Lasca."

Upper picture, Frank Mayo I. creator of "Pudd'n'-liead

AVilson" in America, grandfather of Frank. Center, the

second Mayo, Frank's father, in "The Streets of Ne-w

York." Bottom, Frank Mayo III.

That lovable old scalawag, "Jiggs" played by Johnny

Ray, and Mrs. Jiggs, his eternal nemesis, by Margaret

Fitzroy. Doesn't he look like the cartoon?

Filming Up Father

IN every city, town, and hamlet in this country, the car-
toons of that lovable old scalawag, "Jiggs," are devoured
by mother, father, boys and girls. How "Jiggs," in-
duced to dress up when his wife entered society, would
creep back to his old haunt, "Dinty Moore's" — (there is a
real Dinty Moore, and he runs a cafe in Manhattan, off
Broadway, where they have the best corn-beef-and-cabbage
in the world) — has been pictured many times, and always
applauded. In short, George McManus, the cartoonist of the
Jiggs family, won international renown for his characters,
and he is just as popular in New York as he is in the mid-
west and just as popular in California as he is in Carolina—
which is going some.

It was a long time before McManus consented to have his
Jiggs family put into pictures. But finally he came across
Johnny Ray, who is a real-life twin of the newspaper Jiggs.
So the Jiggs cartoons came to be flesh-and-blood; a suitable
Mrs. Jiggs being found in the person of Margaret Fitzroy,
and a pretty Nora in Laura La Plante, and Al Christie signed
up the whole family to make comedies for him.

They were met at the Los Angeles station by the Mayor
of the Town — who, alas, gave Jiggs the key to the city, but
not to his cellarette — and there's only one kind of key that
Jiggs appreciates. The Chief of Police was at the train, too,
to caution Jiggs against possible escapades in the city of the
Lost Angels. Now the company is hard at work in the stu-
dios, and the first fruit of their efforts will be celluloided soon.

From property boy to comedy parts — that's
the record of young Charles J. Maguire.

King of the Grocery Boys

ON the morning when the great truck scene in "Two
Weeks" was to be filmed, about a quarter of a year
ago, Constance Talmadge, star, decided that the exist-
ing chauffeur would not do.

"How about Charlie?" asked her director.

So Charlie — property boy, office assistant extraordinaire,
and extra man-at-large about the Talmadge plant — was sum-
moned from the property room and told to act like he could
drive a truck. Also he was told to lift his cap and whistle
at a certain juncture — said juncture having something to do
with a young lady's ankle.

That might have been all if two gentlemen had not arrived
at the Talmadge film factory one day shortly after "Two
Weeks" appeared at New York theaters. They asked to see
Mr. Charles G. Maguire.

The telephone girl chewed her pencil a minute in a puzzled
manner, then tee-heed. "Oh, I guess you must mean Charlie."

Charlie came downstairs in his shirt sleeves.

"We want to talk about signing you up for a year," they
said. "We saw your truck stuff in Two Weeks.' We've been
looking for some one to feature in a series of grocery boy
comedies, and you're elected."

Charlie blinked, gulped, put his hand to his head, and
told them, "All right, if you'll draw up a clause in my contract
agreeing to pay for some clothes and a dentist bill."

Mr. Walter J. Johnson and Mr. L. H. Hopkins, of the
Johnson and Hopkins Corporation, said "Yes," and now
Charles Maguire, of Florida and New York, has his own dress-
ing room, four recent suits of clothes, seven shiny new gold
fillings, and more salary than he had ever dreamed of.

Mrs. Maguire savs she knew something foine was going to
overtake the lad because she looked on a load of hay, found a
horseshoe, and hadn't seen a black cat for a week.

A Rising Young Actor

FRANK KEENAN saw some pictures on an editorial desk
in Photoplay Magazine's offices.
"By Jove — there's Billy Ferguson!" he ejaculated.
"Do you know, I've often thought that if he had come
from abroad, he would have been hailed as one of the greatest
living comedians. Well, well — so he's in the movies too!"

Sone one once said that three score and ten were man's
allotted years of living. Here's a man who is just beginning
to live at three score and ten. William J. Ferguson is break-
ing into the moving pictures at seventy!

He was a call-boy in Washington at Ford's Theater. He
was on the stage the memorable and tragic night that Presi-
dent Lincoln was shot. He has played on Broadway for fifty
years — and he's still playing. But^ — he has never been in the
movies; and because he liked them, and believed seriously in
them as a new medium of dramatic expression, he enlisted
in them. Ferguson is playing Pine, the valet, in the Blackton
production of the well-known stage play, "Passers By."

He works all day in the studio on this part, and at night
leads several numbers and performs eccentric dances as the
butler in "The Little Whopper," a musical comedy on Broad-
way. Members of the audience of this girl-and-rag success
often speculate as to the age of the agile comedian and dancer.
"He looks middle-aged and dances like a youngster," is the
puzzled and unsatisfactory conclusion of the spectators.

Ferguson went into pictures because he has the vision of
youth. He is essentially a man with a progressive mind.
"Think I was going to let all those young scamps who have
only been acting for a dozen years step into a new field and
leave me behind?" he says. "Not much! I hopped right
in after 'em. Besides, the screen needs old-school actors—
not that I essentially rate myself in that class. But I firmly
believe that Joseph Jefferson would have made one of the
greatest of silent actors. Jefferson learned early in his career
that essential of all acting — facial expression. He knew, too,
the theory of lighting effects and in the days of gas footlights
carried on tour extra lengths of gas pipe which he installed
in theaters that he might have better lighting. He could give
modern studio electricians pointers. And if Lester Wallack,
who made the old Wallack Theater in New York famous in
dramatic history, were alive today,- I am sure that he would
rival the best directors as a producer of film stories."

He plays a butler on the stage and a valet in his
film debut. Bill Ferguson is young — at seventy.

"This old
clock over the
fire place in
the front hall
could sure tell
some tales,"
says William
Cowen, care-
taker for Hen- . ,
ry M. Flagler ^'*-|
for twenty-
nine years,
and noNv with
Griffith.

The deadline for strangers, in Flagler's day, was
the lodge gate. Today the "deadline" is the tele-
phone girl in the front hall of the house.

Romantic Estate
Now Griffith's Studio

THE most romantic thing we can think to tell you about
the old house and rambUng grounds revealed here, is
that one day last fall — when the house was boarded up as
it had been for years, and everything seemed unusually de-
serted— a very thin, very drawn-looking old man in a shining
limousine drove through the gates, got out, walked slowly
about, almost wistfully, as though searching for some vestige
of his younger, more vigorous days, and then drove away.

The visitor was John D. Rockefeller. He had come to see
the estate where he used oftentimes to be a guest.

The halls and grounds of the estate at Orienta Point,
Mamaroneck, Long Island, which is rapidly being made into
David Wark Griffith's new eastern workshop, was one time
the summer home of Henry M. Flagler, Rockefeller's life-
long friend and business associate. Part of the house was
built in 1882, at a cost of $230,000 — tremendous for those
days — for his first wife who died before it was completed.
He married again but the second Mrs. Flagler was adjudged"
mentally incompetent. For his third wife, Mr. Flagler had
an $80,000 wing added to the original house.

Under the Griffith regime, the rooms which once were gay
with fashionable house parties, will be stripped of their
grandeur and used as administrative offices, wardrobe and
dressing rooms, and lounges for players.

The studio itself is built behind, and attached to the house.

What would be
a $310,000 sum-
mer home ■with-
out its old oakeo
' bucket?

The rest of the house is on the other
side of the tower. This is only a wing,
built for the third Mrs. Flagler and
her maids. It increased the total room
capacity of the house to 47.

This house -was built too long ago for
electricity. Mr. Flagler spent thous-
ands of dollars on glittering gas cande-
labras and quaint wall lamps.

Can you imagine anything less than a
duchess feeling at home coming down
this grand staircase? The house was
built around it, and the great hall ex-
tends clear to the roof.

This table, valued at $2,000, used to
figure in Standard Oil Company di-
rectors' meetings — as it does novk^ in
a coming picture of Dorothy Gish.

4.^

Miss Parks telling Mr. Cody Kow to make love.

Male (Vamp) and Female (Director)

Lew Cody learns all about vamping
from Ida May Parks, his director.

HERE'S a lot in this law of opposites after all.

Emerson in "Compensation" elucidated it indisput-
ably, but we're not going to drag Emerson into this
expository ventilation upon the "he-vamp" and his
director-ess.

Ever since geometry days erat
demonstrandum that it takes two
complementary angles to make a
straight line. And in every phase
of life this idea of balance has be-
come an apodictic fact — from the
evolution and involution of nature
down to such simple things as
blondes attracting brunettes.

In the business of making motion
pictures for several years there has
been what is known as the woman
vampire. These women have been
directed in this art of "vamping"
on the screen by men. And be-
cause it was quite the natural
course of events no especial atten-
tion was attracted to the situation.

But now there comes into our
midst a bizarre creature with the
appellation of "male vampire" and
he startles us by stating that he
believes women are the "coming"
directors because they have more

one

imagination than the average man and then proceeds to act
upon this uncanonical opinion by adding to his exotic fold of
studio assistants a woman director, the wife of a Frenchman.

And though it must be
a trick of fate, the coinci-
dence is remarkable that
out of the only two
women directors in the
business Mr. Cody, a
brunette, picked the blonde,
Ida May Parks. Erat
demonstrandum.

But Miss Parks is not what
might say an overwhelming blonde
— a blondined or peroxided type
happily indigenous to the cinema
world but rather a light brown haired
person with very snappy violet eyes
and a thoroughly sensible manner be-
coming her calm, mature dignity.

After being told that she was born
in CaHfornia you wonder if this
woman of prepossessing figure may
not be a descendant of the Amazon
Queen, Califria who, according to
De Montalvo's rosily romantic tale
of 1 5 10, with her warlike companions
carrying golden spears, were the sole
inhabitants (guarded by the griffins)

Photoplay Magazine

on the then-an-island California. And along with the figure
en grand seigneur she has inherited something of Amazon will
for she says that to want to do a thing is to do it — 'in her life.

But that doesn't mean that she has never done things that
she thought she didn't want to do.

"I had some unfavorable illusions about directing a male
star before I accepted this engagement with Mr. Cody," she
stated emphatically. "I had never directed a man before though
Mr. Cody had been directed by Miss Lois Weber. I have been
most pleasantly surprised and now I think that I shall always
prefer to direct men.

"I have found that a man tries very hard to please in many
cases where a girl might not respond at all to suggestion. And
I do believe that the difference in sex makes a difference in
attitude."

Upon being asked if he was giving a sympathetic interpreta-
tion to the characterization of the "male vampire" Mr. Cody
said "no, a human one." Which was, of course, the broadest
and yet aptest definition "sympathetic" ever had inasmuch as
we will see sentiments portrayed to "which every heart returns
an echo" and situations arise "that find a mirror in every
mind."

And while co-operation is the watchword between Mr. Cody
and Miss Parks in the making of this story, "The Butterfly
Man," a woman will have the last word. For Miss Parks not
only directs her pictures without an assistant but writes her
own continuity and cuts the picture as well. She believes that
the big motivating idea or prevailing theme in a story is apt
to be lost through the association of her own with various other
ideas upon methods of development and denouement. And
it would seem that her opinion is well worth listening to if we

are striving for a composite artistic achievement in the film
drama. For an artist after conceiving an idea for a picture does
not get another to mix his paints for him.

Furthermore Miss Parks sees no reason why there should
not be many more women directors. She believes of course
that women should have an aim outside a husband, though
she herself is a wife and mother of a twelve-year old son.

She herself was an actress for twelve years upon the legiti-
mate stage, having left school at the age of fifteen to embark
upon her career. She left the foots to write film stories for
Pathe in New York. Her husband was directing at the time
and she assisted him in cutting his pictures. Several years
here equipped her so that when her husband came west she
came with him and wrote and cut all his pictures.

Then one day in the middle of a picture under production
he was called to New York and she, upon insisting that she was
quite capable of finishing the direction of the picture was
allowed to step into her husband's shoes. That picture was
one in which Louise Lovely was playing and along with the
circular trend of things it happens that Louise is playing the
leading woman for Lew Cody in this picture which means that
Miss Parks' first woman star is now playing with her first
male star. And if Mr. Cody has any superstitions about first
ventures and blondes he ought to have no fears for the com-
pleted picture.

Which he evidently does not have because a new contract
signed but a few days ago not only states that the "male-vam-
pire" pictures will be made for three more years but stipulates
also that Mr. Cody cannot during that period commit the
fata pas of marrying and thereby forfeit the distinctive cog-
nomen that is rightfully his of "male-vampire."

A Fan s
Prayer

FROM fledgling stars of forty; from fledgling stars of
eighteen; from fledgling stars. From bathing suit
comedies; from Mae Murray's classic dances; from new
names for old novels; from new stories of old master-
pieces; from new versions of Robert Louis Stevenson. From
Theda Bara on the stage; from Alice Brady's weight-reduction
methods; from missing "Pollyanna," "Treasure Island," or
"The Garage;" from sitting again through "The Fear
Market," "Respectable by Proxy," or "The Screaming
Shadow" serial; from self-advertising directors; from 2.75
press-agents; from imitators of Mary Pickford; from pseudo-
morality pictures; from allegories; from names of pictures with
"Sin" or "Sinners;" from George Loane Tucker's enthusiastic
recognition of Frank L. Packard, author of "The Miracle
Man." From producers with brilliant advertising and dull
pictures; from Italian dialect titles in "Lombardi Ltd;" from
French directors who cannot speak English; from Southern
dialect written by Swedish scenarioists; from dialect; from
Robert Gordon's miscast roles; from Charlie Chaplin's in-
difference; from Bessie Barriscale's recent plays; from missing
her latest "The Luck of Geraldine Laird;" from missing Jim
Kirkwood in "The Luck of the Irish;" from ex-cabinet-mem-
ber film executives; from eyestrain due to Selznick's electric
signs; from husbands of screen celebrities; from policeman-
mothers of celebrities. From uninspired scenarioists and
mechanical directors; from male ingenues; from male vam-
pires; from female vampires; from vampires; from Niles
Welch's striped suits; from Universal's drawing-room props;
from all acting animals except Sennett's Teddy and Arbuckle's
bullpup; from photographs of stars with distinguished visitors;
from books by actors and actresses; from hair-mattress-beards.
From Griffith's harassed heroines; from "educational" pictures
of coffee-raising in Brazil; from advertisements which theatres

get paid to run and you pay to see; from "educationals" with
trademarks slyly sneaked in; from use of screen to advertise
butcher, baker, and candlestick maker; from screen reviews by
Baron Munchaussen and other editors of newspaper motion
picture departments. From "Don't Change Your — " titles;
from Herbert Rawlinson's absence; from 5,000-seat motion
picture theatres with song-and-dance revues: from sitting in
rear-rows of The Capitol Theatre, "biggest in the world;" from
fat second-rate grand opera singers; from stars who wear
fussy clothes; from fresh ushers; from the Henry Ford Weekly
that you pay real money to sit through: —

From these things, and many more, Good Lord. Deliver Us.

IN the days of ancient kings, before governing
countries became a serious business, and when
about the only decisions required of a monarch
were whether or not a certain subject's head
should be removed, and whether or not war should
be declared upon a wealthy neighbor— in those
bad old days the royal courts were the sole means
of support of artists of every description. If a
man could sing, or play the harp, or paint pic-
tures, or carve statues, or design buildings better
than his fellows, he was hired to work for the prince
by the year or until some greater favorite displaced
him.

Of these artists the one favored above all the others
was the king's jester. He was allowed privileges sec-
ond only to those of the ruler himself. No dignitary
was immune from his pranks and even when his jests
concealed a vicious sting he was not punished. He made
his master laugh, and all was forgiven. So, oftener than
not, the clown became a potent influence and through his
merriment often contrived to come closer to being the power
behind the throne than did the actual ministers of state.

Have the times changed? Let us see. Democracy is now
the ruler, and who are the favorites of democracy? The world
has spoken most clearly concerning its favorites through its

A Deep

Little Lake

Another girl proves that comedy
is q, great school for serious drama.

By
GENE NORTH

nomination of stars upon the screen. And who are the most
fortunate but those who most frequently till the theaters with
laughter? It is because laughter is closer to the heart than
any other emotion, because it is the most welcome guest.

And this is one reason why there are gradually emerging
into stardom a group of attractive personages who have been
numbered among the jesters. Bebe Daniels, Gloria Swanson,
Mary Thurman, have abandoned the pie and the one-piece
bathing suit to satisfy a demand for more lifelike representa-
tions. Roscoe Arbuckle, temporarily at least, is drafted into
serious drama. And Metro is starring Alice Lake, and find-
ing her one of their favorite daughters. A year ago she was
Keystoning with the best of them.

"Bert Lytell kidnaped me," is the way Miss Lake explains
her Metro advent. "I had taken an engagement with another
company, but they delayed putting me to work, and I was
growing restless. I met Mr. Lytell one day and he said
explosively:

" 'Alice, you're the girl I want in "Boston Blackie." '
" 'Can't be done,' I said. 'I'm tied up.'
" 'Get untied,' he said, and literally tossed me into his car
and drove me over to the Metro studio. Without consulting

me they decided that I was to play
the part. Mr. Lytell took me over
to the other studio where I was sup-
posed to be working while I resigned,
got my make-up box and stuff from
(Continued on page 126)

A year ago she was key-
stoning. Now Metro is
starring her, Bert Lytell
having been kidnaper.

Tragedy The trouble with children— as it

1 Y *-U is with husbands — is that you

ana loutn. can never count on how they will

take a thing. Ask any mother, teacher or wife.

Five thousand school children were assem-
bled together one Saturday morning recently
in a New York theatre to be instructed in the
art of keeping out of the way of automobiles.
This meeting was to start off a campaign aimed
at decreasing the terrible toll of human life
taken by automobile accidents each year.

The picture was all right in itself — an as-
sembly of tragic moments, such as you read of
under the heading "Motor Accident" in every
day's papers. Imagine the horror of the attend-
ing school teachers, when the young visitors,
who should have gasped and been impressed,
went into roars of laughter over the picture
of a collision between a motor and a woman
which sent the woman dazed to the curb:
Skidding, upsetting and catapulting cars which
landed their occupants in a heap on a wet
pavement or at the bottom of a ravine —
because the driver had devoted his eyes and
perhaps one arm more to some one who sa't be-
side him than to keeping on the road, or because
he wished to take some fool-hardy risk, or just
because he didn't think — brought forth a great
response of mirth. The erratic course of that
greatest foe to safety, the tipsy driver, about
whom we shall know less and less as time goes
on, no doubt, amused them hugely. A pedestrian
darting across the street in front of traffic they
received with loud and evident entertainment —
though if it taught them a lesson is not clear.

There was only one moment when they
seemed really touched. That was when a boy
of their own age found death under an auto-
mobile wheel.

GriflPith on "Can you imagine," asks David
r^ 1 • W. Griffith, "a young Edgar

Censorship, ^n^^ p^^^ ^f the present day,

sitting down and writing with the knowledge
that a censor in every state in the Union was
to delete his article before it was published?
What sort of literature would be written?

" Can you imagine it? All inspiration, en-
thusiasm and great idealism would be oozed
away from any creative writer by the knowledge
that three or four political delegates from each
of the states, to say nothing of the villages and
hamlets, were each and every one to take the
scissors and cut the inspiration to suit their
tastes."

This was one of the arguments used by Mr.
Griffith when he appeared before the commis-
sion of the Virginia legislature in opposition to
the State censorship bill. Arrayed against the
gentlemen of the motion picture industry was
a group of ministers representing almost every
ministerial body in the State.

The whole argument of the proponent of
censorship in Virginia was summed up by one
churchman who declared that while he could
not recall having seen any objectionable films,
he believed that moving pictures would be
much better off with censorship.

But the bill being unfavorably reported and
censorship being defeated, it is evident that the
spirit of Patrick Henry has not departed from
the Old Dominion.

Death-Bed It is not ordinarily as easy to

OriPratinns P^^^^ *^ blame for the defects
wpcidnuiis. ^£ ^ p^Qj. pj^^f^re as it is to place

the credit for the virtues of a masterpiece. The
hand of genius is usually so characteristic that
the identity of its owner is immediately guessed.
But bunglers are usually adepts at the old
American game of "passing the buck." And so
clever are they that not infrequently they suc-
ceed in fastening the blame where it does not
belong. A rather famous pair of scenario artists
were advertised as creators of a certain ex-
tremely bad story. When asked how it happen-
ed one of them explained it thus:

"We were called in at the last minute to try
to make something out of nothing. We tink-
ered with the thing a bit, but it was hopeless,
and the producer promised not to use our
names. He broke his promise however. It is
as if a great specialist were called in to operate
upon a dying man who was beyond mortal
help, and then the family told everyone that he
had been in attendance upon the case from the
beginning of the illness."

The Death of It was always a more

A *-!- --r J-+.--^ ot less accepted tra-
Another Tradition. ^.^.^^ ^^ ^^^ ^^^^.^

can theatre — and screen — that a play must
have a happy ending. Unless the hero takes
the heroine in his arms before the final curtain
falls, it's not good drama. " Was ! " Consider,
now, that at least six of the prosperous plays
running in New York City have unhappy end-
ings. And consider that a picture company,
in its recent pri^servation of the favorite work
of a great author, followed his story so faith-
fully that the hero dutifully passed away in the
last reel. But — here's the kick in this one:
said company having also the welfare of its
treasurer at heart, made another ending, a
gloriously happy one in which the hero is
nursed back to health by the little-girl-who-
loved-him, and they live happily ever after.
Both endings will be offered to the exhibitors
so that they may exercise their prerogative as
showmen and choose for their patrons which
of the two finales they had rather see.

....^,^

^-'

•ai'^'.''' :

rr.' .1 ^^iws^^^^m".'

'Drawn by f*iprman Anthony

ACROSS the silver sheet of life
Fair leading ladies pass —
The child, the school girl, and the wife.
Like shadows in a glass.

But she who plays the greatest part

Kneels, with a down-bent head,

And watches, with a singing heart,
Above her baby's bed !

— Margaret Sangster.

The Woman Who Understood

Demonstrating
that the most
accurate syno'
nym of Love is
often Sacrifice.

IT divides aristocratic
Fifth Avenue from
the ever insistent
slums — does quaint

old Washington Square.

It stands like a green,

tree-guarded oasis in the

heart of the city; still

surrounded by the state-
ly red brick houses of

another period, still

fragrant, when it is

spring, with the hint of

lilac and magnolia. One,

seeing it at night, feels

only the calm and

sheltered quiet of it — one

does not see, through the

brooding dark, the new

apartment houses, and

the studio buildings, and

the crudely colored tea

shops that have come to

the Square with the

artist folk who are con-
verting it from a well-
bred residential section

into a flamboyant near-
Latin Quarter. For in

New York, if you are

an artist or poet, or
think you are, you live
down in the classic

old Washington Square. Only you call it — Greenwich Village.
It was in one of these tea shops— a tea shop called, not
unappropriately, the Squirrel Hole (folk had a way of saying
that there were always sure to be a lot of nuts there) that
Madge Graham hved. The tea shop was her means of liveli-
hood, but it was only that — for she had come from the Middle
West to study art. And the tea shop, which was also her
studio, showed bits of sculpture in the corners of it that pro-
claimed her to be, unlike many of the others who inhabit
Washington Square, a real worker.

Folk loved Madge Graham. It was not for her great eyes,
not for her fluffy blonde hair, that they loved her. It was
because of her all embracing desire to mother people — from
the most discouraged drunkard to the most aggressive news-
boy— it was the sweetness of her smile and the comfort of her
handclasp that made people flock into her little tea shop.
She had come to the city to specialize in art. but her real
specialty was heart. It seemed only appropriate that she
should be completing a statuette of Cupid, which she intended
to enter in a great prize competition.

It was because of her love of people and her desire to help
them that Madge Graham first met Robert Knight, a young
musician who lived in a little room across the court from her
tea shop. For Robert Knight came home one evening in the
depths of discouragement, broken-hearted not only because
he had lost his position in an orchestra, but because Alida.
the girl he thought that he was in love with, had announced her

Madge took Ker husbands absence at
and often would skip through the

ELIZABETH
CHISHOLM

engagement to Richard
Alden, a middle-aged
millionaire. Alida was
really a selfish butterfly,
quite incapable of any
great emotion, but to
Robert, made despondent
by his double loss, she
seemed the patron saint
of a lost paradise. He
did not dream that she
was only wiling away her
idlest hours by flirting
with him.

Madge was standing
at her window as Robert
came home to his bar-
ren room, his silent vio-
lin under his arm. She
did not see him for she
was dreaming the golden
dreams of youth —
dreams of success and
fame. It was only when
the dumbwaiter bell rang
that she came back from
the land of make-believe
to the present.

There was a steak on
the dumbwaiter — her
supper. She put it care-
fully on a plate and went
back to the window so
that she could stand it
on the sill. As she set
the plate down she
glanced casually across
the court and in through
the window of the house opposite. And then she started back
in horror — breathless horror. For there was a young man
in that room, and he was standing, grim and pale, with a
revolver pressed to his temple.

At first Madge did not know quite what to do. She was
turning frantically from the window, wondering how she might
save him, when her glance fell upon the unfinished statuette
of Cupid. With a sudden inspiration she picked it up and
hurled it in the direction of the man. It went crashing through
the window and lay at his feet, a pathetic little love god with a
broken wing. But it had served its purpose for Robert, brought
to his right senses, thrust the revolver into his pocket and
came to the window. And, looking across the court, his eyes
met the wide, frightened ones of a beautiful girl.

Madge was excited and embarrassed at the success of her
plan. She met the gaze of the man squarely, but her nervous
hands brushed the steak from the window sill. And then,
speaking hurriedly to cover a strained situation, she called to
him across the court.

"Oh, please." she called, "won't vou rescue my dinner for
me?"

And Robert, thanking her silently for her rare tact and
understanding, hurried down to rescue the steak.

Of course, they had dinner together that night. And it was
over the cheery little table that Madge learned of Robert's
trouble and gave him comfort. And because she was primarily
a mother-woman, she went the next morning to intercede with

Alida's house -with utter goodnature,
hedge to invite him to come home.

Photoplay Magazine

the leader of the orchestra and her rare charm won back, for
him, his means of livelihood.

They were much together, after that. The statuette of
Cupid was finished — the most aggressive little newsboy acting
as model — and sent to the competition. And Alida was quite
forgotten, while the music grew in beauty. And then, one day,
the little newsboy burst into the studio with a paper that bore,
in great headlines, the announcement that a certain statuette,
the work of an unknown sculptress named Madge Graham,
had won in the prize competition. He dashed in without knock-
ing, to find the prize winner in the arms of Robert Knight!

They started apart, in confusion, did the sculptress and the
musician. But the newsboy was too excited to give them
more than a passing glance. He thrust the newspaper into
the girl's hands and, with joy, she read the announcement
before she looked up to smile into her lover's face. But there
was a shadow in his eyes, for he realized that her success
might draw her away from him. As the little newsboy, too
excited to stand still, dashed out to tell the other newsboys
of his lady's good fortune, Robert spoke soberly.

"I suppose," he said wistfully, "that it's too much to ask
you to give up a promising career — for just love?"

Madge looked up at him with a smile — a wise little woman-
smile. Slowly she went over to a statue that she was working
on — the little nude figure of a baby. All at once her arms
were around it and as she stood there the ambition in her
face was replaced by a supreme tenderness. One knew, from
her eyes, that she was seeing visions, dreaming dreams. When
she spoke her voice was all a-throb with a wonderful emotion.

'T think," she said very softly, "that a Home and — Real
Children — are much nicer than a studio — and clay babies!"

With a half cry Robert took her into his arms. And they
stood together very silently, and for a long time, while the
world stopped whirling and the stars sang.

And so they were married. And Madge was so angel-like in
her white dress and veil that even the blase artists of Green-
wich Village were impressed and, strangely, a little touched
by her youth and her beauty. . . . And the beginning of
a dream of home was made true in the realest way.

LITTLE Bobby came first. And, with his coming, the plas-
ter babies were relegated to the dim comers and the dusty
shelves.

And then, two years later, Peggy came to add to the joy
of the home. And Madge, her mother instincts quite satis-
fied, was happier than she had believed any one could be.

Often, as they sat with their empire around them, Madge
had a way of saying:

"They can talk all they please about careers and art, but the
business of being a mother is the biggest business in the world!"

And, to add to that happiness, her husband, inspired by
her devotion, was fast gaining success in his music.

But no happiness, it seems, can ever remain unblemished
and perfect. For Robert Knight was becoming too well
known, as a fashionable musician, to be without feminine
admirers. It was like a ghost from the past that Alida Alden
crept into his well-ordered life — the same Alida who had nearly
driven him, years before, to suicide — the same Alida and yet
not quite the same. For she was harder, now, more design-
ing, more cynical than the girl he had known. Her httle
daughter, Marian, was denied even the most casual sort of
affection.

It was unfortunate that she should have telephoned to him,
first, on an evening when Madge was too busy, with her chil-
dren, to give the matter any but the most passing attention.
Her answer to his question, as to whether he should call at the
Alden home, was bright and unsuspicious.

"Why, yes, dear," she advised him, "go — by all means!
You may have a chance to get some rich pupils."

And so Robert went to call at Mrs. Alden's home. And he
played for her — played, as she herself expressed it, "to her
very soul." And she, looking at him with eyes that saw the
desirability of a flirtation with an attractive celebrity, sug-
gested that he rent a cottage at the summer resort that she
frequented.

"Take a cottage near my summer place," she urged. "I know
that you would get a whole colony of pupils!"

Madge, of course, agreed to go because she felt that the
children needed the country. And so they made hurried prep-
arations to leave town before the hot season. Robert went
first to the summer resort, ostensibly to get the cottage in

It was over the table that Madge learned of Robert's trouble and gave him comfort.

Photoplay Magazine

"They can talk all they please." Madge would say, "
but the business of being a mother is the biggest bv

order, and Madge followed on a later train with the children
and various bags, suit cases, and toys. When they alighted at
the station they were almost bewildered at the beauty of the
countryside and it was' only when little Peggy asked plain-
tively, "Wonder why daddy didn't come to meet us?" that
they realized that they had been forgotten. Madge, thinking
of course that something was the matter — she did not dream
that Robert was seated on the Alden veranda, drinking tea and
chatting with Mrs. Alden's guests — felt no anger, only a great
desire to reach him. And so she looked about, anxiously, for a
conveyance to take them to the cottage. There were no taxis
near the station, and, in desperation, she asked a passing
farmer, with a hay wagon, to give them a lift. The farmer,
responding to Madge's charm, helped them up to the wagon
top and gave the reins into little Bobby's hands. And they
started up the road, gayly.

It would have been all right if a passing automobile had not
swung suddenly around a curve in the road. But it did. It
came charging down upon the hay wagon before the farmer
could snatch the reins from Bobby's tiny fingers. The horses
shied, suddenly, jerking the reins from the child's hands and
throwing the farmer into the road.

In the meanwhile Robert had suddenly remembered his
family. A train whistle had been the reminder. Remorsefully
he made his farewells to his hostess and started hurriedly
toward the station.

As he reached the road he saw a hay wagon bowling along
in a veritable cloud of dust and, with suddenly distended eyes,
he saw that a child was clinging to the driver's seat — his child !
And that another child was lying helpless on the top of the

wagon. And while he
watched, unable to help,
he saw his wife stand up
on the hay and start cau-
tiously to work her way
along to the front of the
wagon. With her mother
love giving her a new
courage, he watched her
step onto the shaft of the
wagon and start walking
along it, balancing herself
as cleverly as any tight-
rope walker, until she
could reach the swinging
reins. With wonderful
se'.f-control she quieted the
horses and brought the
runaways to a stop at the
very entrance to the Al-
den estate. Robert, wak-
ing from his daze, dashed
forward to help quiet the
horses and, after they were
quieted, lifted his children
and wife down to solid
ground.

"What were you think-
ing of," he demanded,
half in fright and half in
annoyance, "to ride in this
crazy hay wagon?"

Madge looked at him
timidly for a moment be-
fore she answered. And
then —

"I didn't know what to
do," she tried to explain.
"You weren't there — "

And then the farmer
came dashing up, full of
praise and relief at their
safety and Robert, just a
trifle ashamed, took up
the suit cases abruptly and
started to pilot his fam-
ily toward their new
home.

Because Madge was a
born home-maker the new
cottage became, in a few
days, a marvel of comfort and beauty. But, beautiful though
it was, it seemed to hold small appeal for Robert. He was
engrossed in a new interest — an interest that centered about
his neighbor, Alida Alden. They had concerts to talk of, les-
sons,— for he was giving her violin instruction, — vivid plans.
As the days went on Madge found herself, even more than,
ever, depending upon her children for love. It was with them
that she went walking in the woods, picnicking, playing pre-
tend.

Because the Knight cottage was next door to the more pre-
tentious Alden estate, it was not strange that Marian, the
neglected little daughter of Alida, should oftentimes watch,
through the hedge, while Madge played with Bobby and
Peggy. And one day, while she was gazing at them, wistfully,
Madge discovered her and asked her to join them in their
games.

That was the beginning of a new and glorious playtime
for Marian. And it was also Mr. Alden's introduction to
Madge for one day, when he was searching for his small
neglected daughter, he found her happily listening to a story
that Madge was telling the children.

"Oh, daddy," she cried when she saw him, "come and meet
the beautiful Princess!" For, to her, Madge ivas a princess.
Richard Alden was a tired man — tired with life and the bitter
fruits of success. His marriage had been a great disapooint-
ment to him and, of late, he had heard rumors of a flirtation
between his wife and the brilliant young violinist who was
their neighbor. And the sight of Madge and the children filted
him with a longing for the home life that he had missed and
(Continued on page 122)

at out careers and art,
siness in the world ! "

^^R^

Their

Tke Junior Sunshine League
of the sturdy sons and

This IS Bill, who IS known outside nis family circle as Wil-
liam Wallace Reid, Junior. A little over two years ago his
arrival -was an event in fandom. No-w he is a cotillion
leader of the weekly tea-parties on certain Hollywood lawns.
He should, by all rights, have inherited the histrionic fire
of Fanny, the aunt of Dorothy Davenport, his mother.

You may have heard that a comedians home life is far
from funny. Then look at this, and don't believe all you
hear. Lee Moran, in his wild search for laughs -with
■which to build the Lyons-Moran comedies, finds himself
considerably cheered of evenings by Mary Jane — not
quite one year old. Her mother is not a player.

When Jack Mulhall scrubs the make-up from his face
when he finishes the days work at the Lasky studios, lie
does not bask in the bright lights of the Broadway, Los
Angeles — he hurries right home. You may observe the
reason here: Jack, Junior, a chubby cherub of a few years
and a beautiful disposition.

The name on the back of the picture reads Richard Ker-
shaw Ince — but, like Bill Reid, he objects to being called
anything but "Dick." He is one of the three children of
Mr. and Mrs. Thomas H. Ince, his father being the -well-
known sunshine master of Culver City, Willette Kersha-w
is his aunt.

Children

»f Hollywood, composed
laughters of studio stars.

THERE is a very-much-younger set in
•Hollywood, California. The members of
it range in age from six months to — well,
four years is the oldest. You cannot
grow any older and still belong. A cynic, see-
ing these pictures of children of the studios,
might search there for a double entendre, con-
tending that a star's baby cannot, possibly, ever
be older than four. But the heirs to the Sunshine
Kingdom present pictorial proof that, while happy
marriages may not be made in heaven, many of
them are made in studios. The popular con-
ception of an actor's home-life does not include
any of the appurtenances which distinguish the
happy cottage of John, the tradesman, or the flat
of Henry, the bookkeeper. But it is a fact that
there are real homes in the Hollywood picture
colony — and they are real because they have real
children to hve in them. The sons of theatrical
families are well represented here. The parents
of most of these babies have been, and are, of
the theatre and of the studios. It may be that
the comedian's daughter will be another Nazi-
mova, while the son of the producer may decide
to be a camera-man. But it is pretty certain that
all of them will do something or other in a dra-
matic hne. They all know, for instance, how to
act when they yearn for something mother has
told them, time and again, they can't have. Don't
think of these youngsters as spoiled little beings
different from your neighbor's children. They
are spanked often, filch jam and cookies— when
they are high enough to reach the shelf — and they
run away from home whenever they have a
chance.

^Thotography by Hoover Art Studio!

Bryant ^A'^aslll>urn is the fifth of his line, but one of the
first film children. That is, his father -was unique
among actors in heralding the arrival of a son and heir,
and young Bryants progress has been regarded by a proud
and paternal fan world. Mabel Forrest- Washburn, his
mother, was an actress at Essanay. He is no^a' introduc-
ing a ne^v baby brother.

Her name is Virginia Newburg, but you will know her as
the ■ivee daughter of Jane Novak. The resemblance is rather
remarkable, isn't it? If youre a good fan you will see the
same eyes vi'hich have called bad-man Bill Hart back from
the desert many times. Virginia is her mother s only hobby,
and occupies her every minute outside the studio-

One of "Hollywood's former debutantes who is no'w
residing in New York, " as the society editor would say.
Beverly — her father is Albert Parker who used to direct
Douglas Fairbanks and more lately Clara Young. Mrs.
Parker is Margaret Greene — with Ethel Barrymore in
"Declasse." Miss Parker's marcel wave is as natural as
her camera-diffidence.

Villain By
Preference

Macey Harlam is contented to
abide by the adage: "The evil
that men do Hves after them/'

THE gentleman pictured on this page
has suffered seventeen distinct and
separate kinds of death. He has
been shot by pistol, shot by rifle,
stabbed, fed slow poison, left to be de-
voured by wild beasts in the wilds of Africa,
electrocuted, guillotined, strangled, hari-
karied, dragged to death between wild Ara-
bian horses, dropped over a cliff, drowned,
killed on the rack, tied under dripping
acid, tortured to death by a red hot scimitar,
dynamited and hanged.

But keep your sympathy. He does not
want it. He prefers to be hated. He be-
lieves that if he can make you dislike him
you will remember him longer than if you
think he is nice. He is Macey Harlam, one
of the drama's most effective little plotters.
In spite of Mr. Harlam's boasted unre-
generacy, he admits, when cornered, that
the greatest role he ever played, the one in
■which he took the greatest pleasure, was that
of the Yogi in the stage production of "The
Eyes of Youth" with Marjorie Rambeau.
Clara Kimball Young, with Vincent Seranno
as the Yogi, has since made that play fa-
miliar to screen audiences.

The Yogi, you will remember, was the
symbol of purity and truth. His mission on
earth was one of spiritual helpfulness.

Mr. Harlam has been a disturbing ele-
ment in plays and pictures with Otis Skinner,
Florence Reed, Douglas Fairbanks, Gerald-
ine Farrar, Pauline Fredericks, Dorothy
Dalton and manv others.

Abovj you see Macey Harlam as the Yogi in the stage production of
"The Eyes of Youth." — Below, left to right in "The Flame of the Desert"
with Geraldine Farrar. and in "L Apache" with Dorothy Dalton.

They Couldn't

Keep Him Down

on the Farm

To look at him now, you
would never believe that
Herbert Rawlinson's ca-
reer had included per-
sonal appearances as a farm-hand,
a lawn-mower manufacturer — that
is, he worked in a factory where
they assembled the various parts
of a lawn-mower's anatomy —
summer-resort entertainer, circus
performer, and box-car expert.
This last occupation, or we might
say recreation, is one of Mr.
Rawlinson's more painful recol-
lections and one that is best for-
gotten, or lightly passed over.

To look at him now — and that,
as any high-or-boarding-school girl
will instantly inform you, is no
punishment — you would never
suspect that he had not been born
in an English country estate, rid-
den to hounds at an early age,
been privately tutored until old
enough for Oxford, and so forth.
Not so. Of all the voluntary
vagabonds of the world, Rawlin-
son set a new record. Just a mere
and truthful account of his va-
rious occupations — they were so
much fun he never thought of
them as jobs — makes any soldier
of fortune look like a bookkeeper
with family responsibilities.

Some time ago — but not so long
ago that a Kentucky mountaineer
would describe the harking-back
as three hollers and a look — Her-
bert Rawlinson was born in Eng-
land. Good family, and all that.
Until he was thirteen he hugged
the family fireside; then a rela-
tive came along and prooosed that
the boy go back with him to Can-
ada. Canada — ^meaning the Land
of Boundless Opportunity for All
Bright Boys. Herbert iseing in-
cluded in that latter classification,
he was shipped to the dominion,
to build a foundation for a future
fortune. Said building, he soon
learned, meant getting up with
the dawn, performing duties as
tender of stock, plowing, thresh-
ing in season, gathering eggs,
milking cows, running errands — •
and by that time he'd be so tired
he didn't want to lie awake nights

^vishing he had never come. It wasn't long before Herbert, at
fourteen, assumed the hefty proportions of a grown man, which
had its advantages, as he could lick the other farm-hands and
eat twice as much as formerly.

But to anyone of his romantic and adventurous turn of mind,
this sort of thing began to pall, after a year or so of it. So
one day he just naturally followed an American one-ring cir-

They told Herbert Rawlinson's parents that Canada was
the Land of Boundless Opportunity for Bright Boys.
This willing, nay, eager egg-gamerer supplied the foun-
dation for the hefty Herbert of today. (See left above.)
At right, in his crook characterization; remeqaber "Come
Through?

Later, he followed a one-ring circus to the States. He
watered the kangaroos, exercised the pachyderms, parti-
cipated in hay-rube discussions, and doubled in brass
whenever they needed a bareback rider, tight-rope
■walker, or lion-tamer.

And then he massaged lawn-mowers for a living, or so
it -would seem from our illustration. He w^as an em-
ployee in a lawn-mower factory, but the trade is still a
mystery to him. He used to dream about the drama
when he was supposed to be w^orking.

cus that happened to come to the
adjacent hamlet and passed on
into the States. Being a willing
boy he was put to work. Besides
watering the kangaroos, exercis-
ing the elephants, participating in
various hay-rube discussions,
learning the show business from
the ground up: i. e., just how to
manipulate a tent single-handed,
and doubling in brass when a
bareback rider, a ring-master, a
cook, or a lion-tamer was knocked
out — he had very little to do. In
fact, a little of that and he was
bored. Besides, he was fired. He
had a way of talking back to the
boss that irritated that gentleman
peculiarly. He and another boy,
with a dollar and a half between
them, decided to go back home.
They shipped what baggage they
had: Herbert's — he was called
Bert then — his consisting solely
of one brand-new suit he had
saved up to buy — on to the Cana-
dian town, and themselves trusted
to a negligent car-crew and po-
lice in the towns along the way.
They "bummed" back.

After many adventures — be-
lieve him — they landed. Landed
is appropriate. They were gently
but firmly propelled out of the
baggage-car in which they had
stowed away, and found them-
' selves, home, in an exceedingly
dusty condition. They walked
down the principal street, fol-
lowed by an admiring crowd of
children. A bar-tender(!) was
mopping his massive brow outside
his saloon. (Note: This was a
shop in which liquor was sold.)
Herbert's pal accosted him
"Don't you know us?" he said.
As a matter of fact, the bar-ten-
der didn't; but having been re-
galed with a choice list of alleged
family names which included
many of the town's best residents,
he took them in. dusted them off,
and filled them up — with free
lunch, Herbert will tell you.

Then the two young wanderers
secured their clothes, slicked up
considerable, and paraded through
the old home-town. The boys
and girls looked; heard with rare awe and admiration a story
of two actors, who had merely returned for a visit after a
successful season "on the road." Their story gobbled up, they
lived on the admiration for a month.

But — and now comes the real meat of our story — Herbert's
masquerade as a mime, he took seriously. Much more s'^rious-
ly, in fact, than his audiences. He made up his mind, then

Photoplay Magazine

and there, to be a Real Actor.
His real determination took him
a long way around; but — he gQt
there.

A small — oh, very small — stock
company came to town. Herbert
was in the audience the first night.
The next night he was on the
stage. He stayed there, some
way. One night when the old
manager was knee-deep in a
spirituous June, his head nodding
over his cups and his old mind a
bit dumb, Herbert came up to
him and told him he wanted to
join the company. The old fellow
looked at him; then he said
thickly, "S all right; come on
to — (a small town in Wisconsin)
— in two weeks."

The manager found himself talking to a strange young man
two weeks later. Rawlinson had come to join the company.
Of course he got his job; he stuck around until they gave it
to him. But after he had been with the show for several
weeks, they told him he wouldn't do. He couldn't sing; he
couldn't act. They had to have "an experienced juvenile." So
Herbert was jobless, again.

All this time, mind you, a cable or a letter to England would
have brought him transportation back home, or sufficient funds.
But when you are bitten by that bug called ambition, what
can you do? You don't write home for money.

Herbert became an employee in a lawn-mower factory. If
you ask him why he chose a lawn-mower factory, he'll tell you
he didn't. He answered an ad and was set to work assembHng

One of the most pleasant jobs he ever held was as a boat-
man at a ^A'isconsin summer-resort. Then he became
an actor — and ■we want to ask you: how many actors
vou know \vould laugh at a caricature of themselves?
Herbert Ra-svlinson thinks these are funny.

lawn-mowers. Lawn-mowers are
still a mystery to Herbert.

Right after that came one of
the most interesting episodes in
his life. Having caught on again
with a road company, he was left
stranded in a Wisconsin lake-
town. The summer season was
coming on and he became a boat-
man for one of those summer-
resort gondolas. But his pleasant
tenor voice used to float out on
the still waters and please the cus-
tomers; so he was soon made
Master of Boats. As all summer
seasons end, Herbert secured a
situation on one of the big boats
that plow the Great Lakes.

Later he went in for drama in
earnest, and from small beginnings
in repertoire he was promoted to stock, and finally gradu-
ated into serious drama. He was a member of the Oliver
Morosco stock company in Los Angeles; he was a stage man-
ager as well as an actor. Then came the movies: he was one of
the first Selig players: he was in the first production of "The
Sea Wolf" with Hobart Bosworth. For Universal Rawlinson
did crook melodramas, including "Come Through."

He went with Blackton to do "The House Divided" and
"The Common Cause." He played with Billie Burke in a
picture. His transition from a screen crook to a detective was
made in a series of "Craig Kennedy" films. Now he is with
Blackton again, in "Passers-By." You may hear soon that he
is to return to the stage. His pretty and talented wife, Roberta
Arnold, is a legitimate actress of considerable reputation.

"Don't Call

When you have
a nice name like
Greta you like
to use it, says
Miss Hartman.

SHE was reading her mail.
"See," she said tragically,
"every one of these several
dozen letters is addressed to 'Gretchen.'
I am not Gretchen— I am Greta!"

That is why Greta Hartman, usually a
perfectly companionable and jolly sort of per-
son, sometimes has a haunted look in her deep
brown eyes. Some one billed her as "Gretchen
Hartman" once, and she has never been able to change
her public's mind. They will call her Gretchen.

She was working every day — and some nights — over in Fort
Lee. "Just get home in time to take a bath and dress for
dinner," she says, "and usually I'm so tired I don't even want
to go out to a theater or a movie. Because, you see, I am
serialing now."

Having essayed, at various times in the course of her long
film career, every conceivable kind of part, Miss Hartman has
taken to the chapter drama with a keen zest. "Never knew
anything could be so exciting," she chuckled. "I do all sorts
of wild stunts without even so much as batting an eyelash.
I always wanted to do something besides society roles on the
screen, anyway."

Just then Alan Hale came in. You may wonder why Alan
Hale should come in, just then, to Miss Hartman's uptown
Manhattan apartment. The explanation is simple: he shares

Me Gretchen"

it with her, and she shares his name,
being, in simple language, none other
than Mrs. Alan Hale.

Mrs. Hale is a charming, pretty
woman and a most capable actress;
Mr. Hale — it seems silly to call him
Mister — is a big, humorous, regu-
lar chap. But — they are still hap-
pily married after some few years
of it!
Greta Hartman has a simplicity
that you don't as a rule associate with
an actress who, since the age of seven,
has been playing every part from Stowe's
"Little Eva" to Ibsen's "Little Eyolf." Her
whole histrionic experience has been crammed
into the years that most actresses require to
make their beginnings and Greta has never lost
her interest, her wide-awake comprehensive perspec-
tive of things theatrical and pictorial. After a debut
as "Little Eva" and a carry-on in other parts for the Bush
Temple Stock in the Windy City, where she was born, she
played child roles with Ben Greet in his Shakespearean reper-
tory. For her New York premier she was "Cosette" in "Les
Miserables" — and then ten years later appeared as "Cosette's"
mother, "Fantine."

Later, she was "Mary Jane" to Henry Dixey's "dad" in
"Mar>' Jane's Pa." When the author of this play, Edith Ellis,
produced "Claudia" with the Italian actress, Mimi Augulia, in
the leading role, Miss Hartman appeared in the part of the
sister. This production, made in March, 1919, witnessed her
latest appearance on the speaking stage.

You remember her film work with Biograph. Then for Fox,
where she did "The Love Thief" and others. Now she is
with the same company, playing in their first serial.

Ja^^ing

the

Fashions

A BUYER for a department store
in a small middle western city ,_

came into New York recently to V:^-
get her summer line of waists — "^'"^
they may be "blooses" here, but they are
waists where the buyer and I come from.

The head saleslady in the smart waist
house started showing her some pretty
little georgette things— you know the
kind, the tuck-in-your-skirt-V-neck sort.
After five minutes of this the buyer
fidgeted. A couple more
minutes, and she burst out
with:

"But I want to see some
new things! Haven't you
any mandarin waists, or those
slip-ons in the Japanese
printed silks?"

The head saleslady — who
is as nearly shock-proof as
salesladies come — gasped.

"But we've just got our
new printed goods in and
we've only two samples made
up yet. How did you hear
about them?" she demanded.

The buyer from the s. m.
w. c. looked at her pityingly.

"Norma Talmadge wore
one of them waists in a pic-
ture that we saw last month,"
she replied. "And I've had
about eighteen girls asking
for them ever since. Seems
to me that you people in New
York ought to wake up pretty
soon and get onto the fact
that we know what's style
and what isn't."

And she went away.

The fact is that the
"movies" have revolutionized
fashions as well as a lot of
other things. There used to
be a well known saying that
a new fashion would be worn
in "Paris today. New York
tomorrow and the rest of the
country next year."

But motion pictures have
changed all that. When a
great French house makes a
new hat today for E'sie Fer-
guson or Pauline Frederick
or any one of a dozen other
film stars you may be sure

Its a lot easier studying designs from
the screen than by ^vorking them out
from the fashion-magazine picture of
a lady ■whose dimensions are about
those of a fair-sized knitting needle.

This graduation frock of Mary Miles Minter's caused
a run on the ■white organdie market a ie-w years ago.

The motion picture stars
are not content with fol-
lowing the fashions ; they
introduce them. Con-
sequently, Bird Center, la.
often knows \vhat is new^
before Fifth Avenue.

MAY

STANLEY

Decorations by
A. Davies

that next month a lot of sweet young
things in Emporia and Key West and
Yakima are going to make life miserable
for the "leading milliner" until she turns
out a fairly good imitation of that hat.
Speaking about hats, one of the famous
New York milliners made a
little gold turban last fall
for Alice Brady and she
wore it in one of her screen
plays. The result was that
the famous "Field of the
Cloth of Gold" had a rival
every time a theater audi-
ence got together this win-
ter. Gold metallic cloth
bobbed up in the most unex-
pected places. Some of the
girls tied it around their
heads for evening wear when
they weren't wearing hats.
But gold metallic cloth and
gold tissue were scarce, and
as a result when father went
to don his Knights of Pythias
or Odd Fellow regalia he
found it shorn of most of the
glittering effects — but there
was no use in arguing, the
girls had to have a hat like
Alice.

Consider the case of Glo-
ria Swanson and the gorgeous
gown of mole that she wears
in "Male and Female." Since
that gown was shown mole
wraps and coatees have
sprung up over night from
California to Ma=ne, and
from Florida to Minnesota.
Dresses have been trimmed
with mole, and mole hats and
wraps have flourished every-
where. Of course, Gloria
Swanson's gown had a train
of pearls and cost — not in
press agent figures nor in
stage money, but in good,
hard, serious coin — more than
$8,000. While her followers
may not, as individuals, have
plunged so heavily, it is a

Photoplay Magazine

The next month after Pauline Frederick appears in a new French hat in a motion picture,
you may be sure a lot of the sweet young things in Emporia or Key West are
going to make life miserable for the "leading milliner ' until she turns out an imitation.

conservative estimate to say that the sales of mole as a result
of that picture have topped the million mark.

Back in the "good old days" before the advent of the motion
picture — when all that folks in the small towns had to do was
to go to bed or go crazy — fashion news filtered through with
about the speed of Congress acting on the League of Nations.
The monthly fashion magazines, that used to set the styles in
those prehistoric times, had skating costumes in December
and graduation dresses in May. Now, the people who are "in
the know" in the fashion world are about six months ahead of
this kind of speed. The Paris creator of styles has his or her
openings in August for the winter fashions and in February
for the next summer things. The New York creators do the
same thing. So, when Alice Brady
or Priscilla Dean or Norma Tal-
madge want to appear in winter things
in a new film play they get next win-
ter's modes from the creators, who
are always six months ahead of the
styles, and you get them as soon as
the picture is released.

And then a lot of folks whose
heads are merely excess baggage
wonder how it is that "folks dress
so well all over America?"

Why shouldn't they?

The motion picture not only brings
us the last word in fashion, but it
shows us real folks walking around
in real gowns and hats. And you
can take it from some one who has
had it to do, that it's a lot easier to
catch your designs that way — on the
hoof, so to speak — than it is to work
them out from the picture in a
fashion magazine of a lady whose di-
mensions are about those of a fair-
sized knitting-needle.

Of course, all the results of this
following of screen fashions are not
good, no, indeed.

Mary Pickford curls and the Mary
Pickford manner are delightful on
the lady herself. They aren't too
bad on the flappers who imagine
themselves possessed of great screen
talents that are hid from the rest
of us. But, did you ever see an old
girl well up toward the ha'f century
mark wearing Pickford curls and try-
ing to look kittenish in a Pickford--

If you should happen to have some nice old lace
about the house just put a flounce around the
tunic and a ruffle about the neck — and you'll
find in July that you have been " jazzing up the
fashions yourself.

like frock? I have, lots of them, and it's not a pleasant sight.
And Theda Bara's vampish clothes look fine on Theda, but
they aren't so successful when they are essayed by a fat little
girl with freckles and calves that have long ceased to be year-
lings.

I remember another unfortunate instance of following the
fashions, a la motion pictures. A friend of mine saw a picture
in which the star was demonstrating how she had made her-
self young and beautiful by using "wrinkle plasters." All
stirred up with visions of acquiring a Lillian Gish complexion,
the lady in the case started out to hunt up wrinkle plasters.
The drug stores, for some reason, didn't seem to keep 'em. But
it didn't discourage her. Friend husband was pressed into

service and he utterly destroyed two
perfectly good days in the quest of
beauty. Finally, one enterprising
drug clerk suggested adhesive tape.
It seemed a good idea, and f. h. took
some home and spent the rest of the
evening putting strips of it on Cutie's
forehead and around her eyes and
in the place where the first double
chin was beginning to get in its
deadly work. The next morning
they tried taking it off, but the ad-
hesive tape had found a good home
and taken up permanent quarters.
It took tears and a doctor and a
quart of gasoline to dislodge the
stuff.

But as I was saying when I inter-
rupted myself —

The stars of the silent drama are
not content with following the
fashions, they introduce them. Some
of the keenest minds in the domain
of fashion — and the making of
women's clothes is, by the way, the
third greatest industry in the world
— are constantly at work creating
new modes for the motion picture
stars. And the moment a new film
is released every detail of gown or
wrap or hat is avidly watched, men-
tally photographed and then repro-
duced by dressmakers and milliners
all over the country.

A couple of seasons back Mary

Miles Minter appeared in one of her

pictures in a charming little gown of

(Continued on page iji)

Kvans

Evans

EMORY JOHNSON usually plays these upright
young men. He is a free-lance, so if you have
any trouble locatiiiK him. write the Answer Man.

THE model young (leading) man, Jack Mulhall.
He has never liel rayed heroines' trust in hiui.
Sometuues we wish they'd let him be bad.

Apeda

HartHOok

THERE is hardly an actress of note to whom
Hugh Thompson has not, at one time or an-
other, made ardent love. He came from stock.

TOM FORM AN came back from war to tin a a
contract awaitinj; him. So lie dotted his Lieuten-
ant's uniform anil unlocked his dressing-room door.

At left, above: Lux-
uries of ii Stiir's Life:
Exhibit A. How'd you
like to be Blanche
Sweet— and ronvrh it
up In the mountains
and wear your old
elothes, and ilrlnk frora
tin inusrs and eat fr >in
paper i)late»V The
stole gentleman oppo-
site is director Koliert
Thornby. At rlRht
above: Einraa Dunn as
"Old Lady 31." which
role she created for the
stage and is doing for
the films.

At left : Two 1920 Jnodels. F.O.B. California : Chris
Uiibb, new Universal comedian, and support. Chris
plumb forj?ot how to start the durn tblnt;. Below you
see Mary MacLaren's orchestra. Not that Mary wields
the baton over these musicians — but they supply the
Jazz for all her scenes. She tlnds It hard to register
when they aren't on the Job.

Above: These youngsters are Rolng to give the Big Four a run
for their money In ten or fifteen years — but perhaps*' It would
be more polite to Ignore statistics. Left to right: Carter DeHaven,
Jr.. Mary I'lckford Kupp, Bob White Beban, Marjorle DeHaven.
Below : focusing the camera on the letter in Ruth Roland's
hands, for an epistolary close-up.

Here's Teddy
Sampson of
Christie c o m -
edles, to comply
with the regula-
tions that every
magazine must
have at least
one bathing-girl
in every issue.
She's all there
la ; there won't
be any more.

>^'tJTWiT-tt'\'''.''.'.fi' '■■.')'.'te,-'>; - '•^'■-. :^? ■■■'.•■>"■■ ■.''''';■.?.. ii

\\T E are not offering any prizes for the identity of this old-fashioned girl. We
▼ » are sure only the most astute could guess that it is Irene Castle Treman,
made-up in a long wig and a long dress. Of course it's only for a picture.

A New
Lincoln

Frank Mc Glynn, one-time
picture villain, has turned
to playing the Emancipator.

FROM one of the most despised villains of
the palmy days of moving pictures, Frank
McGlynn has become one of the most be-
loved figures on the American stage.
It's been quite a jump. But McGlynn, who has
served a long apprenticeship in the theater, de-
served the distinction conferred on him when he
was approached to play the title role in the New
York production of "Abraham Lincoln," the play
by John Drinkwater which ran a year in the Ham-
mersmith district, the Bronx of London, before it
was ever shown in this country, Lincoln's country!
You remember him as an Edison villain. He
pursued Mary Fuller through many reels; he was
particularly sinister as Jiide in "Joyce of the North
Woods." It was while he was with Edison that he
first essayed the impersonation of Abraham Lin-
coln, in "The Life of Lincoln." But curiously
enough he was best-known from a picture angle as
the man who took the White Sox ballplayers, sixty-
seven of them, around the world on their tour, di-
recting the taking of pictures en route.

Preparatory for William Harris, Jr.'s, offer, he
has conscientiously studied every phase of the life
of Lincoln. From the time he first studied law —
he is a graduate of the law school of California's
University — ^he made Father Abraham his ideal
and idol. When he was a small boy, Lincoln was
his favorite hero. His portrayal in the Edison
"Life" was not polished, perhaps, as is his present
performance, but it was full of feeling and deep
sympathy for the character. And McGlynn never
stopped studying; so that when he walked on. the
first night of the American production of "Abra-
ham Lincoln," his truly remarkable portrait repre-
sented the fruition of a lifelong work.

The play, by the way, though composed by

an Englishman, attains a perspective on Lincoln's

life that an American could never have realized.

And the man who faithfully carries out its spirit

was trained by the films.

There is enough hidden truth in DeMille's sexy "^Vhy Change

Your AVife? to make some husbands and wives unhappy and

parents uneasy.

Jim Kirk'wood proved himself one of the most capable actors on
the screen in Allan Dwan s corking picture "The Luck of the

Irish.

THERE is nothing more certain; nothing, at least, of
which we feel more certain, than that
(i) Cecil deMiUe's "Why Change Your Wife?"
will prove one of the sex best sellers of the month;

(2) That somewhere out in the middle west, where the
clean prairie winds blow across the brows of a native Anglo-
Saxon multitude, a woman's club or two or four or six will
meet, and in the course of meeting,
adopt resolutions condemning the pres-
ent tendencies of the screen as they re-
late to the sensual and the fleshly
feature;

And (3) that later certain financial
interests in conference assembled in rich-
ly paneled New York offices will give
the resolutions the cursory glance, fa-
miliarly known as the once over, and
proceed to a re-reading of night letters
received from the same locality relat-
ing the experience of Hiram Bezitz, the
local exhibitor, who was forced to call
out the fire department to help him shoo "
an overflow mob away from his theater
after it had been packed to the rafters
with those eager to see Cecil deMille's
"Why Change Your Wife?''

History repeats itself in the cinema
theater as surely as it does in the legiti-
mate theater, and as often. The sex
drama is dead; long live the sex drama!
The vamp is a goner; here comes the

vamp! The producer of sex plays, or sex literature, is like a
chef with a favorite delicacy. He serves it as long as there
is any call for it. As the sale grows he tries to still further
improve it by adding new seasoning to his confection. And in
the course of time he invariably overseasons the dish and the
public turns against it. If you don't believe that possible,
ask Mr. Fox and Theda Bara! Or the gentlemen who fat-
tened off the white slave crusade a few seasons ago, both in
the pictures and the drama.

By Burns Mantle

Just now Director deMille is at the extra-seasoning slage.
Having achieved a reputation as the great modern concoctor
of the sex stew by adding a piquant dash here and there to
"Don't Change Your Husband," and a little something more
to "Male and Female," he spills the spice box into "Why
Change Your Wife?" and the result is a rare concoction —
the most gorgeously sensual film of the month; in decoration
the most costly; in physical allure the
most fascinating; in effect the most im-
moral.

Some day, so sure as we both shall
live, and sooner than we now surmise,
I'm thinking, we shall see a reaction
against the society sex film. Largely
because the more highly seasoned it be-
comes the more untrue it is and the
more insidiously dangerous to a pub-
lic that has a quietly effective' way of
protecting itself.

Mr. deMille and his studio associates
know that the "moral" they have tacked
on to this picture — that, in effect, ever>'
married man prefers an extravagant
playmate-wife, dressed like a harlot, to
a fussy little home body who has
achieved horn-rimmed spectacles and a
reading lamp — is not true of normal
husbands anywhere in the world, how-
ever true it may be of motion picture
directors. But there is enough hidden
truth contained in it to make a lot of
husbands and wives unhappy, and a lot of fathers and mothers
uneasy. From which centers of observation the return kick
is likely to start, and gather such momentum as it proceeds
that when it lands the recipient will be surprised.

Just as a picture, however, this screened yarn of a rich
young husband, who, objecting to his wife's plainness and her
thrift, thought to buy a few thin, lacy things for her to wear,
and then fell in love with the model who showed them to him.
is effectivelv told and pictured. It has the fault of all artifi-

Shadow

Ree. U. S. Pat. Off.

A Review of the new pictures

by Burns Mantle and Photoplay

Magazine Editors

cial stories, but its characters are interesting. Divorcing the
wife and marrying the lingerie model, young husband dis-
covers his mistake about the same time his first wife decides
to do a little wild dressing on her own account.

As a result of her exhibition, beginning at the ankles and
the shoulders and extending thence north and south to the belt
line, husband decides he has made a great mistake. And after
he slips on a banana peel and chips a sliver or two of bone out of
of his poor old head, and his first wife
nurses him with the left hand while she
beats up the interfering second wife
with the right, he knows he is wrong.
So he changes back.

The settings and the costumes of the
actors are, as previously noted, gorgeous.
Thomas Meighan as le pauvre poisson
who was taught to prefer the simple
virtues of the home-broken wife, and
to know that horn-rimmed spectacles are
aces when worn for virtue's sake,
frowned and suffered and looked hand- |
some in every scene. He is making sure-
footed progress toward stardom. Glo-
ria Swanson and Bebe Daniels, besides
being histrionically competent, were
glorious camera subjects, wrapped and
unwrapped in a million dollars' worth
of lace and lingerie. The Sennetts and
the Sunshine boys may outdo Mr. de-
Mille as masters of the lower limb dis-
plays, but he completely distances them

in the technique of the torso. William deMille furnished the
text for "Why Change Your Wife?"

t # HIS department
-*• designed as a real
service to '^hotopla-\
readers. Let it be your
guide in picture entertain
ment. It will save your
time and money by giviri^
you the real worth of cur
t It

/ ires.

"The Virgin of Stamboul" presents that tornado, that dynamo,

Priscilla Dean, in a story not all ne'w or human, presenting

however, a splendid version of the shimmy.

interesting suddenness of a particularly active flea. William
Grogan, being a plumber with a newly acquired fortune,
decides to tour the world with a lad of ten whom he has
adopted. On board ship William recognizes the ankles of a
young lady who frequently had passed the windows of his
basement shop. She, it transpires, is the sixth grade teacher
of Grogan's young ward, and from the moment of their meet-
ing with her their adventures begin. She is being puisued by a
particularly irritating young man acting
as agent for a dissolute fiance she is
trying to lose. As her accepted protec-
tor, Grogan fights two or three men in
Hongkong, several in Naples, a few in
Gibraltar, a few more in Venice and
Cairo, and finally knocks out a good
half dozen in Singapore. His rescue
work is quite the most active and the
most thrilling of any recently seen and
if ever a hero earned a heroine, James
Kirkwood is entitled to the embraces of
Anna Q. Nilsson in this picture. Kirk-
wood is a likable hero, and the radia-
tion of his smile is as expansively ef-
« fective as ever. Miss Nilsson is excel-
lent as the heroine and they are compe-
tently assisted by Ward Crane. Harry
I Northrup and Master Ernest Butter-
I worth.

THE SEA WOLF-Artcraft

THE LUCK OF THE IRISH -Dwan-Realart

There is an engaging frankness in "The Luck of the Irish,"
the Allan Dwan picture which lured James Kirkwood out of
his retirement. It is a first class adventure story made from
Harold McGrath's novel, and it hops over the world with the

"The Sea Wolf" is another picture that is forced to hold
its audience by the picturesque quality of its scenes rather
than the plausible grip of its stor>'. It needs more than a
title or two to project the materialistic philosophy Jack London
wrote into his fine he-man story. It were better left out
entirely, it seems to me, than used so sketchily. But as an
exhibition of picturesque brutality George Melford has accom-
plished wonders with the picture. Big men, little men, strong
men and weak are knocked down, knocked out, knocked over-

"The Little Shepherd" of Kingdom Come" as produced with
Jack Pickford by Goldwyn lends a suggestion of reality to the
John Fox Jr. classic.

We expect more of Maurice Tourneur than "My Lady s

Garter," an adaptation, concerning the garter which Ed'ward III.

presented to the Countess of Salisbury.

board, cuffed and strangled into insensibility practically in
every reel. "Wolf" Larson's constitution becomes the chief
wonder of the beholder: his flail-like arms and ham-like fists
the stars of the show. Not only can he whip his weight in
wildcats, but he can suffer a fractured skull, jump off an oper-
ating table in the hospital and do up his brother, old "Death"
Larson, himself a nifty two-fisted brute, with a punch or two
next scene. It was a little hard to believe in "Wolf." Or in
the adventure of the soft Humphrey Van Weyden and his
parasitic fiancee, Maud Erewster, who, having been picked up
at sea by Larson, following a most realistic wreck of a ferry-
boat in San Francisco bay, were forced to accompany him to
the sealing grounds. These two, deserted on an abandoned
schooner, were able to navigate it through a storm — and even
our freest imagination refused to see them safely through the
experience. Get through they did, however, to land on a
desert island from where, after they bury the finally defeated
■'Wolf," now become paralyzed, blind and helpless, they are
rfV'lpd hy ^ pnRSing revenue jTUtt

Dustin Farnhan and Winifred Kingston do their share to make
a success of "The Corsican Brothers," Dusty playing a double

role.

The individual performances are excellent. First honors
should probably go to the unfortunates who were knocked
c!own. out and over. Whatever their pay, they earned it.
Noah Beery was a fine, upstanding brute in the titular role.
Tom Forman played the disillusioned Van Weyden intelli-
gently and Mabel Julienne Scott was an attractive Maud Brew-
ster. Assisting were Raymond Hatton and Walter Long.

THE RIVER'S END— First National

Having to do with the picturesque Royal Mounted police,
and their well advertised habit of getting their man; with the
Canadian snow wastes as a background; with strong men, vil-
lainous heathens and handsome ingenues, and having particu-
larly to do with one of those double-exposure heroes who
plays his own double, "The River's End" ranges through all
the familiar con\entionalities of the screen drama. It is not,
for all its wealth of adventure, the sort of story I should
have expected Marshall Neilan to select for his first picture as
an independent. The trickery of the double exposure is not
exactly a novelty, nor a help to the holding value of the story.
But having selected this James Oliver Curwood yam Neilan
has done well by it, where a director with less imagination and
less sense of drama would have butchered it to make a melo-
dramatic holiday. The director is greatly helped by Lewis
Stone, a fine actor wherever you put him. There was little
physical differentiation between Derry Conniston of the Royal
Mounted and John Keith, the fugitive he was hunting in the
north, and the perfect similarity of feature was quite unbe-
lievable, but none of the scenes was slighted. Conniston dies,
after arresting Keith, and the latter, shaving his beard, returns
to the force in Conniston's place. There he meets the girl
supposed to be his own sister and falls in love with her. It
is not a particularly convincing romance because of the palpa-
ble youth of pretty Marjorie Daw and the accepted age of the
hero. She is a romping child and he more the bachelor friend
of the family than a reasonable suitor for her hand. How-
ever, after Keith's innocence is proved, the sister heroine fol-
lows him to the river's end and leads him a merr>' snowshoe
chase that provides a variant upon the familiar "clinch and
fade out."

THE FORTUNE HUNTER— Vitagraph

It is a little to be regretted that Winchell Smith had not
begun his experiments with pictures before Vitagraph made its
screen version of "The Fortune Hunter." Smith, I am sure,
would have gotten more out of this favorite play of his than
Tom Terriss has done. Fortunately, however, it is too fine a.
stor>- for any man to spoil, and it is in the main cnsistently'
and well played in the Vitagraph version. .

There is a sort of prologue that, so far as I could see, has
nothing whatever to do with the main story and therefore
wastes footage that might better have been given to the devel-
opment of the hero's adventure. The plot foundation is a
simple one and should have worried no scenarioist. Nathaniel
Duncan, played by Earle Williams, and Henry Kellogg were
roommates at college, Kellogg the son of wealth— Nat the
typical unfortunate. With Duncan discouraged and hopeless
Kellogg proposes a scheme by which he is sure the "failure"
can be made a success. If Duncan will go to a small town, and,
by pretending to be possessed of all the virtues, will make a

rhotoplay Magazine

deliberate p!ay for the affections of the rich man's daugh-
ter, he, Kellogg, will back the enterprise. Nat goes to the
small town, abides by the rules laid down by Kellogg, does
attract the rich man's daughter, and then discovers himself
to be in love with a more attractive poor girl, pretty Jean
Paige. The god of the machine smooths the way for the
much beloved happy conclusion, in which an old inventor's
genius finally is recognized and everybody is made happy.

It is, as said, too good a story to spoil, and has excelljent
comedy values. Things happen with unexplained suddenness
and the tag, in which the lovers stand in a rainstorm unmindful
of the drenching they are getting, is weakened by the delib-
eration with which it is played and the heaviness of the down-
pour.

THE CORSICAN BROTHERS— United

I can see no reasonable objection to "The Corsican Brothers"
as a costume play. Dustin Farnum is quite as much his hand-
some self in the velvets of Corsica as he is in the furry chaps
of the westerner, and as much interest should attach to his
rescue of the flirtatious Emilie de Lesparre from the spider's
web of the mischievous Baron Montigron as if she were a
rancher's daughter threatened by Frank Campeau. Also the
costumes and the old French settings add beauty to the pic-
ture, which was directed by Colin Campbell. Dustin does his
damdest to make the spectators believe that when he wears
a sash and smiles he is Fabien, and when he appears in knickers
and a frown he is Louis. Or it may be Louis who affects the
pants. It is a weakness of double-exposure pictures that is the
real handicap. They center as much interest on the tricks
of the camera as upon the story being told. This old-time
melodrama, a real thriller in its day, is sanely but rather
sketchily treated in its latter half. Farnum does full credit to
h-mself and his double. Winifred Kingston plays the too easily
won heroine prettily.

THE PALISER CASE— Goldwyn

There are indications that ever>'body concerned with the
making of "The Paliser Case." from William Parke the director
and Edfrid Bingham, the scenarioist, to Pauline Frederick the
star, was a little tired of the Edgar Saltus story before they
started with the picture. And there really is not much to
pump up interest. The young girl, with a voice, who is un-
able to make a living and who agrees to marry the rich villain
in order to help the old violinist, her father, is a little frayed
about the edges as a harassed heroine. But the Goldwyn
staff has done what it could to save the situation, and Miss
Frederick jolts the story into life frequently by the force of
her own sincerity. Tricked into a false marriage, she leaves
Paliser, the flesh hound. A few days later he is murdered
in his box at the opera and the good young man of the cast
is suspected. So is Cassy. the heroine. And not until the
last five hundred feet is the real murderer uncovered.

THE THIRTEENTH COMMANDMENT— Paramount

No young woman, married or single, can ever hope to get
within salting distance of the bluebird's tail so long as she
extravagantly spends more than her husband, or her father,
can honorably earn. Such is the purposeful theme of "The
Thirteenth Commandment." with Ethel Clayton plaving the
girl who tried and failed. The full force of Rupert 'Hughes'
timely warning does not filter through the screen version of
his stor>', but Alice Eyton. who wrote the scenario, and Robert
Vignola, who directed it, have preserved at least the spirit
of it. Daphne, the heroine, urged on by an extravagant mother,
spends enough on her trousseau to about break her poor old
pater. Then she discovers the man she is to marrv is compara-
tively poor, and the shock almost floors her. She breaks with
her fiance_ and determines to become self-supporting. Through
this experience she comes to realize just how hard it is for men
to earn what their womenfolk so lightly spend, and is so thor-
oughly reformed a parasite in the end that even with her sweet-
heart returned a rich man, she insists on paying for her half
of the wedding ring. Also she refuses to abandon the lingerie
shop she has started, and when objection is made that business
women can't rear families she replies that, according to her
observations, business women are the only ones these days who
(Continued on page log)

"Tbe Adventurer" presents William Farnum as a dashing, high-
spirited Italian who enacts all sorts of romantic episodes for
the love of a lady.

Marshall Neilan, the Irish poet of the directorial profession,

used all the familiar conventionalities of the screen in "The

Rivers End. '

"The Fortune Hunter" is too fine a story for anyone to spoil
and it is fairly well done in the Vitagraph version.

Title Re^. U. S Pat OR

'~rTHS is YOUR Department. Jump right in with your contribution.
■*■ What hare you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of absurdities in pictures you have seen.
Your observation will be listed among the indictments of carelessness on
the part of the actor, author or director.

An Unruffled Head

IN "The Shepherd of the Hills," when "young Matt" comes
to the preacher's cottage to warn him against the raid — the
preacher awakens and leisurely adjusts his wig.

John D., Hyde Park, Mass.

Only the Best for Anita

ANITA STEWART in "The 'Mind-the-Paint' Girl" receives
a bouquet with a card which reads, "From the Gallery
Boys." It is composed of daisies and other simple flowers.
But later, when Anita displays it, it has become a bunch of
beautiful roses!

In the same picture, when Lord Farnscombe and Jeyes
leave her room, she has them shake hands. Farnscombe has
not a hat or anything else in his hands. Yet when he and
Jeyes start down the stairs, he is seen putting on a silk hat.

Sylvia, Sauk Rapids, Minn.

ANNOyNCINO

Referred to Mr. H. Pal-
merson Williams

IN Marguerite Clark's
picture, "A Girl Named
Mary," she is seen in one
or two close-ups wearing
a wedding ring. But she
isn't supposed to be mar-
ried.

L. M. M., Allenhurst,
N.J.

It May Be
N the last scene of Olive
Thomas' picture, "The Glori-
ous Lady," which is supposed to
occur on the lawn of the Duke
of Loame's estate in England,
may be seen the top part of a
ferris-wheel. Is it customary for
English Dukes to have park
amusement devices on their es-
tates?

Beauford Fisher,
Crawfordsville, Ind.

She Makes a Very Fair Salary

WHEN Mary Miles Minter came
from the orphanage asylum in
"Anne of Green Gables," she wore silk
stockings. How does she do it?
Martha T., San Francisco.

And the Audience Laughed

TOM MIX, in "The Feud," which
was supposed to have taken
place before the Civil War, was almost up-to-date. Rubber-
tired carriages were used, and houses covered with rubber-
oid roofing were visible in several scenes. They also used a
telephone. And Tom wore a shirt with the initial "M" em-
broidered on the sleeve.

B. D. Cooper, Greenville, Texas.

"Lines Written While Waiting for a Number. . . ."

IN "Mary Moves In," with Fay Tincher, a telephone is sitting
on the library table. Someone calls over the phone. A
few minutes later a moving van comes and takes away the
furniture. Two men carry out the table and the telephone
goes out with the table. A. W., N. Y. C.

Such Is Genius

IN "The Right to Lie," with Dolores Cassinelli, John Drake
is supposed to have married Dolores Ferrari, an Italian
woman, and the two are subsequently separated and made to
believe each other dead. Some twenty years or so later, when
Signora Ferrari is on her death-bed, they "re-discover" each
other. Inasmuch as he is a well-known architect and she a
world-famous prima donna, it seems a little incongruous that
they should go on believing each other dead.

R. F. B., Toledo, Ohio.

A Crack Shot

IN the third episode of
"Lightning Bryce," the
serial with Ann Little and
Art Hoxie, Bryce and the
girl are attacked at the
ranch house and finally
find out that they have
only one bullet left in
their revolver. Bryce
shoots out the window at
the bandits and two fall.
W. J. W., Germantown,
Pa.

ht Alaska — California
IN Rex Beach's "The
A Brand," which I have
only just seen, Dan Mc-
Gill and his newly-wedded
wife Alice enter his cabin,
unoccupied and cold, but
though their breath showed
like a steam locomotive
going up-grade outside, it
did not show a particle
after they had entered the
door into the cold room.
Later, Alice, during a
fierce storm, appears at a
window, a close-up from
the outside of which
shows it to be covered
with sleet and ice, but she
is undaunted. She simply
wipes the sleet off the
window from the inside, which we have just been plainly
shown was on the outside of the glass. In a later reel a fierce
mid-winter Alaskan snow-storm is raging, yet a view of a win-
dow and door of the cabin shows a big bush of some kind,
full of green foliage, partly covering the window.

A. L. M., Arizona.

1^#P

The Camera Is
Cruel to Her!

WHY isn't Seena Owen a star?
If it is true that to be great is to be misunderstood, then Seena
— or Signe, to call her by her correct and national name — the "Prin-
cess Beloved" of ''Intolerance," is, to put it vulgarly, a comer. For
of all the women, the pretty and talented women of the screen, Seena Owen
has the strongest k-'ck coming against the camera. Here's how, as we would
have said a year ago;

Seena, personal, is a vigorous, athletic, clear-skinned and clear-eyed baby
Viking. She has blue-gray eyes that look at you frankly from under her
.curly lashes; she has finely arched eyebrows; she has blond hair which was
long and beautiful until Clarine Seymour cut it — but that is anothe"- story.
Her smile — well, any cameraman could focus his lens on it and the white teeth
it shows.

At the left —
scene from
"Miss Bo-
Beep, her last
starring vehi-
cle for Trian-
gle before they
passed.

How
anything on
earth could
fail to flatter
Seena Owen
is beyond us.

By
DELIGHT

EVANS

As the Prin-
cess Beloved
in Griffith s
"Intolerance. "

Seena, on the screen: a languorous pensive blonde who al-
ways seems to be absolutely wasting away because the hero
didn't call her up when she expected, or something; a typical
film heroine with no sense of humor —

Perhaps it's the parts. Her "Princess Beloved," born again
from the old ages, was certainly not a dead one. Her Triangle
pictures revealed a lovable tomboy with a flashing smile and a
straightforward personality. And that's Seena.

She was on her first trip to New York. She likes New
York but, as she says, "I tried to find my way downtown to
Fulton Street on the subway and believe me I'd rather buck a
broncho than that subway thing." She came east to make a
picture and then dashed back to the coast — because she likes
it better, and she can work better out there.

On the screen she looks so frail and shy that a ride in a
limousine would be torture to her. Off the screen, she likes
to ride wild horses. She doesn't remember when she learned
to ride; she always knew — but it was not until she had to do
what she calls fancy stuff that she went to a riding school and
learned about posting and all that. She doesn't seem to have
any ner\-e, in pictures; those parts she plays call merely for a
pathetic expression and several good-looking gowns. Seena

rhotoplay Magazine

The Screen Doctor

I'M the silver-sheet Doctor.
I'm known, the moment I'm lamped,
By my caprine chin
And the little black bag
That goes so well
With my dolorous mein.
For the hoot-owl has nothing on me
In the matter of being solemn.

By JOHN ARBUTHNOTT

When I step into the room

Where the strike-breaker's children sit

With glycerine tears on their cheeks

I horn right down to the root of the case

With one touch on the wrist.

And say with a slow shake of the head:

"She cannot live,"

And shake the spinach again

And look sad

And walk out. ^

Diagnosis is easy with me;

It's easy, dead easy;

For when the Hero

Has plugged his Millionaire Dad

Through the left lung

And apparently spilt the beans.

My spinach and I step into the costly library set

Where the wall-safe door stands accusingly open

And the papers are scattered about.

I turn over the body

And inspect the Old Guy's dressing-gown

And announce to them all:

"This man wasn't killed by that bullet.

But died, eight seconds before the shot came,

Of heart disease — My Boy, you are free!"

And the Gazoo

Who can make a pill like that go down

Is some peach of a Doctor,

Wouldn't you say?

can't help it; she'd rather dress in an old divided skirt and
blouse and hat any day and go for a ride, for miles and miles,
in the California country.

She's not afraid of anything. She came from Spokane, Wash-
ington, to get a job on the stage. She went to Los Angeles and
the Oliver Morosco offices. She went there day after day,
and nothing happened. "Every once in a while," she says,
"Mr. Morosco or his secretary would come out and say to
me: 'Just keep coming; something may turn up.' That's all
right if you have plenty of money. So I thought I'd try — the
films. I went to a comedy studio. Remember, I'd come from
a town where people conform pretty much to rules and regu-
lations. I saw all these girls flitting about in bathing suits and
all the men in shirt sleeves; it was such a noisy place — I
cleared out. Then Marshall Neilan, an old friend of mine,
suggested that I try his studio, the old Kalem.

"I went there. It was so different! I got a better '"mpres-
sion of picture studios right away. Quiet, and home-like, with
only one company working. They took me on, and I played all
kinds of parts. I did a lot of riding there, and I liked it.

"Then that company separated, and I began to look around.
Griffith was with Fine Arts then, and I went to see him — oh,
there was nothing trifling about my ambitions! I finally got in,
and I sat and talked to him for two hours, trying to convince
him that he simply couldn't worry along without me any longer.
At the end of my speech, he looked at me and said: 'You're
too calm; I could never make you act.'

"That made me mad. 'If you think I'm calm,' I cried, 'I
wish you knew how I felt inside!'

"That made him laugh and he engaged me. I played in the
Reliance and Majestic one-reelers for a long time. I did a
lot of ridjng in those days — and it was surely fun!"

Those were the golden days of Triangle. Lillian and Doro-
thy Gish, Miriam Cooper, Mae Marsh, the Talmadge sisters-
all working on the same lot. Then came "Intolerance."

"Never will forget," said Seena, "my makeup in that pic-
ture. I had to wear a false nose that wouldn't stay on, and
had to add an inch to my eyelashes. It took me a solid hour
to make up for the Princess Beloved. My gown — ^what there

was of it — was painfully heavy, with cut-glass beads. But we
had so much fun making the Babylonian episode. Constance
Talmadge was the Mountain Girl and she had to drive the
chariot — remember? I used to envy her by the hour — and
between my scenes I used to drive those circus horses around
the track — in that bead-gown of mine, with my knees black
and blue from the contact with the sides of the chariot. They
were great days."

Before Triangle passed, Seena Owen was featured, or starred,
in several pictures — the last of them being "Miss Bo-Peep."
Later, she went with Charles Ray for one picture; and did
two pictures with Hart. "I thought, in the Bill Hart pic-
ture, I'd get a chance to ride; but no — they dressed me up
pretty and I had to do an ingenue all the way through."

She has done a picture with H. B. Warner, and two with Tom
Moore, and "Victory," for Maurice Tourneur.

She wants to do a western picture.

"I have faith in the western, and I don't believe it's ever
going to die. I'd like to play a wholesome, normal girl in
western surroundings — not the vulgar, heavy dance-hall type,
nor yet the hoyden. I believe western girls can ride and shoot
as straight as any man, and still keep their feminine appeal."

She was born Signe Auen, in Spokane. She changed her
name to Mrs. George Walsh several years ago, and retired
from the screen for a while to become the mother of a little
girl. She is Seena Owen now, having recently severed her
matrimonial bonds.

If she can only find a sympathetic director, a conscientious
cameraman and a good story, there is no reason why old Gen.
Bell-and-Howell wouldn't relent and photograph her as she
really looks.

She has short hair. Clarine Seymour has emulated "Connie"
Talmadge in persuading people to cut their hair. "Clarine
worried about it for days afterward," said Seena, "until I
began to learn how to fix it and to like it short. It's much
less bother — besides, I think most girls cut it short so they
can experiment in fixing it long again. And now Clarine is
proud as punch and takes all the credit, if there be credit, for
my new coiffure."

Photoplay Magazine — Advertising Section

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Masked and armed they seized Speed from his cot that night and rushed him away.

'T was a gala day at Yale
that day when Captain
Donald Keap came home
from the war with a Dis-
tinguished Service medal on
his breast and a heavy heart
within. Thirty, rich, and a
hero, but he was not happy.

There was a something in
the spirit of the campus, lively
with its merry throngs of
cheering students and their
bravery of colors and pennants
that reminded him sadly of the
day when a shouting crowd on
the pierhead waved flags and
handkerchiefs in farewell as
the great transport put out for
Over There. But Roberta
Covington, his bride, had been
there on the pier that day to
wave a farewell. Today there
had been no greeting of
welcome home. It was all
over between them, she had
decided.

_ Donald Keap's pride had, however, succumbed to his devo-
tion and he found himself drawn, in spite of better judgment,
to that very place where he was most likely to see Roberta.

Following familiar paths he turned in at the gymnasium
and pushed his way past bustling athletes, bubbling with prep-
arations for the day's events in the first intercollegiate track
meet since the Armistice.

"Hello Don! Greetings! It's great to see you."'

Keap was all but bowled over by the hearty cordial onslaught
of Culver Covington, his brother-in-law and crack sprinter for
Yale. Young Covington tumbled over his masseur, tough
Larry Glass, and went bounding down the room to Keap.

Goin
Some

Patience is a good

councillor especially when fate is kind

and coincidence fortunate

By
GENE SHERIDAN

"I'm out for the hundred
yard championship, today,
Don." The young athlete was
exuberantly cheerful, modestly
confident.

Keap's face grew grave as
the smiles of greeting passed.

"Culver — can't you fix it so
I can have a talk with
Roberta?" Captain Keap was
making a brave effort to appear
contained and composed, but
his very attitude combined
eagerness and gloomy despair.
He was plainly very much in
love with the wife who would
have none of him.

"I'm awful sorry, Don — "
Covington was hunting for
words to soften what he had
to say — "but I'm afraid it's all
off. She's leaving for Nevada
in a few days to get a divorce,
and she's making me go with
her."
Larry, the rubber, interrupted the awkward situation, com-
manding Covington to come back to the rubbing table.

"See you after the race. Culver." With that Keap was off.
Roberta Covington Keap, brunette, with beauty and hauteur,
was the center of a blithe little group in the grandstand. With
her were Jean Chapin, soon to wed Culver Covington, and
Helen Blake, pretty, i8, fluffy and confidential. Of course
Berkley Fresno was along. The young women may have been
watching the meet, but Berkley had attention only for Helen.
He was a perfect marshmallow of a youth, fat and pink of form
and creamy of disposition, and a model of politeness.

In the splendor of his college raiment J. Wallingford Speed
approached, exchanging waves (Continued on page 74)

Photoplay Magazine — Ad\f.riising Section

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Why Teeth Glisten

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Going Some

(Continued from page 72)

of greeting and recognition with Roberta and
Jean. Speed, let us bear in mind, was the Roberta rece

champion vocal athlete of Yale. This was "PincKed for

his busy day and he was in perfect form for
the meet. He dressed his part with great
elegance of exciting flannels, panama hat with gay Yale rib-
bon band, and, crowning all, a vari-colored ribbon bearing
the golden words "Cheer Leader."

A few steps away Speed paused and smilingly surveyed the
group. His eyes rested on fluffy .Helen a moment. Stock-
still he stood gazing at her. In that moment he became a
lost man. She caught the steady look and turned her head
away, but she was smiling as she looked away. Helen could
not be offended by admiration. And what a splendid manly
looking chap he was!

Speed was about to join the party with a view to an intro-
duction, when a cheer for Yale came billowing down the
stands, and he turned with a look of "duty first" upon his
face as he went cavorting down the line cheer-leading.

"Rah, Rah, Rah! Rah! Rah!! Rah!!!"

Meanwhile back at the grandstand was a scene of sup-
pressed tragedy. Roberta and her husband had come face
to face in the throng.

"Come, Roberta, I must speak with you." His voice was
trembling but determined. Keap took his wife by the arm
and led her to a spot apart from the crowd. She stood aloof
and coldly looking at him.

There was supplication in Donald Keap's voice when he
spoke.

"Roberta, all those three years over there your face was
always before me. All those three years I have been coming
home, to you and — "

"Don, I'm sorry — ^but I just do not love you."

She started away. Donald seized her arm.

"But great Heavens girl — I love you and you are my wife —
won't you come — "

And now she was angered at his persistence.

"There's no chance, Don. I have made up my mind. I am
leaving at once for Nevada to get a divorce."

Roberta rejoined her party in the noisy, merry grandstand.
J. Wallingford Speed sauntered up, with a studied deliberation

of approach. He cast a nod at the star-
ved a telegram. eyed Helen — a nod which did not escape the
reckless driving." resentful observation of the pink and fat
Fresno at her side.

Speed glanced from Roberta to Helen and
back again to Roberta with a wistful look in his eyes. Roberta
was quick to catch the plea.

She presented Speed to Helen and her companion without
delay, and as Fresno rose she added, "Mr. Fresno sings with
the Stanford University Glee Club."

Fresno forced a frigid smile and Speed countered quickly
in one supercilious word.

"Tenor!"

Speed pushed himself into conversation with Helen, swiftly
discovering her infatuation with affairs athletic in general
and athletes in particular.

Fresno, ignored, betook himself to join the others of the
party. He found Roberta pouring out the story of her marital
unhappiness to Jean.

" — and when we separated Donald gave me a sheep ranch in
Nevada. It is called the 'Flying Heart.' I've never been
West, but now I'm going to live on the ranch for six months
and get my divorce."

Roberta looked up smiling at Fresno. He cast an eye back
at Speed and Helen. He felt the glow of an inspiration. It
was an inspiration bom of his jealousy of that fellow Speed.

"Well. I say. Mrs. Keap — why not start off with a jolly
little house party and include Helen and me?"

"Fine. fine. I'll do that. Jean, will you come?"

The party was organized on the spot. They called to Helen
and she sprang up. accompanied of course by Speed. Address-
ing Helen, Roberta told her of the party. Speed awaited no
in\ntation.

"We'll be delighted, delighted, I assure you, Mrs. Keap."
He answered for them both. Then with a smile he took Helen
back to her seat and resumed his never failing conversation.

"I am just sure that Culver is going to win," Helen purred.

"Yes. I am sure he will, too." Speed spoke slowly and
impressively. "You see. Culver is my roommate and with
Jean here and evervthing this race means a lot to him, so
naturally—" ' (Continued on page 76)

Photoplay Magazine — Advertising Section

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ooing oome

(Continued from page 74)

Speed paused, hoping that Helen would discover his mean-
ing, but she only waited for him to continue.

" — and so I couldn't bring myself to compete against him
— you understand."

"Oh, Mr. Speed!" Helen's blue eyes deepened to violet
as she spoke. "I knew that there were men noble enough to
sacrifice themselves for their friends, but I had never hoped to
meet one."

Speed cast his eyes down, with a gesture of modesty, then
looked soulfully into Helen's eyes.

"Now, for the first time. I almost regret allowing him to
run in my place."

The runners came out on the track and lined up. Speed
clutched his trusty pennant and sprang down in front of the
stand to lead the cheering. His language was certainly ath-
letic and he loved the make-up and clothes, but that was as
near as he had ever come to making the 'varsity team. In
Helen's eyes he was a hero, a magnanimous, self-sacrificing
hero.

Culver Covington, star runner and trackman, met a great
ovation as he took his place in the line, and Helen was most
happy, with tears in her eyes, to observe the efforts of the
cheer leader in Culver's behalf.

Then came a hush.

"Get set!" The starter stood pistol in hand as the tense
rUnners crouched.

"Ready—" Bang!

Culver flashed into the lead, held it and finished first easily,
doing the hundred yards in record intercollegiate time.

The stands were a seething frenzy of excitement. Jean
was beside herself w'ith joy.

Donald Keap some rows away looked hopefully toward his
wife. She caught his glance and turned her head away with
a haughty toss.

Patient as always, Donald smiled at her. Then he pushed
his way onto the field and congratulated Culver.

"Thank you, Don." Then Culver's smile
faded. He touched the Distinguished Serv-
ice medal on Donald's coat. "If I owned
one of those, I'd have something to be
really proud of."

Donald glanced in the direction of his wife.

"I've made up my mind, Culver — divorce or no divorce, I
love her and I am going to Nevada, too. Maybe I can make
her change her mind."

Culver sympathetically nodded, then shook his head. "I'm
afraid it's too late, Don."

STILL BILL" STOVER, foreman of the Flying Heart sheep
ranch, stood perplexed of mind in front of the cook-
shack. He looked down at a telegram in his hand and then
blinked up at the blazing Nevada sun. His motley crew of
sheep men stood about him waiting for him to speak.

"Here you Willie — you read it."

Willie stepped forward. He was something to look upon.
Despite the innocence of his name he was a genuine Nevada
two-gun desperado. His brief stature, his weazened face and
his iron rimmed glasses gave him a rare professional appear-
ance. But he had a hard mouth and he carried a brace of
six-guns.

Willie read with much impressiveness :

William Stover,

Flying Heart Ranch,
Kidder, Nevada.

Arrive tomorrow with party of friends,
rooms. Dinner at eight.

Prepare guest
Roberta Keap.

"Boss, if they eat dinner that early, they must have break-
fast before daylight," Willie added as he folded up the tele-
gram and handed it back.

One of the most exciting things about life on the Flying
Heart sheep ranch was the fact of its immediate adjacency to
the Centipede cattle ranch. In the view of a cattle rancher all
sheep ranchers should be deported to Fiddlers' Green, and that,
as anv competent authority will tell you, is seven miles below
Hell.

In the matter of its opinions the Centipede
" and besides, I shall rar^ch stood as an orthodox unit. The owner

marry him if I want to." ^^^ dictator of affairs on the Centipede was

(Continued on page 114)

Photoplay Magazine — Advertising Section

HAT is more invigorating than a walk or drive

on a crisp, clear day in early spring, when sharp winds
bring a ruddy color to one's face, and stimulate the joy
of living.

and

the Completion

But these same keen winds produce other effects. They

roughen and chap tender skin, — they catch up little par-
ticles of dust and lodge them in the tiny pores of the face,
and trouble results. The natural oil of the skin combines
with the dust and the complexion becomes blotched,
gray-looking, and rough.

Prevent these conditions — help to keep your skin clear,

healthy and soft, by cleansing it with RESINOL SOAP.
Let the pure, refreshing lather sink into the pores and rid
them of lurking impurities.

But Resinol Soap is not only for those annoyed by com-
plexion defects. It has been for years a favorite among
women for daily use in the toilet and bath.

Sold by all druggists and at toilet goods counters.
Let us sencTyou a trial size cake. Dept, 13-G,
Resinol, Baltimore, Md.

RESINOL SHAVING STICK gives a
creamy, non-drying lather which is
alone sufficient to warrant its adoption by the discriminating man.

When you write to advertisers please mention PHOTOPI^iT MAGA2INE.

Photoplay Magazine — Advertising Section

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A Buescher True-Tone Saxophone opens the way for you to
double your income, double your opportunities and double your popu-
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with many facts you would like
to know, whether you are a be-
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It illustrates and fully describes
the virtues of each model of the Saxo-
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highest priced musical act: "Your improved models
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Will F. Newlan, DirectorofNewlan's School of Music,
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known Smith- Spring -Holmes Orchestral Quintet:
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use Buescher Instruments. Ask them.

lirementa

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Buescher-Grand Cornets are graceful and classic models of art that completely fulfill the requir
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Every advertisement iu PHOTOPLAY MAGAZINE is guaranteed.

H. S., Detroit. — It is hard for any grown
man to realize that he was once the prettiest
baby in the world. Bessie Love has her own
film company now. Her contract with Vita-
graph expired with the old year 1919, and
her last picture for that company was
"Pegeen.'' The little Love is managed by
her father and mother, Dr. and Mrs. Horton.
She lives and works in Los Angeles. Vita-
graph has a studio in Flatbush and also one
in the west.

G. E. M., Oklahoma. — I have not got a
beard. Henry King is not acting any more;
he has taken up the megaphone for good.
Jack Holt played with Katherine MacDonald
in Artcraft's "The Woman Thou Gavest
Me."

D. L. L., Baltimore. — That question has
a familiar ring. Charlie Chaplin only played
one part in "Sunnyside." It has been said
that only old-maids understand men. Of
course that's why they remain old-maids.

M. K., Montpelier. — No matter what a
wide speaking acquaintance among actresses
your mother's friend may have, it won't get
you fame in pictures. Work, talent, and
perseverance, not pull, can do it, fourteen-
year-old. Tell your mother I said so.
Dorothy Kelly is married now, and has not
been seen on the screen since the ceremony
was performed. She was with Vitagraph.

Marion E. D., Pawling.^ Yes, people say
silly things when they are in love. But when
they stop to think it over, and decide that
they do say silly things, first thing they
know they aren't in love any more. Renee
Adoree is a Manhattan beauty; a real French
girl, she made her debut in Paris at the
Folies Bergere. Now with Fox, in the pic-
ture that concern is making of a book by
Georges Clemenceau, the ex-premier and
"Tiger of France." Katherine MacDonald
has her own company, releasing through First
National. Blanche Sweet works in Cal-
ifornia; her latest is "The Deadlier Sex."
There has been a lot of this "male and
female" stuff lately.

Bob, Portland, Oregon. — If I had a re-
freshing effect on you while you were suffer-
ing an attack of indigestion, I wonder how
you would like my department when you're
feeling good? Bert Lytell and Alice Lake

in "Lombardi Ltd." Nazimova in "The
Brat" supported as usual by husband Charles
Bryant.

R. D., Baton Rouge. — You want Norma
Talmadge and Eugene O'Brien to enact for
the films "The Harvester" by the well-known
lady-author. Gene Stratton Porter. Jack
Pickford did "Freckles." Louise Huff was
the girl. Dorothy Phillips, Universal City,
California.

D. D., Subscriber. — Wallace Reid's ad-
dress is given elsewhere. But I cannot re-
frain from admiring your pretty station-
ary. And from chiding you for succumb-
ing to such a pun as "the price of letter
paper need never worry anyone, because it's
always stationary." Really, D. D.!

In Memoriam

By S. KING RUSSELL

O EST she in peace,

rV You know who I mean,

The Vanishing Vamp,

She's fled from the screen,

The wicked old scamp

The Sappho of old

Whose shoulders were cold

Who stretched on the couch

And nursed a faint grouch

Till the hero so bold

Came and turned down the

lamp

And (Censored: Police)

Rest she in peace,

The Vanishing Vamp.

Muriel M., New York. — It is no longer
correct to use the expression, "swears like a
trooper." The up-to-date simile would be
"... swears like the leading feminine char-
acter in a modern novel of New York life."
Charles Chaplin is smooth-faced in real life;
that mustache is only his most faithful
prop.

E. K., Buffalo. — Your favorite, our
blonde baby-viking Anna Querentia Nilsson,
isn't with Metro any more. She is under

contract with Allan Dwan — see her in "Sol-
diers of Fortune" — but Dwan has loaned her
to the Jesse L. Lasky company tor several
pictures. One of these is in support of Ethel
Clayton. I have often thought that Miss
Nilsson must be an exceedingly well-disposi-
tioned and clever young woman to be able to
hold jobs in supporting roles in other ladies'
plays. I have seen her run away with the
picture. BUlie Rhodes, the widow of William
Parsons, has retired from active picturedom.
Mr. and Mrs. F. X. Bushman are on the
stage now; but there is a rumor that they
will both be seen again in films.

Krazy Kats, Vose, Tenn. — There is no
longer any use for the wine list on the menu.
All likker nowadays is served from the male
hip pocket. I have only just met Miss Pearl
White, so I can't tell you what kind of per-
fume she used. I don't know anything about
perfume, anyway, except that some kinds of
it come in prettier bottles than other kinds.
I have been told not to judge a perfume by
its bottle. Mary Pickford's latest is "Polly-
anna."

Ed C, Martinez. — Ah — at last an original
question ! Not how old is he, or is he mar-
ried, or what color are his eyes — but what is
Richard Barthelmess' middle name? Drawing
a deep breath ; altogether now, mates : Rich-
ard Semler Barthelmess. (He'll never for-
give me for this.')

A. L. L.,
recting now
not a movie
crd of her
panied him
of suitable
serial. Polo
man ; a real

Ypsilanti. — Eddie Polo is di-
as well as acting. His wife is
actress; at least I have no rec-
in that capacity. She accom-
on his European trip in search
material for his last Universal
is an intelligent, straightforward
athlete and old circus performer.

M. I. H., Philadelphia. — The latest va-
riation on the old theme is something like
this: Fond Father, "Yes, you may marry
my daughter — when you can support her in
the manner to which her favorite movie star
is accustomed." I am sure that Mrs. Irving
Cummings will be glad to send you a picture
of her husband. Irving is with Lasky; he
aopears in "Every woman." There's a Junior
Cummings.

Regina G., Washington, D. C. — Little
Ann Pennington, the terpsichorean cherub.

Questions and Answers

(Continued)

hasn't made a picture for a long time. She member Jean best as Harry Morey'e femi- E. V. L. S., Chicago. — We have had all
is the star of the "Scandals of 1919," dancer- nine foil. Address both Miss Paige and Ryan sorts of plays and pictures about that divi-
manager George White's production, now at the western Vitagraph studios. Jack War- sion of time called an hour: "Their Hour,"
playing in Chicago, and due west after that, ren Kerrigan lives in Hollywood. Sessue "The Crowded Hour," "His Hour of Man-
She's left* the Follies for good, I think. Hayakawa with Haworth ; care Brunton hood" and others. Now along comes Dorothy
Neither Ann nor Mary Miles Minter is studios, Los Angeles. Dalton in a picturization of Sir James Bar-
married. rie's "Half an Hour." Hugh Dillman, whose

Katherine Gordes. — "The Valley of the real name is McGaughy, is the husband of

L. S., Jacksonville. — Photoplay Maga- Giants," by Peter B. Kyne, can be bought Marjorie Rambeau who is playing in pictures

ziNE does not produce any pictures except in book form. It is one of his best yarns, for Capellani, and on the stage in "The Un-

the Photoplay Magazine Screen Supplement Here is the cast of "Nan of Music Moun- known Woman." Marguerite Marsh has a

which is a monthly reel of glimpses into the tain": Henry de Spain, Wallace Reid; Nan little daughter, Leslie.

lives of the famous stars, and little jour- Morgan, Ann Little; Duke Morgan, Theo-

neys through filmdom. We were the first dore Roberts; Gale Morgan, James Cruze; John J. O'Mera, Camp Dix, New Jer-

publication to inaugu-
rate such an idea — but
if all I hear is true, we
are not the last. Imi-
tation has always been
the sincerest form of
flattery. You will have
to submit your scripts
to the companies you
think might be inter-
ested in the type of
story you have con-
ceived. That's all the
advice I can give you.
You will find the stu-
dio addresses in our
Studio Directory.

Lonely Girl, Port
Washington. — On the
contrary, I think it
was very nice of you
to write to me when
you felt blue. Yes, I
have heard that little
verse that goes some-
thing like this: "For if
he come not by the
road, or come not by
the hill — close all the
roads of all the world
— Love's road is open
still." That isn't it—
but I had better stop
before I am accused of
becoming sentimental
— or senile. Either, or
both, would absolutely
ruin me in the eyes
of my correspondents.
They hke me because
I am cruel — like a
Russian. Bobby Har-
ron is not married or
engaged.

Drawn ByR.ilph Barton

Mrs. O. F., Parker,
S. D.— I don't think
many actresses give
away their old clothes.
Most have a good
many uses for them.
However, if any star,
positively eager to
give away some of her
old things, sees this, I
will give her your
name and address. At
the present high price
of wearing apparel it
seems to me that even the wealthiest ones
would "make-over" or "hand-me-down." I
may be wrong.

sey.— Hugh Fay is
what we might call an
old-time comedian.
That is to say, he was
on the stage a good
many years; as half of
the team of Barry and
Fay, with Lillian Rus-
sell in "The Grand
Duchess," "Co'min'
Through the Rye,"
"Three Twins," and
"The Belle of New
York." He began his
screen career with
Keystone; some of his
pictures for that com-
pany were "A Village
Vampire," "She Loved
a ScoundHel." Then
he went with the Fox-
Sunshine forces, and
has appeared for them
in "Roaring Lions on
a Midnight Express,"
"My Husband's Wife,"
"Are Married Police-
men Safe" and others.
He is a skilful buffoon.
New York was his
birthplace. Address him
care Sunshine, Holly-
wood, Cal.

Miss Mabel B.,
Victoria. — I am sorry,
but I have no record
of that actor. If I
ever do get a line on
him, as we say in these
States, I wUl let you
know at once. Your
answer appears in the
Magazine as your
stamps cannot be used
over here. Write often,
eh, Mabel?

1 he way these movie actresses over-dress is positively disgusting."
"I don t mind that. What I can't understand is ho-w people see
anything funny in those impossihle characters in the comedies!"

CoRSiNO, Fernandez,
Havana, Cuba . — I
think it would do a lot
of us Americanos good
if we were made to sit
through some of the
old pictures once in a
while. You people
down there seem much
more enthusiastic than
many of us, simply be-
cause you don't have
Sassoon, Charles Ogle; Logan, Raymond so many pictures and are therefore grateful
Hatton; Sandusky, Hart Hoxie; Bull Page, for small favors — and serials. Pearl White
Guy Oliver; Scott, James P. Mason; Le- will not do any more serials; she is making
fever, Ernest Joy; Nita, Alice Marc; McAl- features for Fox. Mr. Moreno, too, is
pin, Horace B. Carpenter. Look elsewhere turning from the chapter drama; Vita-
graph will soon star him in full-length
pictures. Juanita Hansen is making another
serial for Selig; Jack Mulhall is with Metro.

Hortense, Clinton.— With such a name. _ __ _

and you to be prosaic! You write in the for what vou ask about Lila Lee

vem of some of the so-called funnv columns '

in newspapers and regular magazines, striv- I. M. Farmingdale.— So the movies have

mg tor wit with such material as the per- meant a lot to you. Watch for Photoplay Mollie King, with American Cinema. Mollie

ennial welcome of_ the little new year, clad M.\gazine's contest on this topic— "what the is Mrs. Kenneth Dade Alexander in private

in a silk hat and angels' wings. I never
read comic sections; they affect my diges-
tion and rob me of my sense of humor. Joe
Ryan — Vitagraph bad-man of many serials.
is co-starred with pretty Jean Paige in a
new Albert E. Smith-Cyrus Townsend
Brady manufactured thrill drama. You'll re-

movies have meant to me." The cash prizes life. She lives at the Hotel Ansonia, New

are substantial enough to be interesting, al- York City, N. Y. Drop in any old time to

though of course they wouldn't be enough to see me, I mean I

keep a family of four girls in silk stockings

for a year. Madge Kennedy is Mrs. Harold Dot, Chicago. — I admire your decorum in

Bolster; Dorothy Aphrodite is Miss Dal- refusing to correspond with married men.

ton, to the public. She has been married. (Continued on page 120)

Ir'HOTOPLAY MAGAZINE — ADVERTISING SECTION

He First Notices Your Complexion

Make your complexion beautiful — attractive — a reason
for admiration. Give it the charm of youth.

If your complexion is somewhat rough, or lacks that exquisite
texture so greatly to be desired, give it a few touches of

CARMEN

COMPLEXION

POWDER

Wfiite, Pink, Flesh, Cream and the exquisite Nev
CARMEN BRUNETTE Shade — 50c Everywhere

Trial C^fff^r T^® "*^ shade Carmen Brunette has
rial vyiicr proved so popular that we will send a
purse size box containing two or three weeks' supply for
12c to pay postage and packing. Or we will send any
other shade preferred.

STAFFORD-MILLER CO,
St. Louis, Mo.

The Final Touch

Wbea you write to adverUaers please mention PHOTOPLAY MAGAZINE.

-!*,

^^jisgyjssitSfUi

/Y^^M^M 'v'" ff^y m N y

During the more recent period of his illness, cut off
from his cabinet, government administrative officers
and friends. President Wilson has had one pleasant
connection with the busy world, the motion picture.
A projector -was set up in the \Vhite House and
nearly every day the operator •was called into action.
The president has seen all the more important news
subjects and some photoplays.

Photoplay Magazine — Advertising Section

A New Sensation— the
Butter-Kist Nut Store!

A Twenty -Way Payer for Storekeepers
Occupies Only 24 x 34 inches of Waste Space

$110,000,000 Worth of Nuts Consumed in 1919

Think of it — over $110,000,000 worth of nuts were consumed in this
country last year. This means an average consumption of $1.00 worth of
nuts per year per inhabitant, according to the government reports. A vast
consumption indeed — despite the fact that nuts have never been given a real
chance to sell — never properly exploited in any store. Think now what a
wonderful seller you have in nuts since you have such a marvelous nut salesman
as this new machine. The Butter-Kist Nut Store we call it, and it sells six
different kinds of shelled nuts, five different kinds of nuts in the shell, roasts
and sells peanuts and sells candy, gum, chocolate bars, mints, etc.

Twenty Avenues of Profit for You

If you want to get an idea of what the Butter-Kist Nut Store will do
for you, just consider what a sensational success our peanut roaster has
been. It, sells only peanuts, yet it is paying big profits to storekeepers all
over the country, as the letters printed here show. If the peanut roaster,
which sells only peanuts, pays so hand-
somely, think what the Nut Store will pay
you. For besides roasted peanuts, the Nut
Store sells six different kinds of shelled
nuts, five different kinds of nuts in the
shell, and it has special compartments for
such big nickel sellers as gum, cough drops,
mints, etc. In a word, it gives you twenty
avenues of profits — from a little waste
space, 24 X 34 inches !

THE BUTTER-KIST

Occupies space 2 4x34 inches. 5 compartments in base
for 5 diflfeient kinds of nuts in shell. At the top, 6 com-
partments for six different kinds of shelled nuts. A sep-
arate peanut roaster for roasted peanuts. This roaster
will also roast almonds, filberts and other nuts in the shell
a new delicacy to offer the public. Note special compart-
ments for chewing gum, mints, candy bars, etc. Write for
description of machine and marvelous lighting effects.

!/ i£''\lI~M

Here is the most attractive method
of selling nuts ever conceived. All the
goods are in plain sight — all attrac-
tively displayed. The machine com-
The peanut roaster is an eye-catcher

Letters from Those Who

Have Simply the Peanut

Roaster

Think What the Nut Store With

20 Avenues of Profit

Will Pay You

"We are malting a clear profit
of $75 a montl)." HTites store-
keeper from jrississippi.

■■I have averaged $25 to $30
a week," writes ice cream parlor
owiier.

"My receipts average $7 0 a
week," writes grocer from Illi-
nois.

"I sell from 150 to 550 sacks
of peanuts in from 4 to 5 hours
on Saturdays," writes store-
keeper fi'om N. Carolina.

"Sold over 4.000 bags of pea-
nuts in five days." writes candy
store owner from N. C.

"I average $10 a day." writes
fruit store owner from Georgia.

bines motion with striking lighting effects in color.

in itself. It is the only visible peanut roaster on the market. There are handsome

color effects in the electric lighted scenic signs. The machine proves a sensation ' Facts and figures sent

wherever it is installed. It draws trade for blocks and multiplies your business. Be / ^'^^ *° established mer-

the first in your locality with this remarkable Nut Store. Write for full description. .

Amazing Facts Free — MAIL COUPON SiP^

Let us give you details as to the profits you make with the Butter-Kist
Machine. The figures will open your eyes. /

We will also send you particulars of our easy payment terms. A small . Name

payment down puts the machine in your store. Pay the balance a little at a /

time out of the Nut Store's earnings. / . ,,

Write today for all the information. No obligation. You have nothing / Aoaress.
to lose, and much to gain. Mail the coupon or letter or postcard. /
HOLCOMB & HOKE MFG. CO., 468 Van Buren Street, Indianapolis . Business

chants and business men

HOLCOMB & HOKE MFG. CO.
468 Van Buren St., Indianapolis, Ind.

When you write to advertisers please mention PHOTOPLAY M-^GAZINB.

Ho\v To Be Perfect

Tke Bounding Comedian of the
films tells this infallible system.

By AL. ST. JOHN

ARE you too thin or too fat, too tall or too short? Do you
know how to keep yourself in trim, how lo be fit?
Be a real man ! Be a man of power !
Be a beautiful woman ! Be a perfect thirty-six.
You don't need the work and worry of a long course of physical
torture. Just a few simple little exercises if properly followed,
will broaden your shoulders, deepen your chest, give you the
figure of an Apollo, or a Venus.

Don't worry about what kind of bathing suits they are going
to wear at Palm Beach or Coronado next summer. Follow the
physical rules of the famous athlete Professor Al-lah St. John-ski and
you will be able to wear any, none or several as the case may be.

The only apparatus required for these exercises are a bicycle and
a flag pole. They are so simple that a child can master them.
Any fat man should try them before breakfast. The advice and
illustrations given on these pages constitute his system of keeping
fit.

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THIS first e.xercise is probably the simplest
form of setting upside down exercises.
I recommend tliat you do it daily before
breakfast, on the front lann if possible.
Place the hands flat uiion the surface, hold-
ing the fingers slightly apart. Raise the
body slowly and easily to the perpendicular
position shown in the accompanying illus-
tration— the knees about 45 degrees. Then
empty the lungs completely, being sure,
however, not to do likewise with the stomach,
while counting eight in a loud voice. Slowly
fill the lungs, hold the breath while again
counting eight, and during that time grad-
ually stretch the frame of the lungs.

Tlili importance of this exercise can hardly
be overestimated. It is a sure remedy
for fallen arches, ingrowing toe-nails, dis-
located joints, old age, water on the knee,
baldness, broken collar bones, malnutrition
and barber's itch. Bend from the waist and
Iilace the hands flat upon the floor in the
same position indicated in Exercise I. Be
sure to keep the feet flat upon the floor
while so doing. Bring the right leg gently
over the right elbow with a forward swing,
and let it rela.x from the knee, its weight
resting upon the arm between the elbow and
shoulder. Repeat with the left leg. Do
this twenty times at 9:50 o'clock.

FOR reducing the weight, this exercise is
agreed upon by all experts as the most
effective yet discovered by man. I can
guarantee that any fat man who will do this
thirteen times after lunch and thirteen times
after dinner will lose weiglit. Place the
stomach flat upon the floor. Raise the head
with a snake-like movement, keeping the
eyes straight ahead. Throw the legs back,
up and over the shoulders, catching the toes
in the palms of the hands. The effect will
be lost if you attempt to do this one leg
at a time, as in. Exercise 2. Begin by doing
this five times, holding the position until
you count ten. Increase count daily.

pUR ladies only. This must be done in
* the open air. Keep your mind calm and
collected. The bicycle exercises will re-
duce or increase weight, render the body
supple and graceful, decrease the waist meas-
ure, give you complete control of your feet
and ears and overcome any tendency to self-
consciousness. Take the bicycle out into
the yard so that all the neighbors can watch.
Mount it as though about to go for a ride.
Keeping the hands firmly fastened ujion the
handlebars, raise the body to a perpendicular
position.

ETOR short, fat people only. The position
* given is merely the stationary pose. I'he
wheel should be pro]>elled rapidly liack and
forth. In this position, ride around the block
six or eight times a day. It will make you
slender and popular. If it is a warm day,
be sure to do it about 12 o'clock, and if
you do not then feel sufficiently hot, don
your fur coat, overshoes, sealskin cap and
heavies. If you find the position difficult to
assume, try it over on your piano. The
hazard is thus increased and circiiJation con-
sequently accelerated.

'T'HIS last of my daily beautifiers, as you
* will see, is a shade more advanced than
the others. If you will perform this txer-
cise at least three times a week, preferably
on a full stomach, it will prove a reasonably
complete system of muscular development.
Crawl quietly out to the position shown in
the accompanying diagram. Then maintain
that position for from one to three hours.
If you have no flagpole, stick a clothes pole
in the side of a mountain or out the win-
dow of a twenty-story building. Great care
used to keep your balance.

Photoplay Magazine — Advertising Section
£>1

WOMEN RESENTED
THIS MAN'S STATEMENTS

y--'

WHEN I published recently this
article by a well known business
man, entitled, "The Most Deli-
cate Problem I Have Met in Employing
Women," I was amazed at the result.

I had expected some protest, but not
the wave of it which almost deluged me.
In this article, he said : "But too often
the chance of these women to attain the
highest success of which they were capa-
ble has been spoiled by a thing which
until now I have hesitated to discuss
with anyone but my wife. Often the
very women who seem to be mostscrupu-
lously careful about their appearance
are the ones in whom the odor of per-
spiration is most noticeable."

One stenographer's answer to this is
typical of many. She writes: "This is
too much! For goodness sake, get after
the men, for any woman in business
knows that they are the real offenders.
If they only knew how unattractive and
— yes — offensive they are with their
wilted collars and stained shirts I am
sure they would reform. Every girl I
know, both in the office and out of it,
guards against any chance of perspira-
tion trouble by the regular use of
Odorono, but the men apparently don't
know such a thing exists."

What this girl says is undoubtedly
true — men are the chief offenders. Yet
I fear there are still many women who
do not realize the facts.

A stenographer answers:

jhis is too much! Every woman in
business knows that men are the
real offenders in these matters. '*

An old fault — common to most of us

It is a physiological fact that there are
very few persons who are not subject
to this odor, though seldom conscious of
it themselves. Perspiration under the
arms, though more active than else-
where, does not always produce exces-
sive and noticeable moisture. But the
chemicals of the body do cause notice-
able odor, more apparent under the
arms than in any other place.

The underarms are under very sen-
sitive nervous control. Sudden excite-
ment, embarrassment even, serves as a
nervous stimulus sufficient to make per-
spiration there even more active. The
curve of the arm prevents the rapid
evaporation of odor or moisture — and
the result is that others become aware
of this subtle odor at times when we
least suspect it.

How well-groomed men and women
are meeting the situation

Well-groomed men and women everywhere
are meeting this trying situation with methods
that are simple and direct. They have learned
that it cannot be neglected any more than any
other essential of personal cleanliness. They
give it the regular attention that they give to
their hair, teeth, or hands. They use Odorono,
a toilet lotion specially prepared to correct
both perspiration moisture and odor.

Odorono was formulated by a physician
who knew that perspiration, because of its
peculiar qualities, is beyond the reach of ordi-
nary methods of cleanliness— excessive mois-
ture of the armpits is due to a local weakness.

Odorono is an antiseptic, perfectly harm-

less. Its regular use gives that absolute
assurance of perfect daintmess that women
are demanding— that consciousness of per-
fect grooming so satisfying to men. It really
corrects the cause of both the moisture and
odor of perspiration.

Make it a regular habit!
Use Odorono regularly, just two or three
times a week. At night before retiring, put
it on the underarms. Allow it to dry, and
then dust on a little talcum. The next morn-
ing, bathe the parts with clear water. The
underarms will remain sweet and dry and
odorless in any weather, in any circum-
stances ! Daily baths do not lessen its effect.

Women who find that their gowns are
spoiled by perspiration stain and an odor
which dry cleaning will not remove, will find
in Odorono complete relief from this distress-
ing and often expensive annoyance. If you
are troubled in any unusual way, or have
had any difficulty in finding relief, let us help
you solve your problem. Write today for our
free booklet. You'll find some very interest-
ing information in it about all perspiration
troubles !

Address Ruth Miller, The Odorono Co., 511
Blair Avenue, Cincinnati, Ohio. At all toilet
counters in the United States and Canada,
35c, 60c and $1.00. By mail, postpaid, if your
dealer hasn't it.

Men will be interested in reading our book-
let, "The Assurance of Perfect Grooming."

Address mail orders or request as follows:
For Canada to The Arthur Sales Co., 61
Adelaide St., East, Toronto, Ont. For France
to The Agencie Americaine, 38 Avenue de
rOpera, Paris. For Switzerland to The
Agencie Americaine, 17 Bouelvard Helve-
tique, Geneve. For England to The Amer-
ican Drug Supply Co., 6 Northumberland
Ave., London, W. C. 2. For Mexico to H. E.
Gerber & Cia., 2a Gante, 19, Mexico City.
For U. S. A. to

The Odorono Company
51 1 Blair Avenue, Cincinnati, Ohio

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

And tte star

became

even as a

Blazing Comet.

The Fable of the Good Scenario Writer i

By
FRANK M. DAZEY

ONCE upon a time there was a Producer who prayed
for a GOOD SCENARIO WRITER. "Yea verily!"
he moaned, "Dust gathereth on my sets, my Stars grow
fat, the Overhead flourisheth as the Green Bay Tree,
and my Directors go crying 'Where is the Script? Where is
Ihe Script?' "

And the Lord, which is a good Lord, heard and was touched
by the piteousness of the man's lamentations.

And the next day a young man appeared before the Pro-
ducer and said, "Lo, / am a Good Scenario Writer!"

And the Producer delayed not but thrust a novel into the
voung man's arms, saying, "Make haste, we start to shoot
Monday."

And the young man examined him the book and said, "Alas,
this book is without merit, for it contains neither plot,
characterization, suspense, originality, nor aught else that is
needful."

At this the producer was greatly wroth and chided the young
man as follows: "The book must be good, for, though I have
not read it myself I have been told so by my best Stenographer,
and the Price I paid was so great it has been heralded to the
four comers of Filmdom. And if it is originality that lacketh,
that you must supply, and plot also, for, have you not told me
that you are a Good Scenario Writer?"

And the young man applied himself diligently and at the
appointed time appeared before the Producer saying, "Lo, here
is thy Script! Read and I thinketh it will rejoice you."

But the Producer, having an engagement for Lunch, did not
read the Script. Instead he went and laid it before the feet
of the Director,
who glanced swift-
ly over the scenes
and cried:

"Lo, this is the
Bunk, and that
also! Let it be
changed forthwith
lest my hairs grow
grey ajid my eye;
sad!"

Afid when the
Good Scenario
Writer had done
even as the Direc-
tor required the
Script was placed
before the Star.
And the Star be-
came even as a
Blazing Comet,

"Im through forever and forever — I quit!"

for all that the Director deemed good she abhorred, and those
scenes which he condemned she esteemed as Pearls beyond
Price.

And the Good Scenario Writer went unto the Producer seek-
ing Counsel, and the Producer cried:

"Verily, it is a case for High Discretion. Guard thy words
and make the Director think that all his desires have been
granted, while the Star believeth that her wishes have been
followed to the smallest Jot and Tittle. And take care that
the Script suffereth not thereby!"

And the young man, who was a very Good Scenario Writer
did even as he was commanded.

And the Director was content, and the Star pleased, and the
Producer beamed more brightly than the Sun at Noonday. And
he came running to the Good Scenario Writer and cried:

"You are indeed a treasure. Lo, here is another book which
my stenographer recommends most highly. Make haste, for
we start to shoot Monday!"

But the young man turned sharply upon his heel, saying:
"I'm through forever and forever — I QUIT!"
At this the Producer's eyes grew wide and he mopped his
forehead with his right hand until the diamonds thereon be-
came covered with Sweat.

"Why should you thus desert me?" he cried, "Have I not
given you a room to work in more spacious than that of the
Chief Carpenter? Is your name not mentioned in all publicity
— when it is not forgotten? And as for pay, know you not
that you are receiving one-fourth as much as the Director,
one-tenth as much as the Star? Yea, your yearly stipend will
^_____,^_^______ reach even the

ni»!|!M^,''|lll'''''''''''i>|j^''".'U!!!!iifiw;inw'"'re4jiJt{i^^ half of my own in-
come tax! You
are an ingrate. A
snake I have
cherished with the
warmth of my
Bosom."

And the Good
Scenario Writer
made retort:

"I have given
you the speed of a
linotype, the
dramatic skill of a
Sardou, the hu-
mility of a Saint,
and a diplomacy
that would enable
(Continued on
page 134)

Slu

uewiichina I h

ingi louj

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Send for free sample of Garden Court^ Fa<.e
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about toilettes for every occasion.

Sold wherever this sign
of the Penslar Stores
is displayed.

Back Again!

A friendly little sermon on
the ways of health, by Elliot
Dexter who admits an obli-
gation to Right Thinking.

By
ADELA ROGERS ST. JOHNS

ELLIOT DEXTER is working again.
The as yet unnamed deMille feature
now taking shape beneath the magic
wand of "the chief" will bring him
back to the world of the silver sheet that
has so sadly missed his polished artistry.

For it is almost a year since the inex-
orable arm of illness turned deMille's "For
Better or for Worse" into an unexpected
farewell performance for him.

Between the two events lies a long road
and a hard one — a road of sickness, pain,
shattered ambitions, uselessness — trodden
cheerfully — ending at last in victory.

As soon as I
saw him, stand-
ing bareheaded
in the sunshine
beneath an ap-
ple tree in full
bloom (a "loca-
tion" apple tree

it was) I began to understand the air of delighted
mystery which his friends instantly assume when
they talk about him. There were no crutches in
sight, no canes, nothing to suggest the wheel chair
that the stroke which rendered him helpless forced
him to use. He looked ten years younger, doubly
attractive. Perfect health sat in every line of his
face and form.

But it is more than that.
He gave me the impression of a photograph
that has been artistically retouched.

That, I think, is why Cecil deMille him-
self became smilingly silent when I asked
him about Dexter's return. He seemed to
want me to hear it from the man's own
lips.

Tommy Meighan shook his head and
held up his hands when I asked him if it
was true that Elliot Dexter was back at
the studio, able to work, though for so long
film circles had hummed with one rumor
after another concerning his condition.
"Go look at him," said Meighan.

Gloria, more lovely than ever in a
checked gingham apron and Mary Jane
pumps, looked up at me with eyes that
were like bluebells under water, by reason
of the swift tears that filled them. "It is
so wonderful," said Gloria.

It is plain that they all marvel — -at the
three men which, in the last year, they
have seen inhabit the handsome, graceful
figure that the cast of characters titles
"Elliot Dexter." Three men — the man who
was, the man who so nearly was not at all,

and the man who is. The fascinating, worldly, finished actor
— the year-long invalid — the joyous, earnest, healthful man of
today.

It must be rather nice to have everybody about you so glad
you are well. And then the thousands who will rejoice over
his return whose welcome he will never hear.

"I'm quite well now," he announced, as we sat down on
the edge of a rustic well. "I still limp a bit, but that doesn't
matter, for I'm playing a cripple in this picture and it will
be gone by the time we get to the next one."

"How did it happen?" I asked. "You got well so quickly.
And you look so remarkably fine."

Now you and I are hard-headed, sensible people. We, of
course, think as we will and are not easily influenced. It is
not necessary that we endorse what a man says merely because
we listen to him say it. Because we quote him, it does not
signify that we agree with him. But surely a man has a right
to his own opinion as to what dragged him back from the pit.
He has a right to voice that opinion. It cannot harm us to
listen.

Incidentally, your common sense doesn't have to stand the
test of looking into Elliot Dexter's serene, happy eyes, that
seem to have a light turned on behind them.

"Right thinking healed me, when everything else had failed,"
said Dexter quietly, so quietly that it was much more effective
than if he had shouted it from the housetops. "Good, happy
thoughts instead of bad ones, clean, wholesome thoughts instead
of wrong, poisonous ones. I have somehow learned the truth
about man. That's all. Perhaps I don't understand it very
well myself. It is just that 'whereas I was blind, now I
see.' "

He became suddenly tongue-tied, blushing as rosily as a girl,
filled with embarrassment. But the courage of his convictions,
a sharp sense of gratitude, brought his eyes back to mine and
he went on firmly.

"It works, you see. A man must be a fool who would not

Photoplay Magazine

believe such proof as I have had. Then, look at Monte Blue
over there." His gesture rested on a tall young man, much
at ease with his back in the sunshine. "Monte was bom with
a fear of snakes. Used to turn sick when he saw one. His old
pals will tell you he almost shot a man once, who threw one
at him. A couple of days ago on location, someone put one
near him. He went clean crazy. He ran around and around
like a madman until he finally dropped in a faint.

"But, you know," it says 'dominion over every creeping
thing that creepeth upon the earth.' " He laughed, with that
same touch of embarrassment, but this time he went steadily
on. "I kept thinking that. I told him that. When you think
about that, it doesn't seem right that a man should fear a
snake, does it?

"The next day he came up to me with the happiest grin. 'I
touched one, Elliot,' he said. He showed me that he could
pick a snake up. He had been healed of that fear because he
knew the truth about it.

"Look at the 'Chief.' Would you think to look at him now"
— we both turned to watch Cecil deMille, with that brilliant
coolness of his, getting ready to shoot " — that he was taken
home yesterday almost blind with kleig-eye. We didn't ex-
pect to work today, because when he gets them he gets them
bad and is laid up. But ihe same truth healed him in ten
minutes.

"Everybody has a right to their own ideas about things. I
do not want to force mine on anyone. But I cannot feel right
not to tell the thing as it happened to me.

"I never expected to get well. I tried to be cheerful, to be
a man, to make the best of it. Now I am well. You may not
believe me. The world may not believe me. But / know."

He smiled at me. Suddenly it was borne in upon me that
I had never seen happier eyes than Elliot Dexter's. You watch
for it, and you will see what I mean.

After all, heaven itself can have nothing to offer us beyond
happiness.

^^^^^r^'

1^^ «> ^J^^^B S

%p 1

Hk 'V^ aii^^^^^B

The Man Who Paints
The Covers

THE hardy young westerner who paints Photo-
play's covers in a complete visualization of his
virile and interesting name — Rolf Armstrong. He
is a living proof that the picturesque artist of
your imagination may not be a myth !

Those delicately wrought pictures — shining songs of
color and form, light and shadow — which are marked
with Rolf Armstrong's name are made in a spacious
studio workshop with slanting, aged walls in New York's
most fascinating old quarter. It is the workshop —
proven by the furnishings which lend it its charm — of
an athlete, a collector, a lover of beauty, and a real man.

Mr. Armstrong came to New York from Seattle, via
a stop-over for study in Chicago, about seven years ago.
He has made a specialty of portraits of women — because
he believes that women are the most subtly difficult,
and the most worth while subjects to paint. "There are
all the beauties of the changing landscape in their
faces," he says.

Rolf Armstrong is the brother of the late Paul
Armstrong, who was one of America's most successful
playwrights.

£-iiUiUPl.AV iVlAUAZINE — ADVERTISING SECTION

As sure as you
are a foot high

you will like this
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Domestic blend!

Cameis are sold overy^vhere in
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Camels leave no unpleasant cigaretty
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In fact, every angle you get on Camels is
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you will be won as you were never won
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That's why we say frankly — compare
Camels with any cigarette in the world
at any price ! We know the answer.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Studio
Aladdins

This is the way an unfinished motion picture set
looks ■when the noon ■whistle blo^vs and all the
studio Genii stop to eat their lunches. Belo^wit is
the same set after it has been completed and dressed
up. This is the important dra^sving room in
"The Prince Chap," starring Thomas Meighan

The picture at your right sho'vvs the
billiard room ■which ■was built by
dint of a lot of hard ■work (see
photograph above it) to serve as the
background in a fe^w scenes in Robert
V/ar^wick's "Thou Art The Man."

ALL any director at a
motion picture studio
has to do is to wish — he
need not even rub a
lamp, as Aladdin was compelled
to do — and he finds himself in
any city or country, surrounded
by anything his heart desires —
just as soon as his staff of
Genii carpenters, interior deco-
rators, paper hangers, property
men, brick layers, and so forth
— can carry out his wishes. It
is amazing what these Genii can
do. "I want an Arabian desert,"
"I want a scene down on the
Wabash," "I want some Alaskan
stuff," says the director. Next
day, behold! — they are there!
And yet there are those who
say they don't believe there ever
was any truth to that Aladdin
story !

Photoplay Magazine — Advertising Section

You have always wished for it —
this fascinating ability to draw.
And now it's yours! This power
to grasp a pencil and picturize
your ideas; to "speak" more thru
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wonderful ability filled with pleas-
ure and profit is now yours!
Forget that you may have no
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be "gifted"- but REMEl^BER
that, regardless of these things,
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New Ea^ Waj to

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r»^^;^^;^^ ^^ nar-^r^r^r>ir>d -ufzi^-h. Shading, action, perspective and all the rest follow m their right

Designing, or (cartooning, Wltn- ^^^^^^ K'^^., y^u are making every week pictures that sell for

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i^^ax^i^^^^ jr t- J ^j^g personal criticism of our director. Will H. Chandlee. Mr.

Chandlee has had over 35 years' experience in commercial

■ M<^^rfir wac tViprp Qiirh a nppfl for artists as todav' art, and is considered one of the country's foremost authorities.

JNever was mere SUCn a neea lor drubib db "-"Udy . jj^'j^^^^g ^l^^ ^^^ inside and out. He teaches you to make

Business, revitalized, needs thousands. Illustrated ^j^^ ^^^^ ^^ pictures that sell. Many of our students are now

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48,888 periodicals are published in America— every Send for Free Book

one of them needs the services of ^t least two ^„ i^^^.^g^i^g 3^^ handsomely illustrated

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ability may be — if you can write, we can teach you to draiv. ^^^^

Have you ever noticed a child trying to draw? Every child _.,. ^b. ^^b. bhi^b ^^mm ^^^ ^^^ ^^" ^^^

does it. They also try to read and write. The faculty of reading I o^v,«r,i r>f Art Tnr I

andwrith " developed in them as they grow older. The faculty I The Washington School of Art, Inc. |

of drawin not. That is the only difference. Everyone has I 1125 H Street, N. W., Washington, D. C. _

within him the power to picturize his ideas. The right method of | p.-a-. ^^^a „e without cost or obligation on my part, I

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the theory that " talent" was necessary for success in art. Just Im^mi ^— ^ ^^— ^^" ^^^ ^^" ^^"

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

THE

' '■'. rr r • •

jQuinel

A.GNUTT ffb

AFTER ye ed. went and offered to give a
prize for tlie best la^t line to tlie lim-
erick about Alice Malone last month,
the price of paper went up $7000 a
month on this magazine. But do not be afraid.
\Ve are not going to back down on our offer of
a five year's subscription to the one who shows
the most talent in writing that line that must
not end in "Salome." We just want to point
out that even the high cost of prizes is going
up. We do not murmur.

But now, seriously, since: you are getting used
to us, and you can see that we're a well mean-
ing fellow on account of this prize limerick busi-
ne"ss and all that, why not get acquainted?

For the past vear or so we have been ap-
pearing in this squirrel cage monthly, and you
can see that we are a steady old customer and
everything. Why not take the old Corona, or
the old Waterman in hand now and then — when
you have sometliing funny up your sleeve, or
when you get it in for the opposite sex and want
to take a slam at them, or you feel like getting
a piece of bum poetry off your
chest? Maybe you've got a
secret, even, that you'd like to
confide to old Gnutt.

They say that the fellows who
run the so called funny columns
on the metropolitan dailies get
hundreds of letters a day and all
they have to do is to paste them
together and stick in a few
wheezes picked out of other
papers and magazines, and they
get the credit for being awful
clever. Not so us. We have
been forced so far to depend
only on the papers and maga-
zines, which does not seem
hardly fair now, does it?

TOMB.STONE manufacturers
demand 20 per cent more
for perpetuating a man's mem-
ory. It's a hard game, they
complain.

TT HE law recently passed_ in
* England limiting the visits
of mothers-in-law and other rela-
tives to one month should be
unnecessary in this country,
where every householder prides
himself on being a Napoleon of
domestic strategy.

"Vr/ILL Fly By Night."—
** Headline. "Thus it is,"
-ays the valued N. Y. Post,
"that the reproach of one gen-
eration becomes the boast of
another."

D L. T. wants to know if
•'-'• there is any further excuse
for the pretzel?

I T was the week before little
* Willie's birthday, and he was
on _ his_ knees at his bedside
petitioning Providence for pres-
ents in a very loud voice.

"Please send me," he shouted,
"a bicycle, a tool chest, a "

"What are you praying so
loud for?" his younger brother
interrupted. "God ain't deaf."

"I know He ain't," said little
Willie, winking towards the next
.room, "but grandma is."

And he continued, louder than
before: —

— ; — "a scooter, a drum, a
talkin' machine, and a pony.
Amen."

.t-'^-y.^'^.''

THE NOSEY EDITOR.*
{Today he asked Fiic Persons the Same Ques-
tion.)

TODAYS QUESTION.
Who is your Favorite Ci'tema Hero or Heroine'

*Ye Ed. offers every apology to "The Inquir-
ing Reporter" of the N. Y. Evening Globe.
Look for "The Nosey Editor" later.
THE ANSWERS.
Willie Hopp, tlie office boy; —
"I think that Doug Fairbanks would be bet^
ter'n Bill Hart if Doug could roll cigarettes
with one hand 'ike Bill Hart can. Gosh, ain't
it swell when he does?"

Hilda Highlife. the henna-haired hellofanote
whose secret hope to switch from the telephone
desk into the white lights over night is known
only to everyhodv who comes into the office: —
"Miss Gloria Swanson is ray favorite screen
actress. I think she is the greatest, cutest,
most beautiful motion picture actress who has
ever been e-xpo>{_d to public view. Ha\'e you

A STENOGRAPHER recently
** broke the shorthand speed
record by making it ,^24 words
in one minute flat. At this rate
soon to be fast enough to report the
tion of two ladies at a picture show

Photograph l^v Tracy Mathewson

'T'HIS is John Shell, who lives up Laurel Creek, in Leslie County,
■•• Kentucky. He is likely the oldest man alive, being 134. There
is a poll tax to prove it. 'The boy is his son Bud, age 5. John vras
born nine years after the signing of the Declaration of Independence.
He -was turned down by the draft board at the tirae of the Civil War
because he was too old. John's first wife died six years ago, at 107.
His oldest son succumbed at the tender age of 90, being, as his dad
said, "a leetle frail." Tracy Mathewson, the Kinograms cameraman,
traveled two weeks by buggy through mountain creek beds to dig him
up. The second Mrs. Shell, Bud's mother, is 35 — only a mere cen-
tury younger than her husband. After this was written, a New York
paper came out saying John was only 97 — but why spoil a good story?

she ought
conversa-

ever noticed how much she looks like me?"
Mrs. Prunella Killjoy, who is trying to start

a campaign to stamp out all screen kissing: —
"I think that Charles Chaplin is th« purest

of our screen players. I have yet to see him

indulee in ,1 five minute osculation in the films.
I wish I could say as much for all ethers."

Charlie Jazz, the typewriter ribbon sales-
man:—

"It's Gale Kane for mine. She's so nice in
the home, and when a fellow's out about as
much as I am he always likes to see a girl who's
so nice in the home."

John Groan, the janitor: — "I don't like any
of them there screen stars. They make too
much clutter around an office. If there wa'nt
none of them there might be some neat, clean
business in this office like a tailor shop and
there wouldn't be no motion picture magazine
here to keep me emptying waste baskets all the
time.

A LOT of gents are learning, somewhat sor-
** rowfully, these days that water was in-
vented for other than bathing purposes.
—Chicago Tribune.

A WELL known English peer
'^ was playing with the son of
a friend of his when a foot-
man entered and announced.
"Your car is here, my lord."

"Why are you a lord?" asked
the little fellow" promptly.
"Were you born in a manger?"

FASHION NOTE.

ITORM fitting trousers with

* frills at the ankles and shirts
with lace collars and cuffs will
make the 1920 man chic and
fluffy this summer — if he wilt
wear them. The dictators of
men's fashions in Paris — aided
and abetted by the creators of
women's wear — say he will. We,
shall see — soon.

LIOPING not to bore you but

• * bringing up the subject of
that limerick contest again, but
if there aren't a lot of answers
to that offer for a five years'
subscription just for the last line
to that nutty poem, the man who
owns this ir.ag.« might think no-
body reads this page and then
he might fire me. Let's show
Iiim what's what.

\l\ RS. PHINEAS JONES is
^'* the proudest woman in
Wellsville. A specialist says
that_ she's got to undergo an op-
eration for appendicitis.

Bide Dudley in N. Y. Eve.
World

fOr words to that effect. >

P RANK KLAUS, former mid-
' dieweight champion. has
been fitted out with monkey
glands, and now he sajs that
he_ feels like a kid again, and is
going back into the ring. He
must have heard of the Ben
Wilson and Neva Gerber serial
"The Screaming Shadow."
though he does not say so.

P P. A. in the New York Trib-
*■ • une says that he believes
women should be allowed to
smoke, because it is only in
houses where they do that there
are enough ash receivers and
matches. What do you think'

THIS MONTH'S RIDDLE.

WHAT southern flower would
make a good name for a new
Irving Berlin jazz song?

ALL answers to the above riddle, as well as
any last lines to that limerick contest, must
be in the office by May 27. Address to Prof.
A. Gnutt, Photoplay Mag.\zine, 25 West 45t''-
Street, New York.

Photoplay Magazine — Advertising Section

The Frenchwoman's frankness
in the use of hair removers —

''''My underarms were born clean and
hairfree, why not keep them so?

WAR Relief had taken Ethel to France. There
was nothing prudish about Ethel. She powdered
her nose in public when occasion required, used
a little rouge when she felt she needed it, and
called upon the usual favorite aids to woman's beauty.

But when it came to wearing some of those ravishing,
though more daring frocks — low cut, sleeveless affairs —
and filmy, diaphanous blouses, Ethel protested they were
not for her — that she was the tailor-made type.

The truth of it was, Ethel could not wear those sheer,
dainty things, — she had never "dressed up" her under-
arms modern fashion, as required by the prevailing modes.

Hair removing to Ethel was associated with razors — and
a razor was something her gentle feminine instincts stub-
bornly shrank from. So she clung to her tailor-mades
until she met Marie, her French neighbor, and then —

Here is the way Ethel herself described it all to an
intimate friend—

"Marie was the most fascinating of our little set. A
charming companion, and, dress? Why her taste was a
revelation to all of us. A trifle, worn by Marie, seemed
like a work of art. We loved to drop in there tea time.
Marie was most hospitable. First thing you know we'd
get to talking about clothes.

'No one but you could wear that love of a blouse' I
said to her one afternoon; 'so sheer, and gossamer like —
your underarms are clean as a baby's.'

She laughed. 'You sweet, unsophicated thing — yours
can be the same if you like — I clean them up with
El-Rado.'

way to r-pmove Viair

'El-Rado? What's that?'

'The nicest liquid. It washes the hair off in less time
than it takes to tack in shields, and it leaves your skin so
delightfully smooth. I don't know what I did before I
found it.'

'O, do tell. Where did you get it?
it? What does it do?'

How do you use

A chorus of questions were fired at Marie. Marie
settled down gracefully and leisurely in her chaise longue,
and taking her cigarette from her lovely lips with her
slim, artistic fingers, challenged us all with the point of
her comment; 'Well, my underarms were born clean and
hair free — why not keep them so? Madge, please bring
in that bottle of El-Rado.'

'Now here is a lotion' — Marie resumed — 'which I dis-
covered in Paris, though it is made in the States. Any one
of you can use it as easily as I do. Just sop it on with a
piece of absorbent cotton — wrapped around an orange
stick, if you like — and in a few minutes off comes the
hair. O yes, it grows again after a few weeks, but much
finer and silkier. Then I sop it on some more.'

'Here, look.' Marie raised her arm over her shoulder —
and we caught sight once more of the lovely texture of
smooth skin underneath her arm — there were three con-
verts to the mode — myself included."

El-Rado is guaranteed harmless no matter where
applied — face, arms or limbs. It is sold at drug
stores and toilet counters in 6oc and $i.oo sizes. If
your dealer cannot supply you send stamps to us
direct, and a bottle of El-Rado will be mailed to
you promptly.

Pilgrim Mfg. Co.
Dept. P, 112 East 19th St., New York.

For Canada, address:

The Arthur Sales Co.

61 Adelaide St. East, Toronto.

When you wiite to adTertlsers jlease mention PHOTOPLAY MAGAZINK.

Local Boy Makes Good!

Hollywood might tack that headline on Wesley Barry

The butcher and grocer
ire his favorite Nvor-
shipers. Wieners and
apples cost him exactly
aothing — if he ■will deign
to talk to the tradesmen.

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ONE of the most familiar headings on any medium-sized
town's mouthpiece is: "Local Boy Makes Good!" And
Hollywood (Calif.) has earned its right to such a
"scarehead."
Wesley Barry — the local boy in question — was born right in
the heart of Hollywood. He was one of the smartest young-
sters in town.

Today Wes Barry, discovered by Marshall Neilan, is perhaps
the best known child-actor in films. He has a wonderful future.
He has an automobile, a pony and a private tutor. Is there
any wonder that the natives of Hollywood all point with pride

to Wesley and tell you by the hour about "I knew him when."
Is there any reason why they should not relate how they had
always said he would be a big man some day?

When a local boy makes good he reaps these honors in
his own home town. His "gang" looks up to him. He is king
of the neighborhood. He is the best personal friend of every
man and woman over seventy, each and every one of whom
has had something to do with his success. Such is the reward
for just fame. Wesley Barry is the only real movie star in
Hollywood — to Hollywoodians. Strange to say. it has not as
yet affected the size of his cap-band.

The Pri2,e Letters

IT is very gratifying to know how many kinds of friends the motion pictures have. In response
to Photoplay's request for letters telling "What the motion pictures mean to me," literally
thousands of people have written in to give an honest opinion of how pictures have affected
their lives. And these letters have come from individuals of every walk of life — debutantes,
carpenters, ministers, telephone operators, mothers, even from the deaf and the blind.

This response came, the editor feels, not so much because Photoplay had offered prizes for the
five best letters, as that the writers were really interested in pictures and sincerely wanted this
opportunity of saying so.

In the June number the prize winners of this, Photoplay's first letter contest, will be
announced and the letters printed.

Do not be discouraged if your letter is not one of these five. . There will be other chances,
each month, to become a prize winner.

THIS month, Alon Bement's article on "The Story Your Hands Tell." points out the way to judge character
by hands.

Next month you may learn how to read people's characters without even so much as seeing their hands — by
their handwriting May Stanley will tell you how, in an article on "Handwriting," illustrated by the signatures of
many of the film celebrities.

<*(>

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^\'^a,\w^vf''m?^mm\r:y<M.^

mmwmmnmmmsmmmiKMrmttm

PINK

BRUNETTE

WHITE

A/our ^yf(vrroi^

Does it show the reflection you would like for it to
show? Does it picture a complexion of rose petal delicacy
— smooth, soft, without blemish?

If you but knew, if you but knew, the delights of

What a touch it lends. What fresh new beauty it
imparts to natural loveliness.

You would revel in the texture of Nadine. You would
find the "feel" of it so cool and refreshing. Dainty,
indescribably dainty, with a charm which endures through-
out the day.

You would find Nadine the harmless face-powder —
no matter how tender your skin.

Nadine's mission in life is to enhance womanly beauty.
A million mirrors all over the land are testifying to its
achievements. Nadine is awaiting you in its green box, at
your favorite toilet counter. Or, it will be sent by mail.
The price everywhere is sixty cents.

NATIONAL TOILET COMPANY

DEPARTMENT C. P.

PARIS, TENN., U. S. A.

NADINE TAI CUM, 30c NADINE SOAP, 30c EGYPTIAN CKEAM. skin food. 60c.

NADINOLA CREAM, for discolorations. two sizes. 60c. and $1 20.

NADINE KOUGE COMPACT, three shades, 60c.

Posed by
BeUne Chadwick
Motion Picture Star

*(,

Verfuined -with the Costly 1\few Odoj'of ^6 Tlowers''''

COULD you ever makeup such a won-
drous bouquet as this — a rose
picked in Southern France, a spray of
orange blossoms gathered by the Mediter-
ranean, pale spikes of lavendir from an
English garden, a branch of jasmine
from the Riviera, yellow ylang-ylang
blossoms from Pacific Isles — and so on
— till you had twenty-six of the loveliest
fragrances in the whole world ?

Sold exclusively by the Rexall Storey throughout
8,000 p'-OEressive retail dru^ stores titiite-l into

If you could gather such a nosegay,
then — and then only — could you repro-
duce the dewy sweetness of Jonteel.

It is this fresh, sweet fragrance that
makes Talc Jonteel a favorite with dis-
criminating women — women who know
the charm of a soft, fragrant skin.
Gently rub Talc Jonteel into the flesh
of your arms and neck, and feel the
delicrhtful, refreshing sensation it brings

the United States, Canada and Great Britain.

one morld-vjide serv ice~^tvin f^ or^an i:zatton .

THE JONTEEL BEAUTY REQUISITES

Odor "Jonteel, J iir the toilet, $i .50
Odor Jonteel Concentrate, $j
Talc Jonteel, snou)y ,Jragrcmt, 25c
Face Powder Jonteel, flesh, white,

brunette, 50c
Face Powder Jonteel Compacts, flesh,

ivhite, brunette, "outdoor," joc
Combination Cream Jonteel, t.j make

beautiful complexions, joe
Cold Cream Jonteel, jcc
Soap Jonteel, sjc
Rouge Jonteel, light, medium, or

dark, 59c
Lip Stick Jonteel, 25c
Eyebrow Pencil Jonteel, 2^c
Manicure Set Jonteel, $/ -50

In Canada, Jonteel prices are slightly higher

^JL O La

ays an

cfT^fo

ayeTS

Real news and interesting comment about
motion pictures and motion picture people.

By Cal York

THERE'S our old friend, Theda Bara,
playing a legitimate vamp in "The
Blue Flame." She's an innocent
girl in the first act who, through
some mysterious transition, becomes bad-
very bad. She vamps through until the last
act, when, having had plenty of opportunity
to tell the world why she was the champ
vamp of the cinema, she reforms and be-
comes good again. There's John Barrymore
doing a magnificent "Richard the Third."
And brother Lionel in a new and difficult
play by Brieux, "The Letter of the Law."
Dorothy Dalton is
still holding forth in
"Aphrodite," at the
Century Theatre —
the piece which might
be rechristened "Na-
ture Unlimited." Dor-
othy, by the way,
contracted a cold dur-
ing the bad weather
and was obliged to
lay off. She's back
again now. Looks as
if we were pretty
well represented on
Broadway, not to
mention the Francis
X. Bushman and Bev-
erly Bayne vehicle
which is playing the
provinces, and dra-
matist Crane Wilbur's
recently produced
plays, one of which is
said to be good.

DW. GRIFFITH
.paid .Si 75,000
for the right to make
a picture of "Way
Down East." Now
let's see the picture.

FILM companies
are going to Cuba.
Qi«eer, how so many
pictures have scenes
which require south-
ern atmosphere — and
no place but Cuba
will seem to suffice.
Let us think — what is
it they have in Cuba
that cannot be had
here?

THOMAS H. INCE
paid a recent
visit to New York
City. Before he left
the west coast, his
western press-agent
wired his eastern
press-agent : "Have a big celebration for Mr.
Ince upon his arrival in New York. Would
suggest you speak to the Mayor and also
liave school-children assembled in Central
Park;" The kick of this comes when you
learn that Mr. Ince's arrival was originally
scheduled for the blizzardest week in thirty
years' of Manhattan's weather history, with
snow and slush feet-deepu

AN important interviewer who had been
striving to see Ina Claire for some
weeks, was met with a thousandth refusal by
the information that "On account of her
marriage Miss Claire cannot see anyone."
The interviewer was too timid to call atten-
tion to the fact that Miss Claire has been
secretly married, to a Chicago newspaper
man, James Whittaker, for about a year.
But the fact leaked out only recently.

GABY DESLYS is dead. The dancer,
whose charms were said to have de-

JIMMY Rogers: '"Is Will Rogers your
daddy?"
Irene Rich: "No. '

Jimmy Rogers: "W^ell. then, what did you
let him kiss you for?"

(Note to Mrs. Will Rogers: Your young
son is referring merely to a scene recently en-
acted for a picture when Mr. Rogers' leading
woman, followed the director's order.)

throned ex-King Emanuel of Portugal, was a
victim of an operation in Paris in February.
She was the wife of Harry Piker, with whom
she made a Famous Players picture some
years ago. Known for her startling gowns,
her ropes of pearls and her blonde blue-eyed
beauty. Gaby was an international figure:
the symbol — and one of the last symbols —
of glamor and gossip in the theatre.

CHARLES RAY'S first picture for his own
company is "Forty-Five Minutes from
Broadway," George Cohan's stage success of
some seasons ago. It
is said Ray has many
other legitimate at-
tractions up his pro-
duction sleeve, among
them, "Peaceful Val-
ley."

T was rumored that
Grant Mitchell was
to be starred in the
screen version of his
successful stage crea-
tion, "A Tailor-Made
Man," until Sam
Goldwyn announced
that he had bought
the screen rights for

something like $ ,

but what's the use of
quoting prices ? If
they are true they
sound like fiction ; and
if they are fiction
who wants to be taken
in ? Jack Pickford
will probably land
this prize stellar plum

WONDER how
these players
like to be "loaned"
from their home com-
panies to strange di-
rectors ? A good
many of them have
been passed around
lately. Now Mar-
gery Daw,Wes Barry,
and J. Barney Sherry
have been released
temporarily by Mar-
shall Neilan to accom-
m o d a t e Maurice
Tourneur, who will
use the three in one of
his new productions.

MISS CLARA
WILLIAMS has
become Mrs. Reginald
Barker. Both con-
tracting parties have
been married before and recently obtained
their respective divorces.

REX INGRAM knows the faces of most
of the players in pictures— but he never
remembers their names. The other day he
thought of an actor he simply had to have
for a part in a new production, but he
couldn't remem- (Continued on page too)

100

Photoplay Magazine — Advertising Section

Huck Runs Away

Let Huckleberry Finn andTom Sawyer
take you by the hand and lead you back.

jiUif

!fcji«

IMARKTWAIN

Perhaps you think you have
read a good deal of Mark
Twain. Are you sure ? Have
you read all the novels?
Have you read all the short
stories? Have you read all
the brilliant fighting essays?
— all the humorous ones and
the historical ones?

Think of it — 25 volames filled with
the laughter and ihe tears and the
fighting that tnade Mark Twain so
wonderful. He was a bountiful giver of
joy and humor. He was yet much more,
for, while he laughed with the world,
his lonely spirit struggled with the
sadness of human life, and sought to
find the key. Beneath the laughter
is a big human soul, a big philosopher.

r^ AxI-jIZj Volumes
Paine's Life of Mark Twain

Not only does this coupon bring
Mark Twain at the low price, but it
bHngs you absolutely FREE Albert
Bigelow Paine's Life o\ Mark Twain.
It happens that we have a few sets of
the fine 4-volume edition on hand — not
enough to dispose of in the usual way.

There are only a few — this coupon
brings you one. Never again will you
have a chance to get one except at the
full regular price.

Send the Coupon Now

Vou can put this aside and forget it
until a month from now — and wish you
hadn't — or you can cut the little coupon
and send it along with nothing but your
name and address. Better send the
coupon. Things like long rows of Mark
Twain aren't going to be cheaper in money —
and they're going to be a lot more in joy and
inspiration. They are the fountain of youth.
Send the coupon and drink at it.

HARPER & BROTHERS

Plays and Players

HARPER & BROTHERS

18 Franklin Square, New York City

Send me. cher^eH prepaid, a aet of Mark Twain's works in 26
volurneH, illustrated, bound in handaome (rreen cloth, atamped in Kold
with trimmed edjies, and Paine's Life of Mark Twain, in 4 volumes
bound to match, KREE. If not satisfactory. I will return them kt
your expense : otherwise I will send you $2.50 at once and t.'! a
month for 14 months. For cash deduct 8 per cent from remittance.

Name

OCCUPATION Phot«6-20

If you prefer the beautiful half leather blodloff, write to us for
particulars.

An Oriental punishment being meted out in Long Island Sound. The hero has just been

plunged from an "opium smokers bunk" into a "■watery death trap" — and here's the

death trap, built for Wilfred Lytell, brother of Bert, for a Pathe serial. A portion of

the director and the cameraman may be seen above.

ber the chap's name. So he made a hasty
sketch and showed it to his assistant. "Why,
that's Frank Hayes!" said the assistant.
And Hayes was the third player in two
weeks who was engaged by this method.

OROTHY GISH and Robert Harron,
Richard Barthelmess and Mary Hay —
the latter a Follies luminary with a most
interesting career of her own : with a Cap-
tain for a father she has lived in places all
over the world, and was a St. Denis dancer
before Ziegfeld caught her, at seventeen, for
his entertainments — these four youngsters
attended a performance of "Declasse" with
Ethel Barrymore as the star. After the per-
formance they went back-stage to call on
Mrs. Albert Parker, or Margaret Greene,
wife of the director, who is a member of the
cast. Greatly to their surprise they were
instead ushered into the star dressing-room,
where a gracious Ethel Barrymore-Colt ex-
tended a hand in cordial greeting. She said
she'd often seen them all in pictures, and
wanted to meet them. The envy of the
others was remarkable when she singled out
Bobby Harron with a request for his photo-
graph. "My children like you," she said
smiling, "and they want your picture for
their nursery." Bobby blushed, and tripped
over his own heels as he made a hasty exit.

card to her best chum in New York — a reg-
ulation post-card of a palm-tree-shaded
drive. "Great place to walk," was her glum
inscription — "and nobody to walk with !"
Now she's back in Manhattan — and says the
slush and snow looked like home to her, she
was so glad to be there.

CONSTANCE TALMADGE, down
Palm Beach in the Royal Poinciana,
most exclusive of all the southern
hostelries, was lonesome. She sent

at
the

resort's
a post-

PRIZE> of one persimmon will be of-
fered to anyone who can read the fol-
lowing press-agent's item without laughing:
"The high cost of Ouija boards, which
have doubled in price recently, does not af-
fect Marjorie Rambeau who has a brand
new one, the gift of a Rambeau fan. Miss
Rambeau, whose interest in things psychic
has been stimulated by her work in "The
Fortune Teller," her latest picture, went into
a little shop to buy a Ouija board. The
proprietor of the shop, recognizing her from
her work in the stage version of "The For-
tune Teller," insisted upon making her a
present of the board. Miss Rambeau by way
of thanks presented him with an auto-
graphed photograph of herself."

NOW the "submarine kiss," in the words
of our film dictionary, "an under-water
smack!" Conrad Nagle and Anna Q. Nils-
son, the two blondes of Lasky's "The Fight-
ing Chance," are the ones to pull this orig-
inal "when you were a tadpole and I was
a fish" stuff. The picture — or at least the
part we are interested in — was taken in the
big swimming tank at the studio, all ca-
mouflaged up to look like an ocean.

Every aarertisement in PHOTOPLAY MAGAZINE Is piaranteed.

PHOTOPLAY iVlAGAZINE — ADVERTISING ;5ECTION

lOI

Plays and Players

{Contmued)

ALICE JOYCE is married. James Regan,
son of the proprietor of the Kniclcer-
boclier Hotel, is the lucky man. The cere-
mony took place March sixth. Mr. Regan
is a handsome chap with a splendid army
record, and his father having signified his in-
tention of retiring it is understood that his
son will succeed him in the management of
his many interests. Miss Joyce will con-
tinue her screen work. Yes, she was Mrs.
Tom Moore.

A SUCCESSFUL '-free lance" director has
refused at least ten different offers to
direct pictures since his last production was
made, because he does not want to produce
pictures which he considers mediocre, ques-
tionable or below his standard. The other
day he was summoned into the office of the
president of a large producing concern who
talks loudly about his determination to pro-
duce only very high-class pictures, and of-
fered a salary of $20,000 for four weeks'
work to make a picture out of a story by a
very well-known writer. He turned it down,
pointing out to the producer that a picture
of the character which the story called for
would go exactly in the face of all the fine
high sounding ideals the man talked about.
The motion picture business needs more
honest persons who live up to their con-
victions.

ELSIE FERGUSON returned to the
speaking stage, in February, in an
Arnold Bennett play, "Sacred and Profane
Love," which, by the way some undignified
critic presumed to call "Sacred and Cocaine
Love" — the hero, as played by Jose Ruben,
husband of Mary Nash, being a dope-fiend.
Miss Ferguson in a recent magazine article
gave utterance to a chant of joy upon once
more trodding the boards. She said in part:
"The ecstasy which surged through me im-
peded my breath, I closed my eyes to shut
out the vision of the motion picture studio
which has been my obsession for two years.
The peace and quiet of the theatre, after
the constant din. ... of the movie studio
was like a rest-cure for shattered nerves.
. . . An audience is not so critical as the
camera, which registers everything with
merciless accuracy." Yet the Manhattan
critics, in remarking upon an added depth
and power in Miss Ferguson's acting, cred-
ited the improvement, beyond a shadow
of doubt, to her experience in the silent
drama.

MARY PICKFORD MOORE was grant-
ed a divorce from Owen Moore in
Minden, Nevada, about the first of March.
Miss Pickford was freed on the grounds of
desertion. She appeared on the witness
stand and told her story— once during its
course she broke down and wept bitterly.
Her mother was with her. Owen Moore
was represented, but made no defense, al-
though he was in town when the case came
up. The suit was pursued with as little
publicity as possible, Miss Pickford living
on a ranch near Minden for several days
until a decision was reached. She married
Moore when she was seventeen, and when
both were members of the old Imp com-
pany.

DIAMOND OPERA PEARLS

A Roman quality necklace in the Opera
or 24-inch length with o-val shaped
while-gold clasp set tiiiih one diamond.
In beautiful grey velvet cabinet, $j2.

usca isecmace
of Enduring Joy

THE assortment of
La Tausca necklaces,
of French origin, that
your jeweler can show
you, assures you, madame
or mademoiselle, of obtain'
ing an article of adorn-
ment which in beauty and
appropriateness will stand
supreme.

At your jeweler's select
the necklaces that please
you from his La Tausca
Department and try them
on. Their lovely grace
and scintillant lustre will
enhance the dress you
are wearing and will give
you a thrill of pleasure
on whatever occasion you
lift them from your jewel
box and fasten them about
your throat.

At your jeiiueler's.

LAT#'.f.=*

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I02

h'HOTOPLAY MAGAZINE — ADVERTISING SECTION

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Plays and Players

(Continued)

TOMMY MEIGHAN and his wife Frances
Ring made a mad dash for New York
during a lull in picture-making for Tom.
They gave several dinner-parties, visited all
the dance-palaces, avoided interviewers, and
it is said saw every show in town. There
is no more sought-after actor in the theatre
or studios than this genial Irishman and his
stardom hasn't changed hirn except, as he
says, to "make him feel good" and work
harder.

IT is said that June Walker, New York's
very newest "baby vamp," who shares
honors with Clifton Crawford in his clever
stage comedy "My Lady Friends," has signed
with Griffith — for one picture. Wonder if
June remembers those "extra" days of hers,
at old Essanay ? It wasn't long ago ; June
is only about nineteen now. Or is it twenty ?

THE mother of Carol Dempster of the
Griffith stock company died in Los An-
geles the first of the year. Carol hastened
westward in time to be with her mother
when the end came. One of the quietest
of the company is Carol; but then quiet and
dignity seem natural in the Griffith studio,

young, some of hb somewhat stilted posing
and self-conscious smirks would be set down
as stupidity. As it is, he has had every
chance to develop what talent he has — but
upon the kindly advice of a little star who
had been watching his work, to study his
parts a little more, he thanked her absent-
mindedly and went off to the-dansant.
Wonder when he will see his name in large
letters ?

FOLLOWING Lila Lee's lead, Georgie
Price, a boy star of the Gus Edwards'
musical shows, has cast his lot with a new
film company — the same that's starring Zazu
Pitts. Miss Pitts, by the way, will do
"Merely Mary Ann" as soon as the new
studio is in working condition.

LOUISE HUFF is now Mrs. Edwin A.
Stillman. The little blonde star recently
obtained a divorce from Edgar Jones, and
the custody of her small daughter, Mary
Louise. She has discontinued her screen
work for the time being, having quite enough
to occupy her time, house -keeping in an
establishment in Park Avenue, New York.
Her new husband is a non-professional.

Director Duncan discovered this little boy and used him in a picture. The child's name
was originally Tom, but he became so attached to Duncan that he renamed himself
"Bill." And he has told his mama, in private, that he isn't going to work for any

other director, or actor — ever.

where commercialism is sternly frowned
down and everyone seems to be making pic-
tures for pleasure. Who wouldn't be even
an extra girl — if she could walk from her
dressing-room to the set, down the stately
old stairs of the ex-mansion, through the
high-ceilinged halls — into the huge, bare and
immaculate modern studio?

THAT handsome blonde boy recently
taken into the fold of one of the more
distinguished companies had better watch
his step a little. If he weren't so awfully

Every advertisement in PHOTOPLAY JIAGAZIXE is guaranteed.

WE note this item in a press-agent's
paragraph: "Mrs. Edgar Lewis has
returned from California with the negative
of 'Sherry,' an Edgar Lewis production, di-
rected by Edgar Lewis." It would seem
the Lewises are having it all their own way
this season, what?

THE New Jersey-ites have started another
fight for Sunday pictures. This is the
forth year that an effort has been made to
open theatres on the Sabbath. More power
to 'em!

Photoplay Magazine — Advertising Section

Plays and Players

(Continued)

ALL winter the little shop girls and
boarding school girls and actresses in
New York City have wasted three cents
each morning just to read what a certain
reporter had to say. The reporter wasn't
much as reporters go — but his name was
that of one of the most exclusive of all the
exclusive families of the 400. About two
months ago, the newspaper was sold right
out under this poor rich reporter, and he
was left without a job. Finally he found
a vacancy in the motion picture depart-
ment of New York's theatrical newspaper.
But the dapper society youth did not ap-
pear to report for work after the editor
engaged him. It is said that when son
went home and told mother that he had a
new job interviewing motion picture ac-
tresses, and taking Sennett bathing girls out
to tea, mother refused to let him have it.
Isn't that too bad? Since then, the an-
nouncement has been made public of the
young man's engagement to a society de-
butante. Perhaps the gossips are wrong,
and the young woman had something to do
with it.

IN spite of the fact that she is a famous
singer, Madame Schumann-Heink is just
like a lot of other people. Her idea of
having a swell time at Atlantic City is to
go to seven motion pictures a day. As we
go to press she is in California. Her record
is eight pictures in a day.

KITTY GORDON, she of the famous
back, was awarded $1,400 for injuries
received by a bomb which had the temerity
to explode under her very nose when she
played the part of a Red Cross nurse in the
World Film picture, "No Man's Land."
Miss Gordon sued for $10,000.

VIVIAN MARTIN is to have her own
company; it is being formed for her
rjght now. Managing Director Bowes, of
the big Capitol Theatre — largest in the world
in New York — is overseeing the enterprise.
Meanwhile, Vivian has celluloided herself in
a Gaumont film entitled, "Husbands and
Wives."

THE proverbial pig in the parlor has
caused another furore. When the Theda
Bara-Fox film, "Kathleen Mavourneen," was
exhibited in San Francisco a riot was caused
in which the objecting element did about
53,000 damage, destroying projection ma-
chines and film and putting the house in a
hullabaloo. The rioters said the scenes which
portrayed Irish poverty and other portions
of the Fox version of Tom Moore's romance,
were falsely drawn. Certain parts of the
picture had been cut before it was publicly
shown. The film was taken off.

ONCE we heard of a woman who could
sit through reels and reels of Chaplin's
best comedy without laughing. But the
small boys of Belleville, Illinois, are not so
constructed. In fact, whenever they see a
funny film — any of their favorite slapstick
artists — they simply can't contain them-
selves; they give way to boisterous laughter.
An alderman happened to visit a theatre one
night, and heard their unholy mirth. He
immediately registered strenuous opposition
against such unseemly conduct. One of his
fellow aldermen presumed to argue with him,
retorting, "Isn't that what comedy films
are made for — to laugh at?" Not possess-
ing a sense of humor, the other alderman re-
fused to answer. After a long discussion
the objector's motion was put to vote and
defeated. So — they are laughing again in
Belleville.

103

Price 35c

The Cost of a 60-Dish Package
of Quaker Oats

A 60-dish package of Quaker Oats will cost you 35 cents.
A small fish will cost you the same amount — enough to serve four people.
Three chops will cost you about the same — only enough for three. And
seven eggs at this writing cost as much as that 60-dish package of Quaker.

Mark the Food You Get

The package of Quaker Oats yields 6221 calories — the energy measure of
food value. The fish, eggs or chops which that 35c buys will not average
one-tenth as much.

As a food they cannot compare with oats. For the oat is the greatest food
that grows. It is almost a complete food, nearly the ideal food.

About all the human body needs is in oats in right proportion.

This is how the calory cost compares with other necessary foods, based on
prices at this writing:

Cost per 1000 Calories

Quaker Oats, 5^c Average Meats, 45c Average Fish, 50c

Hen's Eggs, 70c Vegetables, lie to 78c

The wise housewife's conclusion must be this: The proper breakfast is
Quaker Oats. It means supreme nutrition — foods that everybody needs. And
the 90 per cent that it saves on breakfasts can buy costlier foods for dinner.

maker Oafe

Only 10 Pounds in a Bushel

Quaker Oats are flaked from queen grains only — just the rich, plump, flavory oats. We
get but ten pounds from a bushel. You get the cream of oats, the maximum flavor, with-
out extra cost, when you ask for this premier brand.

35c and 15c per Package

Except in the Far West and South

Packed in Sealed Round Packages with Removable Cover

3339

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I04

Photoplay Magazine — Advertising Section

Qnple

~'o-^-/^y%

ake

60c

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The Sem-prav preparations can be had at all good toilet counters.

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Plays and Players

(Continued) ]

AFTER a long spell at directing, Mrs,
Sidney Drew will cast her own shadow
— which, alas, is not now so svelte as it
used to be ! — on the silversheet in her own
productions. She has been making a series
of two-reel comedies starring John Cumber-
land, that suave farceur of the more bouidory
Broadway plays.

GROUND was broken in February for
Mary Pickford's new $250,000 home in
Fremont Place, an exclusive portion of Los
Angeles. In addition Miss Pickford will
build a little place in Santa Monica which
will cost $ioo,coo. This "little place" will
be an old English affair, while the town
house will be of Italian design. Mary will
collect the furnishings for both places when
she goes on her world tour, she says. She
expects to make a leisurely jaunt through
England, the Continent, and the Orient —
but we hope she won't stay away that long
at one time.

LEO DELANEY — you remember his work
with Maurice Costello in the old Vita-
graph one-reeler days — one of the first fa-
vorite male stars of the screen, died during
the influenza epidemic in New York City.
Delaney started his motion picture career
back in the old one-reel days at Vitagraph
one reelers. He played with Maurice Cos-
tello. Since he has appeared in many inde-
pendent and state's right pictures. For five
years, before coming into pictures, Mr. De-
laney played in ''The Virginian" on the
stage. He leaves his wife, who was Edith
Gibson, and a two-year old son.

ACCORDING to press dispatches from
Santa Cruz, Cal., a train full of east-
erners became horribly mortified a few
weeks back when they collected a hat full
of money for the cowboy who was doing
a bit of spectacular roping at the station,
and then found out the object of their
charity was Will Rogers.

GEORGES CARPENTIER, the winner
of the Carpentier-Becket fight, for the
European championship, was signed in Paris,
to appear in motion pictures.

LIEUT. GITZ RICE, composer of "Dear
Old Pal O'Mine" and other songs and
co-composer with B. C. William of the music
for "Buddies" and quite a man about New
York theatrical society, and Miss Ruby
Hoffman were married in February in New
York City. Miss Hoffman has been seen in
Pathe and Famous Players photoplays.

DORIS KEANE, who is making one pic-
ture for the screen, certainly turned
things topsy-turvy at the eastern studio
where she worked. First, the studio is in
the country, and she had to have a special
kind of sleigh to conquer the snow-drifts
and convey her and her maid to work. Sec-
ond, she had a portable dressing-room fitted
up for her so that she would not have to
even so much as powder her nose before
the inquisitive crowds; and third, she had
an orchestra playing sad music all through
her own personal sets. An adjoining set had
to make so many scenes one morning — and
a jazz band was imported to play : it was
a Y. M. C. A. hut "over there." But the
star, after one moan of the saxophone, threw
up her hands and announced that either her
orchestra or the jazz band would have to
cease playing. You can imagine which one
it was. It is rumored, too, that Miss Keane
does not photograph well — but at the sug-
gestion that a screen actress play her part,
she put her foot down hard and refused to
listen.

Every advertisemeat in PHOTOPI/jVT MAG.\Z1^J1E is guaranteed.

Photoplay Magazine — Adm^rtising Section

105

Plays and Players

(Continued)

WILL Henry B. Walthall come back?
Since he left Griffith, this great screen
actor has been more or less obscured by
obscurity, as it were: obscurity in plays,
direction, and distribution. Since "The
Little Colonel" in "The Birth of a Na-
tion," he has done only a few things to
bolster up his reputation. Now he will
make his own pictures — if we are to credit
a pretty well-founded rumor which recently
floated our way.

TWO well-known stage people who are
also known to picture-goers were united
in marriage in Chicago, in February, Lionel
Atwill, who is playing in "Tiger Tiger" with
Frances Starr in the legit., and opposite
Florence Reed in "The Eternal Mother" in
the films, took unto himself a bride in Miss
Elsie Mackaye, of "Clarence," the Booth
Tarkington comedy, and "Nothing but the
Truth," her first and so far only film ven-
ture.

HOBART BOSWORTH is going to Gold-
wyn's as soon as his Ince contract ex-
pires, it is said. Apparently Sam will never
rest until he has lined up everybody who
ever did anything in pictures, the theatre,
or literature. Maurice Maeterlinck has
agreed to do one picture a year — oh no, not
as an actor — he will write. His recent fiasco
in New York's lecture-halls was much de-
plored; and the society women who were
preparing to make his American stay a
merry one sort of slowed down. Wonder
if little Madame Maeterlinck is included in
the Goldwyn agreement?

A PICTURE actress whose name had
appeared once or twice on the twen-
ty-four sheets but never in the electric
lights, was engaged to play leading parts
opposite men stars. She swept grandly into
the publicity department one day and asked
to be shown a copy of the announcement
which was being made of the epochal event.
After she had read every word of it she
turned angrily upon the press agent.

"This is all wrong," she said. "You
haven't mentioned that I am a star."

"You aren't," the publicist retorted.

"I am," she insisted. "I demand jus-
tice."

"All right — go to the department of jus-
tice. This is only the press department,"
said the press agent with another puff at his
trusty pipe.

THEY were taking a scene for "Edgar,"
the new Booth Tarkington film stories,
at the Goldwyn studios. "Iris," a colored
cook played by Lucretia Harris, a brunette
actress, was on the sidelines. "Iris in," called
Hopper to the cameraman. And "Iris" came
in. "Cut!" said the director hastily to the
cameraman. The technical "iris in" was ex-
plained to Iris, and she took the right cue
next time.

FRANK MAYO'S wife sued him for sep-
arate maintenance, charging Dagmar
Godowsky with being the home-breaker.
Now Miss Godowsky — who is, besides being
the daughter of Leopold, the celebrated
pianist, an actress of vampires in Universal
dramas, sometimes playing in the same pic-
ture as Mr. Mayo — has come back with a
$15,000 suit for slander.

ANNETTE KELLERMANN is to make a
new picture. The aquatic actress has
not had a moving picture camera focused on
her high dives for some time. She will have
the tutelage of Chet Franklin in her return
swim.

(Continued on page iig)

Why
Men Change

Their Ideas on Baked Beans

When we were boys, sawing wood or playing outdoors, any food tasted
good. And any baked beans would digest.

When men work indoors, foods need to be tempting. And beans must be
baked to digest.

Win Them Back Scientific Cooks

Baked Beans form our national dish. They
are hearty, delicious, and they take the place
of meat.

If your folks don't eat them often, win
them back.

Serve them Van Camp's.

Van Camp's Beans are selected by an-
alysis. They are boiled in water freed from
minerals, so the skins are tender.

They are baked in steam ovens— baked for
hours at high heat— so they easily digest.
Yet the beans are not crisped or broken.

The dish is prepared by culinary experts,
college trained. They have spent years to
bring it to perfection.

The sauce is a rare creation, and they bake
it with the beans. Every atom shares its
tang and zest.

The beans are baked in sealed containers,
so the flavor can't escape.

Compare Van Camp's with other kinds,
home-baked or factory-baked. See what a
master dish we have for you, ready for
quick serving.

Find them out. It will change your whole
conception of Baked Beans.

Pork and
Beans

Three sizes, to serve 3, 5 or 10

Baked With the Van Camp Sauce— Also Without It

Other Van Camp Products Include

Soups Evaporated Milk Spaghetti Peanut Butter

Chili Con Came Catsup Chili Sauce, etc.

Prepared in the Van Camp Kitchens at Indianapolis

Van Camp's

Tomato Soup

A famous French recipe
given multiplied delights by
scientific cookery.

Van Camp's

Spaghetti

The best Italian recipe,
made up with the rarest in-
gredients.

Van Camp's
Peanut Butter

A new grade, made with
blended nuts. All skins, all
germs removed. |

When FOU write to advertisers please mention PHOTOPLAT MAGAZINE.

(UiillM ftN flkx-^4*tY

-Drawn by Norman oArKhony

Photoplays We Don't Care To See

Doug Fairbanks in "The Music Master." Mary Pickford as "Cleopatra."

lOb

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at fountains or in bottles

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IhQLASH-BWW-mE GIRL

<•

Haven't You Always Admired

Viola Dana's Lovely Eyelashes?

How wonderfully they bring out that deep, soulful expression of her eyes!
You, too, can have lovely Eyelashes and well-formed Eyebrows, if you will do what so many stars
of the stage and screen, as well as women everywhere prominent in societv are doing, apply a little

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The Shadow Stage

(Continued from page 67)

109

can afiord to have children. Miss Clayton incident and of being painstaking in filming said that though the picture only bore a re-
took her medicine like a lady and a heroine; even the least important scenes. The inter- mete family resemblance to the book for
Properly repulsed Irving Cummings so soon est in the story is well sustained throughout, which the company had paid, he had an idea

Frank Thomas is the reporter; Maurice
Costello, getting rapidly back to his old
form, is a good heavy.

"JUDY OF ROGUES' HARBOR" —

Realart

as she learned his intentions; saved her film
sister, Anna Q. >iilsson, from the soiled
hands of a would-be home-wrecker, and
finally married honest Charley Meredith.

THE LITTLE SHEPHERD OF

KINGDOM COME— Goldwyn ^ ,

Dorothy Parker says, "It is really the

Jack Pickford found the adventures of sagacious writers who lavish their ink on

"The Little Shepherd of Kingdom Come" exhortations to be glad, glad, glad; for that

much to his liking. For that reason he is is the way to bring in something to be glad

able to lend a suggestion of reality to the about."

John Fox story which is thrown against a How true, how true ! Apparently no

background of attractive interiors and exte- writer who offers the faintest excuse for

that tiie film was a good one — but he wasn't
sure, having seen only two and one- half mo-
tion pictures before and not considering him-
self exactly an expert critic. Anyway, he
thought he liked it.

There was a suspicion of moisture on his
eyelashes, since the drama ended with one
of those long-separated-thought-you-were-
dead mother and son clinches which are al-
ways good for emotion, no matter how stern
the heart.

He appealed to one of the lady reviewers
whose nose was also unnaturally snufily for
confirmation or denial of his opinion. She

riors of the old South. Drifting into "King- some such subtitle as "Ef yuh got love in yer replied that though she considered the pic-

dom Come" valley, following the death of heart, nothin' can hurt yuh" has the slight- ture exciting, could a man re-marry Tne

the Cumberland Mountain guardians who est chance of being turned down by film woman he had turned from his house fifteen

had brought him up, Chad Buford progresses producers, no matter how ridiculous the years earlier and not guess she was the

logically through his cabin life with the story. same little lady, no matter how carefully

Deans, gets to Lexmgton, meets Major Bu- "Judy of Rogues' Harbor," by Grace Mil- disguised?

ford who accepts him as a distant relative, ler White, is one of those pictures calculated That gave one of the gentlemen reviewers

and finally fights his way to a lieutenancy to fire you with the "glad" feeling. It does a chance to bring himself to the eminent

of the Union army. The
war scenes are not stressed
and the waving of the flag
is modestly accomplished,
so that the effect of the
picture is pleasantly stir-
ring and agreeably senti-
mental. Clara Horton and
Pauline Starke divide hon-
ors as the loved and lost
heroines.

"DEADLINE AT n"—
Vitagraph

George Fawcett, turned
director, has done very well
with his first Vitagraph pic-
ture, "Dead Line at 11."
Whether this newspaper
story proves as puzzling to
the average audience as
most acted newspaper plays
have done it is impossible
for a newspaper man to say.
An honest attempt has been
made to make it seem rea-
sonable, and to clutter it as
little as possible with the
technique of newspaper pub-
lishing. Of course, things
happen with a suddenness
in the office of the "Daily
Planet" that no one familiar
with the workings of such
a location can accept as
plausible. Yet there is such
a thing as a "Dead Line at
II," when the first editions
go to press, whether an ac-
count of the hero's rescue is in type or not,
and star reporters who carry their inspira

MONA LISA

Presented by Francis I.
Paint Furnished by Di Madder Brothers

Wholesale and Retail.
Colors Ground by Ole Ochre.

Costume by Mile Chargehi.
4:144 Rue De La Paix.

Canvas by Tomasso Shoddhy.

Vdtnishing by O. B. Gumm.

Frame by I. fVhiltlrJit.

Modtl. Sigmtt 'B.,.-.™

author's notice. He an-
swered no, a thousand nos —
a terrible mistake had been
made in changing the origi-
nal story, in which the two
marital adventures of the
unreasoning wife-wronger
had been made with sisters,
not with the identical
woman. He believed that
the plot was now weak,
vain, illogical and silly.
Which left the author and
us (meaning me) in a ter-
rible state of confusion, be-
cause we had committed
ourselves in favor of the
piece and this was one of
the trade's trick reviewers.
Why don't you go to see
"Black is White," and get
a good bawl out of it, and
then talk it over with
mother to see which one of
us you agree with? We
wager that you'll like it —
especially Dorothy Dalton.

"WHO'S YOUR

SERVANT?"—

Robertsori'Cole

If other arts were credited in the noisy (?) manner practised in
some truly great film masterpieces — ( According to James Gabelle. )

it makes you glad, glad, glad to go home.

"Judy is a golden haired child brought up
tion on their hip were not unknown to Park in inconceivably brutal surroundings, and
Row before the prohibitionists took the joy yet she has remained so sweet and pure
out of life. But even such an one would find that she believes it wicked to kiss a nice
it a little difficult to cover half the lower boy she wants to, unless they are engaged,
east side in twenty minutes. Divorced from

The fact that the Japa-
nese house boy is at the
same time a spy in the Jap-
anese secret service is the
point which saves this pic-
ture for one of those "Who's Your" titles,
which are running in "What's Your" and
the "Why Should Your" titles a close race
for popularity this year. It is founded on
the stage play, "Haru-Kari," by Julian
Johnson. One of those navy secrets gets

its technical shortcomings, however^ the
story is so good that the feeling at the end
of the picture is that it could easily have
stood another reel for its further and more

Daughters of our best families should be stolen, and of • course the poor lieutenant

shamed by her example. The picture who loves the admiral's daughter is accused,

makes two points clear — that we must Daughter is led to suspect Ito. Though it

be on the lookout for Bolshevists, they be- seems that she might as well have confided

ing the one class of people, apparently, who in dad — she decides to sacrifice herself if

complete development. The heroine, neatly do not succumb to the "love in yer heart" necessary to prove her sweetheart's innocence,

and convincingly played by Corinne Griffith, treatment, and that this is a small world She goes to Ito's room, he having tried to

is a daughter of wealth who, refusing to after all. Grandfather, daughter, and seize her hand several times while she was

marry a titled Englishman to please her grandchild have been living within a stone's good naturedly helping him with his Eng-

mother, determines to live her own wage- throw of each other for years without lish. She gets the paper — but is forced to

earning life by becoming a newspaper wom- knowing it. It is full of unintentional com- kill Ito. But that's all right, because every-
~ " edy, banalities and unnecessary cruelty.

"BLACK IS WHITE"— Ince

an. During her first weeks on the "Planet"
she runs down a murder story, saves the
star reporter from going to jail as a sus-
pect, gets the story into the office in time to
make the first edition, and, of course, mar-
ries the young man she has redeemed, Mr.
Fawcett's long experience with D. W. Grif-
fith has taught him the value of the human

that he had committed

There was an argument in the projection
room after we saw this last of the volup-
tuously-rounded Dorothy Dalton's Ince pho-
todramas.

George Barr McCutcheon, genial author,

body believes
hari-kari.

Lois Wilson plays the heroine, and we
heard a man behind us say that he thought
she was a pretty girl. We believe that any-
thing Mr. Johnson writes is deserving of
better treatment than this play had at the
hands of the producers.

1 I y I

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The Shadow Stage

(Continued)

THE AMATEUR WIFE—
Paramount ' Artcraft

Irene Castle, who came to the screen as
a famous (iancer, and the best dressed wom-
an in America, has decided to Hve down
the attributes wished on her by ambitious
press agents. In "The Amateur Wife" she
is just a "plain Jane," — awkward, gauche,
and badly dressed. And, proving that you
never can tell about a woman, particularly
when she is a star, she does the most satis-
fying work that she has accomplished be-
fore the camera. Although she has hereto-
fore been the coldest and most elusive of
film actresses, she is appealing in this pic-
ture and you cannot help believing in her,
even if you have never believed in her be-
fore.

The story, written by Nalbro Hartley
and directed by Edward Dillon, is just
another version of "The Ugly Duckling."
Mrs. Castle is the homely daughter of a
musical comedy star. When her mother
meets a violent death, she is left alone in
the world. Out of pity, a "man about
town" marries her. She is such an im-
possible frump that she drives him to
Egypt, probably in search of Cleopatra.
When he comes home, he finds her a swan.
And does he love her? I'll say he does.
William P. Carleton is the husband.

'^HIS WIFE'S MONEY— Select

Gold and romance here are not good
teammates, particularly when the woman
in the romance has the gold. In "His
Wife's Money," Eugene O'Brien is seen as
a young man who absolutely refuses to be
suffocated by the luxury showered upon him
by the heiress whom he marries. So he
goes West to accumulate his own little pile,
which he does with ease and dispatch.

It isn't a complicated story and it isn't
a brilliant one but it has a proper, — and
not an improper, — amount of romance for
Mr. O'Brien. It was produced by Ralph
Ince and busy Zena Keefe plays the role
of the lady with the money.

THE PRINCE OF AVENUE A
Universal

The music cue for this picture is "East
Side, West Side, All Around the Town."
James Corbett is seen as the son of a
ward boss who don't know nothing about
society. But he humbles an ambitious poli-
tician, who needs his support but doesn't
care for his manners. And he marries the
daughter. Jack Ford directed the picture
and made it a properly exciting story of
the underworld of politics.

Gentleman Jim is a real screen star. The
younger generation will remember him as
a handsome actor and not as a pugilist.

APRIL FOLLY— Cosmopolitan

As soon as the action of "April Folly"
began to shift from Canada to South Africa,
we knew that Cynthia Stockley was the
author of the story. However, you need not
expect another "Poppy^" Marion Davies'
newest picture is merely the usual comedy-
melodrama.

The picture is one of those "story-within-
a-story" affairs. Miss Davies is a maga-
zine writer who makes herself the heroine
of a great diamond robbery mystery. She
reads the story to a publisher who not
only accepts it but marries the writer.
Some writers have all the luck.

To us the best part of the picture comes
when Miss Davies, after hiding in a trunk

for several days, pops up and covers the
villains with a gun. She looks fine and
fit and wears a beautiful negligee. In fact,
all the way through the picture she wears
beautiful negligees. The Authors' Leagus
ought to give her a vote of thanks for pre-
senting the writing profession in such an
attractive light.

THE CAPITOL— Hodkinson

"The Capitol" gives us a picture of
the Washington of yesterday. Augustus
Thomas' drama is several years old. The
story, which centers about the wife of one
of those incorruptible politicians, is con-
ventional and it has been rather ineptly
filmed.

Leah Baird has a mother-and-daughter
role. The same villain pursues her in both
characters. The most interesting scenes are
those which show the public building, streets
and old houses of Washington. The atmos-
phere is correct but the story is out-of-date.
However, a drama of Washington today
would be too heart-breaking to screen.

THE LAST STRAW— Fox

Buck Jones is the name of Fox's new
rowDoy star. He is first and foremost a
stunt artist. He comes from the circus and
apparently there isn't anything he doesn't
know about horses.

The story of "The Last Straw" shows
Buck Jones rescuing a beautiful Eastern
girl, played by Vivian Rich, from the
dangers of super-effeteness. The West is
again pictured as the land of bravery and
daring — most of the daring being enacted
by Mr. Jones.

BURNT WINGS— Universal

Bayard Veiller's drama "The Primrose
Path" furnishes the plot for "Burnt Wings."
It is the story of an artist who is saved
from starvation by a noble wife who sells
herself to get money to pay for her hus-
band's training. 'Tis not a pleasant tale
but it has its dramatic moments.

Unfortunately, you are not able to sym-
pathize with the human beings who inhabit
the story. Frank Mayo is seen as the artist,
who is not an admirable sort of person.
Josephine Hill is the wife. Betty Blythe is
the vampire who tries to break up the
already shattered home. Miss Blythe is an
immensely clever actress.

THE WILLIAM J. FLYNN SERIES—
Republic

William J. Flynn, former chief of the
Secret Service, decided to "tell all." He pro-
ceeds to do so in eight pictures of two reels
each. The stories are taken from the of-
ficial records and they prove that life very
often runs wild and melodramatically.

The first three pictures in the series are
"The Silkless Banknote," "Outlaws of the
Dtep" and "The Five Dollar Plate." There
is enough material in each of them for a
five reel picture. For terseness of action
and for human interest, they rank with the
O. Henry series. Wilson Mizner wrote the
scenarios and they are models of brevity.
The "crook stuff" is lightened with plenty
of comedy and many scenes of unpreten-
tious pathos.

Herbert Rawlinson is the star of the series.
He is the master detective. He has a like-
able personality and he plays with dash
and spirit. Of course, his appearance in
the series will do much to make it popular.

Every advertisement in PHOTOPLAY 5IAGAZINE Is guaranteed.

The Shadow Stage

(Continueo

PnoTOFi.vv MA(iAziNK— Ad\ertisin(; Section

1 1 I

THE ADVENTURER— Fox

William Farnum has evidently made up
his mind that he had better be an out-and-
out romantic actor. He seems to be most
at home in an outlandish costume and as
the hero of wild adventures that took
place in the time of never-was.

In "The Adventurer" he is a gay, dash-
ing, high-spirited Italian who enacts all sorts
of romantic episodes for the love of a
lady. It is a costume picture and a bit
stilted and old-fashioned. Producers haven't
yet taken advantage of modern stage set-
tings, such as are seen in "The Jest" in pre-
senting period plays. Whey they discard
wigs, posing, tawdry costumes and fantastic
settings, we shall see a new popularity of
mediaeval stories on the screen.

THE STRONGEST— Fox

The story of "The Strongest" was adapted
from the novel "Les Plus Forts" by Georges
Clemenceau, the "tiger of France," written
in a moment when he believed that the
pen was mightier than the sword. In adver-
tising it, William Fox says that it was the
work of the "man who penned the Peace
Treaty." Evidently the Peace Treaty is
not yet available for scenario purposes or
else it is too cumbersome to handle.

However, we failed to find a story of any
great distinction in "The Strongest." Its
chief merit lies in the fact that it has one
dramatic stiuation. Claudia, who supposes
herself the daughter of a harsh and avari-
cious war profiteer, has been captured and is
held in ransom by a group of Bolshevikily
inclined workmen. She is held prisoner in
a cabin (or maybe it is the trusty old mill),
just like a Griffith heroine. By the exigen-
cies of the plot, some one must rush forward
to carry the terms of peace to her captors.
The supposed father falters and hesitates.
The real father, an aristicrat and idealist,
rushes forward and is shot. The girl is
saved, — and marries an American.

R. A. Walsh produced this story. He was
a little out of his element. Evidently he
tried to make the story as French as pos-
sible and so very often the action and the
acting is stilted. For the most part, the
cast is made up of newcomers to the screen.
Renee Adoree is pretty, if you like French
girls, and Carlo Liten and Harrison Hunter
have important roles.

DANGEROUS HOURS
Ince-Artcraft

"Dangerous Hours" is a propaganda pic-
ture. It was made under the immediate
direction of Fred Niblo, under Thomas H.
Ince's supervision. Donn Byrne supplied the
story and C. Gardner Sulhvan wrote the
scenario.

As propaganda, "Dangerous Hours" is
negative.

The story concerns the redemption of a
parlor Bolshevist, — a nice boy who gets in
with a lot of Russians and wants to stir up
trouble in a New England industrial centre.
A girl, who is a 200 per cent American, per-
suades him that it is all wrong, Trotzkv, all
wrong. However, it is easier to start a mob
than to stop one. Hence we have a swirl-
ing climax produced with a great deal of
dash.

Lloyd Hughes, who is a star by now,
plays the reformed Bolshevist and Barbara
Castleton is the girl. Jack Richardson and
Claire Du Brey, a couple of experienced
villains, are the plotting Russians. Who re-

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112

Photoplay Magazine — Advertising Section

1052

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The Shadow Stage

(Contin'ued)

members by the way, when all the villains
were German?

PICADILLY JIM— Select

'Tis better to be Irish than to be hand-
some. Ask the Moores. Both Tom and
Owen know just when and how to smile.
Thai's the Irish in them. And they know
when to be properly romantic.

"Picadilly Jim" brings Owen Moore back
to the screen as a regular star, with a cer-
tain number of pictures a year and a trade
mark to back him. It was made from a
story by P. G. Wodehouse and is the hu-
morous romance of a young man who will
do anything, provided it is silly enough,
to win the girl. The story should have
been funnier than it is.

However, there is Owen Moore and there
IS also Zena Keefe.

$30,000 — Hodkinson

And here is another Irishman, J. Warren
Kerrigan, who needs neither introduction nor
comment. If you like him, you like him;
that's all. To many persons, he is the visual-
ization of the gentleman concealed in the box
when the phonograph is twirling a John
McCormack record. He works his Irish
hard: he is a professional.

",^30,000" has a lot of plot. It just
whizzes by. Watch close or you'll miss it.
But you won't miss much.

THE HELL SHIP— Fox

Madlaine Traverse is the star of this
picture, which is a roaring melodrama of the
sea, v.'ith rough weather and rough men.
The hero, enacted by Albert Roscoe, stands
out as conspicuously as an evening suit at
a longshoremen's beef-steak dinner. Miss
Traverse has a fighting part and goes at it
with a good deal of zest.

The plot is very "Yo, ho ho and a bottle
of rum" for heavy drinking mixes with
heavy melodrama. Of course, there is the
usual shipwreck and spectacular rescue.

HIS TEMPORARY WIFE-Hodkinson

The title tells the story. To fulfill the
terms of a will, a young man is obliged to
marry some other woman than the vampire
with whom he is smitten. The woman he
selects, haunted by dire poverty and yea,
even starvation, consents on condition that
the marriage be a business proposition. But
the temporary wife is blonde Ruby De Re-
mer so you know that the man, played by
brunette Eugene Strong, will plead for per-
manency.

The cast is the most noteworthy asset of
the picture. Besides the players just men-
tioned, we have Mary Boland and Edmund
Bresse.

THE VIRGIN OF STAMBOUL—
Universal

They say, at Universal, this is the greatest
picture they have ever made. We might be
disposed to say something sarcastic if our
minds were not a little dizzy every time we
beheld that human tornado, that young dy-
namo, Priscilla Dean. Whoever named that
girl Priscilla is entitled to immortality as a
practical joker. Miss Dean is a healthy
Californian who somehow conveys that she
knows more about the Orient than a Cook's
Tourist could tell you. She is a luscious,
yet frank, baffling yet human actress, with
a smile that insures the industry to more
new eras than any mechanical invention.

Kvery advertisement in PHOTOPLAY MAGAZIXE is guaranteed.

Photoplay Magazine — Adykhtisino Skchon

The Shadow Stage

(Continued)

Her "Beautiful Beggar" of this extrava-
gantly mounted piece is just another pastel
added to her shadow-gallery. H. H. Van
Loan's story is not in the least new, or sen-
sational, or human. Tod Browning's direc-
tion is good, but never extraordinary. You
are left with a feeling that it should all have
come to something — that Wheeler Oakman,
a good actor, should somehow have stood
out more definitely, that Priscilla was just
as corking in those crook melodramas, that
Wallace Berry as a Sheik is still a darn
good pursuer of the innocent, and that the
best argument in favor of that disputed
dance, the shimmy, is the glorious Priscilla's
version of it, right out in a Turkish dance-
hall in Universal City.

MY LADY'S GARTER—

Tourneur- Artcraft

Everytliing ! Absolutely everything — from
a stolen jeweled garter and a mistaken
elopement, to a hero who swears "I didn't
do it— I swear I didn't do it" to a beautiful
heroine — even unto a rescue-from-drowning
by hero et heroine ! It's all there in a typi-
cally drury-lane-drammer fashion — but
somehow you expect more of Maurice
Tourneur. It must be considered that this,
while released only recently, was manu-
factured sometime ago — before Tourneur
ever screened Stevenson or secured his Vic-
tory over Conrad. It's an adaptation, strug-
gling to be up-to-date, of a Jacques Futrelle
novel, concerning the garter which Edward
III presented to the Countess of Salisbury
and which, many centuries later, is stolen
from its case in the museum. Wyndham
Standing is suspected by the cast, but not
by the audience. We all know he never
could have done it; in fact, with Sylvia
Dreamer, a gorgeous if spoiled heroine, we
agree that he couldn't have done it.

Well, say ! Now that M. Tourneur 'as

this off his mind, might we presume to ar-
gue that he make some more Prunellas?

THE VERY IDEA— Holmes-Metro

You will go to see this because you ex-
pect it wUl be naughty. Whether or not
you saw William Le Baron's snappy eugenics
stage farce, you undoubtedly read or heard
about it, and that it brought the blushes
nobody will deny. However, Taylor
Holmes' cinema of it is perfectly proper,
except for one or two illustrated titles of a
descending stork. By the way : we wish
they would let up on these fancy titles —
sometime, somewhere. They are decidedly
insulting even to an average intelligence.
For instance, a caption to the effect that the
young wife returns to her hotel is illustrated
precisely with a supposedly funny cartoon
of a woman walking up a path to a house.
And there were more like that. Mr. Holmes
fares far better, as to personal material, in
this than he did in his first independent pro-
duction. His direction is excellent, being
that of Larry Windom, and his support ad-
mirable, including Virginia Valli as the wife
and Fay Marbe — a Broadway recruit — as
the vamp. We'd like to see more of Miss
Valli — and we're not thinking of the bath-
ing scenes, either. She's just as pretty in
street clothes.

TOO MUCH JOHNSON— Paramount

Don't you think Bryant Washburn is a
lucky young man? No expense has been

113

(Continued on page 120)

Lucky Boy

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There are millions of lucky children now who revel in Puffed Grains.

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I'+

Photoplay Magazine — Advertising Section

Going Some

(Continued from page 76)

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the redoubtable "Miz" Gallagher. A widow
of fifty-five cast-iron years, and to use the
vernacular of the country a "regeler rootin'
tootin' old cattlewoman." She could out-
shoot and out cuss and out ride any cow-
puncher in the wide and rugged state of
Nevada. Her very middle name was
"What'Il-you-bet." And for her part she
would bet on anything.

The social relations, therefore, between
the Centipede ranch and its neighbor the
Flying Heart were exactly what you might
expect. It was
into this charming
setting that Ro-
berta Covington
Keap was shortly
to bring her house
party of gentle
collegians.

This coming of
Roberta was
viewed with con-
jidcrable alarm by
"Still Bill" Stover.
The Flying Heart
had become a de-
cidedly ruri down
and tatterdemal-
ion affair.

But the most
serious objection
of the foreman to
the impending vis-
it of the owner
and her party was
to be discovered
in a remote corner of
the Flying Heart's wide
acres, where a tall oil
derrick reared against
the sky. The tents of
the workers stood
about and the spot was
agog with fevered
drilling.

It was thence that
Stover betook himself
with Roberta's tele-
eram. As Stover trun-
dled up in the rattling
ranch flivver John La-
dew, oil operator and
supervisor of the drill-
ing operations^ emerged
from his tent and
walked over to the car.

"What's up Bill?"

Stover tossed over Roberta's message. La-
dew read it with a grin.

"Won't seem so funny to you when she
stumbles on to this oil well."

The suave Ladew waved away Stover's
alarm with a careless gesture.

"Don't worry. She won't know this oil
derrick from a step ladder. Tell her you
are drilling for water."

But Stover was badly worried. Ladew
hastened to reassure him.

Going Some

NARRATED, by permission, from
the Goldwyn-Eminent Authors'
production by Rex Beach, scenario
by the author, chrected by Harry
Beaumont, with the following cast:

Mrs. Roberta Keap

Ethel Grey Terry

Jean Chapin Helen Ferguson

Helen Blake Lillian Hall

Donald Keap Kenneth Harlan

"Miz" Gallagher .. .LiUian Langdon
J. Wallingford Speed Cullen Landis

Larry Glass Willard Louis

Berkeley Fresno Walter Hiers

John Ladeiv Hay ward Mack

"Yes'm, I'm sick to my heart and so are
the other boys. It wus like this, mam.
Last week afore you come them Centipede
crooks trimmed us on a footrace — we bet
everything we had."

This was the nearest to a diversion the
house party had met on the Flying Heart.
Roberta and her guests drew around to hear
all of Willie's sad, sad story.

"Why don't you win it all back?" Ro-
berta was trying to be encouraging. Willie
shook his head.

"After our man
lost he kep' oa
runnin' and we
ain't got no foot-
racers left."

Helen bubbled
with inspiration.

"Why Culver is
coming today.
He'll—"

Jean shook her
head. But Helen
bubbled on. She
turned to Willie.

"The intercolle-
g i a t e champion
runner is coming
today — he'll race
for you — and he's
the fastest runner
in America."

Willie stopped

his sweeping and

stared at Helen.

Then he let out

a most disconcerting

whoop and ran for the

bunkhouse.

Jean stamped her
foot, exasperated at
Helen. "Helen you
know Culver won't run
in such rough com-
pany."

Helen had not for-
gotten something she
had heard from elo-
quent lipxs the day of
the intercollegiate meet
back in New Haven.
She felt safe and cer-
tain.

"Well, if Culver
won't run for the poor
sheep gentlemen, I
know who will."
The Limited, stopping at Kidder, Nevada,
only to discharge transcontinental passengers,
was whistling in the distance when the sheep
men of the Flying Heart assembled at the
station, a self-constituted committee of wel-
come for "that there college footracer."
Meanwhile Roberta and her party arrived
per flivver.

Aboard the Limited in a smoke-laden com-
partment Mr. J. Wallingford Speed was giv-

ing final instructions to a traveling conipan-
"If we strike oil we'll cap the well and ion, that same tough Larry Glass, late rub-

buy the ranch cheap. It is a cinch."

But Stover held dark fears for the clan-
destine oil project ^.'ven after Roberta and
the first detachment of her guests were duly
installed in the ranch house.
* * *

It was the morning of the party's third

ber at the Yale gymnasium.

"Now Larry, don't forget that you are
mv private trainer and that I'm a great
athlete."

Elsewhere on that same train was yet
another figure in the drama that began that
day of the track meet at Yale. Donald Keap

day, and Willie, the two-gun sheep man, in was coming in pursuit of his hope for

the role of maid-of-all-work was sweeping, reconciliation with Roberta, but his coming

Willie did not sweep often but he was de- and his plan? were unannounced,

termined and thorough when he did. A Helen rushed to Speed as he and Larry

cloud of dust driving ahead of him an- stepped from the train. She thrilled with

nounced his approach through the hall to excitement.

the front veranda. His face was sad and "Here he is — Mr. Wallingford Speed will

downcast in the extreme. Roberta in the run for the honor of the Flying Heart."

porch swing looked at him sympathetically. Willie and his sheep herding confreres of

"What's the matter — are you sick?" the bunkhouse gave Speed a wild west glad

Every advertisement in PH0T0pr,.\Y MAGAZINE is guaranteed.

Photoim.ay Magazine — Advehhsing Sicction

Going Some

( Continued)

hand, a volley in salute and bundled him
off bound for the ranch.

Donald Keap, who had stayed discreetly
out of sight, stepped out on the station piat-
forni and watched the Flying Heart caravan
out of sight.

It was a part of the workings of fate that
Donald Keap should get a job as a cow-
puncher from "Miz" Gallagher. At her ranch
there were many things that e.xciled the in-
terest and curiosity of Donald. Not the least
among them was the fact that "Skinner,'' the
Centipede's cook and crack footracer, was
"Whiz" Long, whom Donald had seen win
a sensational triumph at tl.e Pershing games
"Over There."

Donald was puzzled indeed that on facing
Long with his identity, the cook had snapped
back at him, —

"And I know you, too. Captain Keap,
and I don't forget that you got me dishonor-
ably discharged from the army."

Donald shook his head as the cook strode
away. "I wonder what he's talking about,"
he pondered.

Over at the Flying Heart the ornate Mr.
Speed was basking in glory, between the
smiles of Helen and the vast interest of the
sheep men, who were deeply impressed
with his private trainer Larry and his as-
tonishing array of running togs

"Never mind Larry," he told the pro-
testing trainer, "this is giving me my chance
to wear the clothes, and when Culver
Covington comes along in a few days I'll
get sick and let him run the race against
the Centipede's cook."

Fired with lust for revenge, the Flying
Heart sheep men, led by Willie, made a
formal call on the cowpunchers of the Centi-
pede. Willie did the talking.

"W'e've drawed our wages for three
months in advance and we're bettin' it ajl.
We calls on you Cenlipeders to dig and dig
fast."

The challenge got the desired action. All
bets were thoroughly covered. Then the
Flying Heart gang went back to herding
sheep and watching the astonishing antics
of Mr. J. Wallingford Speed practicing
form.

"Boy how I wish Covington would come,
he's over due now," Speed confided to
Larry.

And that day brought tidings. Roberta
received a telegram:

Pinched for reckless driving, looks
like ten days.

Culver.

Larry brought the news to the training
quarters.

"Good Lord Larry, I'm sick." Speed was
trembling.

"Say if you get sick I'll die," was Larry's
answer. "Come with me kid — the really
truly training starts now. Looks like you
got to run this race — and boy if you lose
me you're going back east in a pair of
wooden kimonos. I'm telling you fair."

"Miz" Gallagher stood the gossip and ex-
citement of the ranch over the coming race
as long as she could. Then she called Don-
ald in attendance and rode over to the Fly-
ing Heart.

Donald stood holding the horses as "Miz"
Gallagher strode up to the ranch house
and demanded to see Roberta.

The scene was a terrific shock to the
Puritan strain in "Miz" Gallagher. Un-
fortunately Mr. Fresno was favoring the
party with another of his endless songs with
with ukelele accompaniment.

"You can not make your shimmy shake

on tea.
Whiskey, Whiskey, Whiskey for me."

( MAC MARTIN

JC MATLACK FfflCc]

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ii6

Photoplay Magazine — Advertising Section

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Going Some

(Conthmed)

'Miz" Gallagher's eyes flashed with hate.

Then Mr. Speed in the brave but scant
attire of a runner jogged by with his train-
er waddling on his trail.

"Miz" Gallagher clapped her hand to her
head.

"Oh, Lord— in hb. B. V. D.'s!" She was
gasping for breath.

Roberta appeared and "Miz" Gallagher
bristled.

"Got anything to bet on that naked sheep
tick?"

Roberta was dumbfounded.

"Why, why — why, yes," she managed to
reply. "I'll wager you a box of chocolates
against a pair of silk stockings."

"Miz" Gallagher was never so outraged.

"I'll bet you my ranch against yours and
that's giving you big odds," the cow woman
screamed.

Roberta caught a sight of Donald on his
vigil with the horses in the yard.

"All right— it's a wager. I hate the place
anyway."

".'Vnd what's more woman, I'll bet you
my cattle against your measly sheep that
you've made a bad bet," "Miz" Gallagher •
was boiling in wrath. And that became a
bet, too.

Donald Keap discovered two disturbing
things. First that there was an oil drill
operating on the Flying Heart, second that
Ladew, the oil operator, was paying court
to Roberta, and it appeared that she was
finding him interesting.

Donald made bold to call on Roberta
with a protest. Not two words would she
hear.

"Mr. Ladew has hardly mentioned mar-
riage— and besides I shall marrv him if I
want to."

Meanwhile training camp matters were
growing strenuous for Speed. His anxiety
was hardly greater than Larry's as they
prayed for the arrival of Culver Covington.
To make matters worse Willie, the gun man
housekeeper of the Flying Heart, was be-
coming highly critical on the subject of
raining.

Willie to his horror and pain discovered
Speed in a hammock tete-a-tete with Helen.
Speed danced to the tune of a six gun for
this infraction of training rules.

Speed might have succumbed under the
strain of this intensive treatment had not
at last a wire come:

"Everything fine. Am on my way.

Culver."

Speed, not dressed in running clothes,
was first out of the ranch house when the
motor bringing Culver rolled into the yard.

Culver hobbled out of the car — on
crutches, one foot in bandages. "Just broke
my little toe," he laughed.

Speed fell limp against Larry. The train-
er's forehead was covered with cold sweat.

Off across the ranch the hidden drilling
outfit struck oil.

"We've got to grab the ranch before the
news gets out," Ladew exclaimed to Stover,
and together they hurried toward the ranch
house. Their arrival was an interruption
of the greeting to Culver.

While Roberta talked to Ladew, Larry
and Speed seized their opportunity to draw
Culver aside and take him into confidence
concerning the race and their predicament.
Culver listened attentively, looking pityingly
at Speed as the confession unfolded.

"Not a chance for me to run," Culver
said at last, "You'll just have to see it
through and do the best you can,"

Meanwhile Ladew was pushing his plan.

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Photoplay Magazine — Advertising Section

Going Some

(Continued)

"Mr. Stover tells me you do not like the
place. Perhaps you would like to sell?"

"I'm sorry, Mr. Ladew, but you sec I
can't — I've just bet the old thing on the
foot race."

Ladew and Stover withdrew, puzzled in
the extreme.

"We've got to kidnap that boy so the
race will be called off," they decided.

Action followed the idea. Masked and
armed they seized Speed from his cot that
night and rushed him away. Larry, sleep-
ing light, sparng up to give the alarm and
in a moment the ranch was awake and
shouting. There was a wild chase through
the night over to the road to the depot. The
Flying Heart's best roper snared Speed
from the back step of the train as he was
vv'aving goodbye and shouting "God Bless
You" to Stover and Ladew.

Donald on his nightly watch, had seen
it all. He was returning to the Centipede
when the distant noise of activities at the
oil derrick attracted his attention. He
bent his steps in that direction and discov-
ered the crew madly at work capping the
well. A pool of oil disclosed the success
of their quest. Ladew and Stover, back
from their fruitless kidnapping escapade,
drove up. They leaped to the ground and
urged the workmen to greater speed.

Donald strode into the scene behind them..
In a flash they closed in a fight. Ladew
drew off with his lantern and hurled it at
Donald. Donald ducked. The lantern
smashed on the ground beyond and the
flames touching the oil soaked ground spread
about as Donald and Stover rolled in a
desperate clinch.

The flames reached the oil pool and then
leaped skyward in a tower of flame. In
a moment the Centipede and the Flying
Heart people came tearing to the spot.

Donald in the excitement revealed his
identity as Roberta's husband, to the sur-
prised "Miz" Gallaeher.

"You mean to say that woman is your
wife — and do you love her?"

Donald admitted both counts.

His eve took in Skinner, the Centipede
cook and footracer, overhearing the con-
versation there in the flare of the burning
oil.

Roberta, who had come with the Flying
Heart contingent approached "Miz" Gal-
lagher.

"Of course we shall have to call off that
silly wager now. We've got oil and the
place is worth millions."

"The bet is still on and I hold you to
it," "Miz" Gallagher replied in her hardest
tones.

Skinner glowered at Donald.

"And when that foot race is over this
place and its oil'll belong to 'Miz' Gallagher.
I've been a-laying for you to even up for
what you did to me Over There."

The day of the race came. Skinner, at-
tired in improvised running trunks, consist-
ing of overall cut off at the knees was super-
ciliously confident in his bearing.

Shivering with poorly concealed terror
Speed and Larry appeared, exceedingly well
guarded by Willie and his pair of guns.

Skinner looked his competitor over in
fine scorn. He snarled at Donald.

"Now I've got you where I want you,
see."

"Miz" Gallagher elected herself the mas-
ter of ceremonies. She called Donald aside
and handed him a letter. "Read it after
the race," she commanded.

"On your marks."

Speed made a false start and fell on his
face. Centipede ranch laughed and shouted.

"This ain't a snake race. Stand up,"
Skinner taunted.

117

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ii8

Photoplay Magazine — Advertising Section

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Going Some

(Concluded)

Larry ran up to whisper in Speed's ear.

"Goodbye kid, you and me'lJ be on ice
in an hour."'

Helen, fluffy, misunderstanding, trusting
child, called to her admirer in this moment
of his discomfiture.

"I'm glad for your sake that Culver broke
his toe."

Grim "'Miz" Gallagher fired her revolver.

For a moment the terrified Speed had a
lead. Skinner passed him in a moment.
They neared the finished mark almost shoul-
der to shoulder. Skinner stumbled and
fell. Speed dashed on. Skinner limping
was close upon him when Speed fell across
the line — with victory for Flying Heart.

Donald unfolded the letter "Miz" Gal-
lagher had handed him. Then he walked
over to Roberta and handed it to her.
With shaking hamds she read it.

To Whom It May Concern :

I promise and agree to deed back the
Flying Heart ranch to Mrs. Donald
Keap, provided she withdraws her di-
vorce action against her husband, and
returns to him.

■*'erben.\ Gallagher.

As Roberta concluded reading the letter
"Miz" Gallagher approached and extended
her hand.

"Be good to my cattle," she said, simply
and quietly, then turned away and walked
toward the ranch house.

, Roberta was thinking rapidly.

j "Culver, give me your fountain pen.''

She sat on the running board of the car,
spread "Miz" Gallagher's letter on her knee
land started writing upon it.

Skinner, the defeated cook, limped up to
Keap and saluted.

"I had you wrong Captain Keap," Skin-
ner apologized, "but I got you right this
morning. I got a letter from my bunkie."

Skinner handed over a letter which Keap
with great curiosity read:

" so come along as soon as vou

have skinned that college boob.
Yours,

Joe.

"P. S. — Lay off that revenge stuff.
Capt. Keap ain't the guy that got us
courtmartialed. He saved us a lot
worse."

Skinner was still at attention v\hen Keap
handed back the letter. Then Skinner
turned on his heel and strode away — for-
getting to limp.

Keap stared after the cook, dazed with
the realization that the champion of the
Centipede had thrown the race — for his
sake.

Roberta was entering the ranch house.
Keap followed. His wife was handing her
letter to the forlorn but game "Miz" Gal-
lagher who sat at her time worn office
desk.

It was "Miz'.' Gallagher's own letter cor-
rected in Roberta's handwriting.

To Whom It May Concern:

I hereby promise and agree to deefl
back the Centipede ranch to M.s.
Verbena Gallagher, provided she will je
my friend.

Roberta Ke.^ip.

"Miz" Gallegher looked up at Roberta
with her eyes wimming with tears. She rose
and drawing Roberta and Donald Keap to-
gether joined their hands in silence.

That evening three closely similar groups
might have been discovered in the gloam-
ing shadows of the Flying Heart ranch.
Jean and Culver were sitting very close to-
gether on the porch. Speed and Helen oc-
cupied the hammock. On the steps sat
Roberta and Donald. Out in the front
seat of the flivver Fresno the tenor with his
ukelele broke into mournful sound, baying
the moon.

"When vou come to the end of a per-
fect—"

In stealthy silence Larry Glass rose from
the back seat, poised a moment over the
singer, then with a swift swipe broke the
ukelele over the tenor's head.

.\nd thus came the perfect peace to the
ranch of the Flying Heart.

Wife — I suppose I'm foolish but I can't help crying at the sad parts.

- Why shouldn't you cry if you want to? You paid to get in.

Every ailTeitisement in PHOTOPtAT :MAGAZINE is guaranteed.

PnOTOPLAV MAGAZIMi — ADVERTISING StiCTION

Plays and Players

(Concluded from page 105)

IT seems a bit absurd, these days, to hark
back to what the old-timers refer to
wistfully as the palmy period of pictures
— but how many of you do remember Vivian
Rich? Ah — younK lady over there in the
second row — ''A slim brunette who used to
act for American?" Yes — well, she has
signed with P'ox — for whom she has been
doing opposite leads to male stars — on a
;tellar agreement.

WHEELER OAKMAN, who gained quite
a bit of free publicity by being the
young man whom Priscilla Dean honored
with her heart and hand, is going in for the
subtle stuff. He will have the leading role,
opposite Annette Kellermann, the high-divinu
lady, in her new picture. Chester Franklin
is directing it at the Brunton studios.

ADD to My Own Companies list : The
Betty Comp-on Productions. Well,
who has a more beautiful reason for indi-
vidual stardom that the feminine hit of
"The Miracle Man?" Her first release, for
an at present undecided market, will be
ready in the Fall. It is understood George
Loane Tucker is managing the enterprise.

JUSTINE JOHNSON, who is known in
J Manhattan as one of its choicest blondes,
but who has never ventured very far in-
land— inasmuch as her first, and last, musi-
cal comedy venture didn't get very far any-
way— Justine, we say, is soon to give the
mid-west and the south-west and all the
other unenlightened inlanders a chance. She
is being photographed in the opposite role
to Taylor Holmes in his third production,
"Nothing But Lies."

A SOMEWHAT intriguing situation is
found out at the Robert Brunton stu-
dios in Los Angeles. Mary Pickford and
Owen Moore are working on the same lot.
Miss Pickford has been making her- present
pictures there and will continue to do so,
while Moore left Manhattan the first of
the new year, to make his future Selznick
films in the West, and space was engaged
for his company at Brunton's big plant.
Because of the recent divorce, noted else-
where in this department, the gossip hounds
are hanging around waiting to pick up any
little morsel like "they wa-lked right past
each other and never spoke." Remember
when Moore was Prince Charming to Little
Mary's "Cinderella?"

DOROTHY PHILLIPS and Allen Holu-
bar have left Universal City — but not,
says Carl Laemmle, the Universal company.
They have a legal contract with that pro-
ducing organization, but for one reason or
another desired to break it; and abruptly
left the lot with bag and baggage one day.
According to Mr. Laemmle, they are going
to be subjected to a stiff legal fight if they
refuse to make the remaining pictures in the
"agreement. Universal has always been more
or less subjected to this sort of thing from
stars; once made, the turn from the old
company to fresher, smarter fields, only, in
some cases, to come to grief— or back to
Universal City. It is said the Holubars
want to sign up with Famous- Players.

IT does beat all, the way these little extra
girls shoot up! For instance, an ex-Chi-
cago company having died a natural death,
of old age and anemia, one of its persistent
atmospheric workers came oi» to New York.
She hung on there until she attracted some-
one's attention, and finally got a part. Now
they are advertising her as a "former star

of Blank's" . Poor Blank's; they have

an awful lot to answer for.

119

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120

Photoplay Magazine— Advertising Section

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spared on vehicles and direction for him.
.\nd it must be remarked to Mr. Wash-
burn's credit that he has taken no advantage
of his advantages. Here we have an obvi-
ous farce, manufactured by William Gillette
who is a much better actor than he is a
playwright. It's a mix-up of yachts and
matrimony and it skims through in high —
or whatever is third-speed on a yacht. Lois
Wilson is as pretty and accomplished as any
of our younger set of leading ladies.

FOOTLIGHTS AND SHADOWS—

Sehnick

If you want to see Olive Thomas in a
marvelous gown of lace patterned after the
famous one worn by Bessie McCoy Davis
in "The Greenwich Village Follies," see this
picture. That's about all there is to it.
The impression gained after its conclusion
is that the company presenting Olive to
anxious audiences thought to itself, "Let's
see: she was a Follies queen before she went
into films. Say — why wouldn't it be a
good stunt to let her play a chorus-girl?"
So Olive does, and she is beautiful and
good, as are all show girls on the screen;
and she goes through an awful lot till the
final fadeout. Her support is only fair;
her story is fairly good; her direction — by
John Noble — satisfactory. If you want to
see Olive Thomas in a , etc.

A GIRL NAMED MARY— Lasky

Here is a trite theme — but a triumph for
that charming veteran of films, Kathlyn
Williams, once the adventurous lion-maid of
Selig serials. Since she has been Mrs.
Charles Eyton, the blonde actress has ap-
peared all too infrequently. She is, in this,
the youthful mother of a girl named Mary,
lost in infancy. Her efforts to recover her
child are finally successful — the child being
Marguerite Clark. It's Miss Williams' pic-
ture; she is always in the histrionic fame,
and she wears well. Charles Clary is an
ideal middle-aged lover; most women would
be glad to grow older if they could have
Mr. Clary make love to them. His scenes
with Kathlyn are much more interesting
than the decorous tete-a-tetes of Wallace
MacDonald — a nice boy — and Marguerite.

HER NAUGHTY WINK—
Fox' Sunshine

Where other comedy producers have one
man in a room with one girl. Sunshine
shoots one man into a room with a dozen
girls. Where other comedy producers use
dogs and cats. Sunshine uses lions. Instead
of a mere cellar-flood, Sunshine floods a
whole house, and the streets of a village,
besides. In fact, the success of the Fox
comedy-branch seems to be in going every-
body else one, or several dozen better. If
there are no Phyllis Havers, Hampton Del
Ruth took some other pretty girls along
with him when he straved from the home

camp. He has funny policemen and a
comedienne who is not homely, but pretty:
Ethel Teare. That eminent clergyman who
doesn't approve of kilts certainly wouldn't
sit through this. But how few of us are so
biased!

SMOLDERING EMBERS— Pathe

It isn't often enough that we have pictures
which warm our hearts toward fathers.
Father love is usually treated by story
writers as a sort of after thought — like
"Father's Day," which seems to have come
into being because some one was ashamed
to look dad in the face after devoting one
Sunday a year to wearing white carnations
in honor of mother.

"Smouldering Embers,'' gives Frank Kee-
nan a chance to prove in a very poignant
way, that even a tramp may have a father's
heart pounding away under his shabby
clothes. It proves, also that a father may
sometimes be greatly wronged and sinned
against — and that a father's self sacrifice
may be quite as gulp-inspiring, perhaps even
a little more gulp-inspiring since the theme
is used less often, than a mother's love.

HOODOOED— Famous Players-Lasky

Here are two reels spent in vain. Just at
the moment when you think our hero is
cured of being superstitious, he isn't. In
swearing off on superstitions, he throws his
lucky horse shoe out the window — and hits
his boss on the head. Since the boss had
just announced his intention of giving Jack
a raise — we are right back where we started.
There are a couple of good laughs, even
though the flavor is chestnutonian. Mr. and
Mrs. Carter De Haven do very well for
ordinary young folks — but seeing them
makes one long for the days of Mr. and Mrs.
Sidney Drew.

FOUR TIMES FOILED —
Chester 'Outing

This comedy offers something particularly
delectable in babies. Sennett's little boy will
have to look out. It also offers somethmg
highly entertaining in monkeys, pigs, dogs
and horses. It is the first of William S.
Campbell's Chester-Outing animal comedies,
titled right-smartly by Katharine Hilliker.

If the president of one of the three big-
gest film companies heard the way people
chortled at this picture at the New York
Rivoli, he must have gnashed his teeth.
When Campbell came to New York last fall
with the understanding of being signed up
by said president, the important executive
thought he'd play the coy game for a few
days. When he phoned that he was ready
to talk business, Campbell's agent replied
that the former Sunshine director had made
other arrangements. The president said he
thought this was a bum way to do business
— and the agent agreed. Broadway had a
good laugh over it, because this particular
film executive thinks he's an awfully shrewd
business man.

Questions and Answers

(Continued from page 80)

Irving S., Chicago, iLL.^There is no Fazenda, empress of slapstick. All these
way of telling you who Mack Sennett's lead- girls have been true to Mr. Sennett, regard-
ing ladies are. There are a good many less of other dramatic lures. The comedi-
girls who might be said to play important ans in the company are Charles Murray —
parts in his comedies: Phyllis Haver, the although I hear this genial Irishman is leav-
chubby blonde, Marie Prevost, the slender ing in the near future to make his own
brunette, Harriett Hammond, our willowy pictures. Ben Turpin, and Ford Sterling,
beach beauty, and last but not least, Louise Is that all?

Kvery advertisement in PHOTOPt.iY MAG.\ZINE is guaranteed.

PiioroPLAY Magazine — Advertising Section

121

Questions and Answers

(Continued)

B. B., Okla. — "Shoulder Arms' was made
in California. Viola Dana's husband died of
the flu during the epidemic a year ago. The
Gish girls are sisters — Dorothy was born in
Dayton, Ohio, and Lillian in Springfield,
Ohio. Whether either ever played with dolls
in Shawnee, Okla., is quite beyond me. You
sure gave me a laugh, B. B.— Fatty Arbuckle
is not married to Mabel Normand.

Anita, Rochester. — You got me right —
I'm a fine rainy-day fellow. Having started
life with the vow to be different, I'm ex-
hilarated to splendid heights by dull, gray,
leaden skies. On sunshiny days I woo old
man Grouch. Douglas MacLean's latest is
"What's Your Husband Doing?" That's
an impertinent question, but the picture is a
scream. Doris May is with him. Doug is
married. I don't think he would like me to
tell you his age, because he generally men-
tions neckties, or lemon merangue pie, when
his age is asked. Charlie Ray isn't nervous;
he simply aims to portray a shy, diffident,
decent, rural young man. Probably that's
why his pictures do not end with a 90 h. p.
love scene.

Inez, Pittsfield. — Wearily I put another
nick in the wall : that's to register the num-
ber of times I've told Richard Barthelmess's
age. — He's twenty-live years young as the
Japanese so whimsicallv express it. Alice
Brady is at Realart, 469 Fifth Ave., N. Y. C,
and Dorothy Gish, Griffith Studio, Mamaro-
neck, N. Y.

Firefly, Virginia. — When you ask me
whether I believe in Fate, I feel the irksome
necessity of deciding whether I am a man
of action or a thinker. Strangely, perhaps,
the ages have proven that men of action are
generally Fatalists and thinkers have a ten-
dency to lean toward Providence. Let's hold
the matter open until I make up my mind.
Yes, I adore the mysterious — an oQen sesame
has little charm. Dick Barthelmess is at the
Griffith Studio, Mamaroneck, N. Y.

Rose Scribner. — Y'ou didn't tell me, but
I know it — you have freckles. And what's
more you're scouting for those film actresses
who also hame 'em. How should a mere
man know? I only see lovely woman in her
entirety. If a fellow took the Persians seri-
ously in that thirty attributes are essential
in an absolutely beautiful woman, he would
have to carry a comptometer before being
able to register '"Some Queen!'' Gloria
Swanson has blue eyes and brown hair —
weighs 112. Mae Marsh is at present on the
Coast working on a new picture, as yet un-
named. Alice Brady is living in New York.
No to the Pauline Frederick question.

Josephine, Okla.— Brief as was your let-
ter, so will be my reply. Wallace Reid,
Lasky Studio, Hollywood, Cal. But stay
that briefness a moment: True to the teach-
ing of the Roth memory course when I saw
the name of your town (Hugo) there flashed
to my mind "Les Miserables," which proves
the truth of their advocated association of
ideas. (This is not an ad for the Roth
memory course, but a by-thought.)

Marion Risley. — Bless you, child, Photo-
play is not a mammoth producer — those
lovely ladies and gallant swain who disport
themselves in oi3r pages are merely come to-
gether for the nonce (that's elegance for
you). The only form of "joining"' Photo-
play is through a subscription. William Far-
num is thirty-four; married. His pugilistic
prowess has lent him the title "Fighting
Bill."

(Continued on page 132)

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The Woman Who Understood

(Continued from page 51)

with a blazing resentment against the hus- she determined to be game. And 30, that

band who flirted with the wives of other night, she tooli out her wedding gown and,

men while he had a wonderful wife of his with the aid of a fashion book, started to

own. He knew that the music lessons that remodel it. And, because sewing was one

Robert was giving Alida were only a mask of her talents, she had, at dawn, completed

for something else. When, later, he spoke a beautiful evening gown,

to his wife about Madge, he said, meaningly. The concert was planned for that evening

"She's a real woman!" And he was not and Madge, when she finished the dress, pre-

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Robert and Madge. For Robert thought
that his wife lacked the finer qualities — that
she did not understand him, that she was
minus soul. And he thought that Alida's
nature held the response and understanding
that he could not find in his wife's.

And so, as the summer went on, Mrs.
Alden's "lessons" occupied a greater share of
Robert's time. He was away from the cot-
tage more and more — spending almost every
afternoon in the big house next door. Madge
took his absence with good natured indul-
gence. Occasionally when he was late for
supper, she would skip playfully through the
hedge and invite him to come home. Though
Alida never urged neighborliness.

It was at Bobby's birthday party that
Madge, remembering happier days, felt her
first thrill of alarm and hurt. Though she
had requested Robert to be home on time —
he was late, too late to see that important
ceremony of cutting the cake. But when he
came she hid the doubt which had crept
into her heart, and greeted him merrily.
Bobby ran to meet him with a bulky pack-
age in his hands.

"Mumsey thought it would be nice," he
told his father, "to give you a present, too."

And as Robert opened the package, which
contained a rare old violin which he had
wanted for a long time, Bobby continued,

"We all gave up somethin' so's we could

buy it for you, daddy! I gave up a rockin'

horse and Mumsey gave up a new dress
»

But Robert's answer was dreamy — almost
inattentive.

"Just in time for Mrs. Alden's concert,"
he exclaimed. "Just in time I"

Madge was too generous to resent the fact
that his thanks for the gift were linked with
Mrs. Alden's name.

"I just can't wait for the concert," she
answered, happily, "to hear you play in front
of all those people I"

The Woman
Who Understood

NARRATED, by permission,
from the Robertson-Cole pro-
duction from the original script by
Isabel Johnson, with the following
cast :

Madge Graham .. .Bessie Barriscale

Robert Knight Forrest Stanley

Alida Alden ... .Dorothy Gumming
Richard Alden. . . .Thomas Holding

Robert could not conceal the startled ex-
pression on his face for he had not thought
of Madge in connection with the concert.

"You'd better not come," he said hastily,
"unless you have something smart to wear.
They're going to have a very fashionable
audience." .

Madge's face fell at his blunt remark. But

Forgetting his interest in Alida, Robert again

felt Madge's charm as he said : " This is like

old times ! "

covers the children, wide awake, burst into
the room.

"Oh, gft up Mumsey," they shrilled in
chorus, "you promised to take us on a pic-
nic!" And Madge, not wanting to break a
promise, got up wearily and dressed. And
she and the children had their picnic.

Of course, that evening, Madge was tired.
But, despite her weariness, she was radiant
in her remodeled wedding dress. Even her
husband, forgetting his interest in Alida, felt
again her charm as he exclaimed:

"This reminds me of old times!"

And Madge, seeing his expression as he ^
looked at her, laughed happily as she an-;
swered:

"And I thought I had disguised it com
pletely!"

The Alden home was filled with fashion
able guests but none of them were more
beautiful than Madge — or more smartly
gowned. Alida Alden watched her jealously
and Robert's eyes dwelt on her with an
awakened look in them. When he began to
play it was at her that he looked, toward her
that he directed the appeal of his music

To Madge the melody that he played was
like peace after a weary struggle. She was
very tired from her day with the children,
and her night-long attempt at dressmaking,
and the music held almost a hypnotic in-
fluence that bade her close her eyes and rest.
While her husband played on — his whole soul
in his music — her tired eyelids drooped over
her heavy eyes, and she slept. And when,
amid a storm of applause, Jlobert finished
playing she was still asleep. And it was
only when he made his way to her chair, to
hear her praise of his playing, that she waked
up. Seeing the anger in his face she tried
to divert the situation.

"I'm afraid, dear," she said, "that you
played a lullaby!" But there was no laugh-
ter in Robert's face when he answered,

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The Woman Who
Understood

(Continued)

"You had better go and rest." And Madge,
cut to the heart by the scorn in his voice,
turned and left the room. As she reached the
hall she saw lonely little Marian sitting on
the top step of the stairs and with a cry
she gathered the forlorn child into her arms.

In the meanwhile Robert and Alida Aldcn
had drifted out of the drawing room and
into the dimly lighted music room. And
there Alida pretended to sympathize with
him while, with eyes and lips and hands, she
was actually trying to fascinate him. She
succeeded only too well for just as Madge,
who had tucked little Marian into bed,
reached the door of the music room she saw
her husband reach out his arms to Alida and
crush her in them, while his violin, typifying
his career, lay forgotten on a divan. It was
with a broken heart that she turned away.

After a moment Robert released Alida
from his arms and, becoming suddenly prac-
tical, they decided that they must leave the
music room by different exits so that the
guests would suspect nothing. As Alida went
quickly out of a rear door she overturned
a candle which caught fire in a light drapery,
but, in their hurry, neither she nor Robert
noticed the tiny flame — or remembered the
violin.

But Mr. Alden, who had been suspicious
all evening, discovered that his wife and
Robert had been together in the music room
— even though Madge tried, in every way, to
shield them. And it was only because Madge
asked him to leave her alone with her hus-
band that a terrible scene was avoided.
Straightforward to the very end, Madge
asked her husband frankly, if he cared for
Alida and he told her that Alida understood
him and she never could. And it was as
they stood, looking silently at each other,
that the fire in the music room burst its
bounds.

Robert, all musician again, thought as
soon as he saw the fire, of his violin. And,
dashing in through smoke and flames, he
rescued it. It was only when he reached
the air again that he collapsed in a heap —
his hands and face badly blackened and
burned. But he held his violin clasped to his
breast.

Alida Alden was in Roberts room — bend-
ing over his bed — when the great specialist
arrived. Naturally mistaking her for Rob-
ert's wife he said curtly,

"Will you please step outside, Mrs.
Knight? I want to examine your husband's
hands." And Alida went hurriedly, and a
little thankfully, from the room.

When the specialist came out he looked
very grave. He turned to Alida who, with
Mr. Alden and Madge, was waiting in the
'hall, and said:

"There is only one way to save your hus-
band's hands so that he can play again.
Someone must give skin to be grafted on
to them."

There was blank silence for a moment be-
fore Madge stepped forward.

"You have made a mistake," she said
quietly, "/ am his wife. And I am ready to
do anything to save him !"

It was Mr. Alden who spoke, suddenly,
from the background.

"Is he worth it?" he questioned. But
there was no doubt in Madge's face as she
answered :

"I know what his music means to him!"

And the specalist, going back to Robert,
fold him that his wife had consented to
undergo the operation ; not realizing, of
course, that Robert — judging by the first
mistake in identity — thought that Alida
Alden was the one who was literally giving
her skin for him.

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The Woman Who Understood

(Concluded)

The operation was successful — of course.
For the specialist was a great specialist.
Madge suffered terribly, very terribly — the
skin had been taken from her arms and
shoulders — but the suffering was nothing as
compared to the pain caused by her hus-
band's cruelty. For Robert, after the opera-
tion, asked only for Alida — thinking that she
was the one who had sacrificed herself for
him. And Alida, when she came in response
to his summons, was not big enough or fair
enough to confess that she had done noth-
ing of the sort — while Robert, with his eyes
bandaged, could not see the truth. He told
her at once that he loved her supremely and
Madge, standing in the doorway, heard him
and, sobbing, exclaimed —

"I won't stand in your way!" And she
hurried out, filled with thoughts of suicide —
the same thoughts that Alida had put, years
before, into Robert's mind. Entering her
room she searched for a revolver, the re-
volver that — long ago — she had taken from
Robert — and was about to end her life when
little Peggy, in the nursery, cried out sharply.
And Madge, remembering her children, and
her duty to them, laid down the revolver

and went to the sobbing little girl.

It was Mr. Alden, coming into the sick
room, who set things straight. It was he
who told Robert of Madge's wonderful spirit
of sacrifice, and of Alida's despicable part
in the whole affair.

"You poor miserable fool !" he growled,
at the last, "Alida wouldn't hurt a hair of
her head for any one. It is your own won-
derful wife who did it!"

And Robert, tearing off the bandages,
learned the truth at last 1

Of course, Madge forgave him. The love-
woman always does forgive her man ! She
came to him at once — when he sent the
nurse for her — came almost timidly. And,
in answer to his prayer for pardon and un-
derstanding she bent over his bed with a
madonna expression on her face.

And, as she kissed him, she smiled tenderly
— as a mother smiles at a wayward child.

When Robert grew strong again — it was
like old times, the precious, wonderful times
before Alida Alden had come into their lives.
Bobby and Peggy had their playmate, and
Madge the eager lover of their "Greenwich
Village" days.

Kidding MotHer Nature

A lovely violet could not move
this jazz artist to verse.

PERHAPS you remember the old-fash-
ioned type of scenic title which was
designed to elevate the soul while the
pictures were instructing the mind.
These title-writers would gush forth in
streams of lovely slush whenever a rural
scene was flashed on the screen. The mere
glimpse of a mountain peak combined with
a pine branch was enough to send them into
tits of estatic doggerel. A primrose by the
river's brim was never a simple primrose
to this title-writer — it was a signal for
deluge of assorted adjectives. And a harm-
less necessary hill — any old kind of a hill —
would be sure to bring forth something like
this:

"Von gentle hill, so soft and green
The sweetest sight eye e'er hath seen."

They would go on and on like that until
the audience would leave the theater pre-
pared to curse nature and die. It didn't
matter how awe-inspiring the pictures were
— the sub-titles were so simply awful that
they took all the joy out of country life
in America.

By ALISON SMITH

Katharine Hilliker, editor and title-writer
of the Chester Outing Science, has changed
all that. She didn't mean to do it — in fact
she started out to be a well regulated,
properly soulful title writer. But she sim-
ply couldn't get that way.

So, in desperation one day, she delib-
erately "jazzed" her scenic sub-titles just to
see what would happen. What did happen
was that the Strand audience sat up and
chuckled and begged for more in' letters to
C. L. Chester who owns the pictures. And
now she is an utterly abandoned jazz artist
whom even a lonely violet could not move
to tender verse.

For example: — If you give her a water-
fall scenic, does she write gentle things
about the waterfall whose splashes clear
bring sweetest music to our ear? She does
not. She turns it into a half-whimsical,
half-hilarious treatise on prohibition and
calls it "Mr. Outing Climbs Aboard." And
when she is confronted by a nice learned
picture on Japanese industries, does she fill
it with soothing statistics on where things
would reach if placed end to end? Not she.
Instead, it emerges as a satire on educa-
tional films in general under the ironic title
of "Mr. Outing Instructs."

In a educational treatise on fishing indus-
tries she will announce on the title screen:
"This is the colony in New Jersey with a
birth-rate of fifteen million babies a year."
And, in describing the habits of the small
mouth black bass she says, "Does Mrs. S.
M. B. Bass sit on the nice eggs once they
are laid? Not on your life. Suffrage had
the Bass family by the tail when Eve was
still a rib and it is Mr. Bass who sits on
the gravel patch and welcomes his offspring
into a cold cruel world."

You would never suspect that she was a
wild revolutionist when you meet her. She
looks more like something out of Vogue —
she dresses that way. And before she wrote
her fatal first sub-title, she was a perfectly
correct art editor on a San Francisco daily
and an earnest war worker in the Committee
of Public Information, in the Division of
Films.

Every atlvertiiement in PHOTOPL.W MAGAZINE is giiaranteed.

Photoplay Magazine — Ai)VKinisiNO Skc/i'ion

125

Cinemaphobia!

IF you detest films with an uncompromis-
ing, unreasoning, irrational, "bitter-end"
detestation, you might read what George
Jean Nathan has to say about them in
the Smart Set.

George Jean Nathan and Channing Pollock
run a close race as the champion film haters.
Both, see red, grab for their sharpest pen,
and write with 100 proof vitriol when they
feel an attack of cinemaphobia coming on.
Mr. Nathan seems to be suffering from a
bad attack of photoplay indigestion, and his
stomach simply refuses to retain anything
that is seasoned with celluloid.

"The Hooligan at the Gate" is the snappy,
if inelegant, title that introduces Mr. Na-
than's article, and here are some of the
charges in the indictment:

"More than any other force, more than
any other ten forces all compact, have the
mov^mg pictures in the last dozen years suc-
ceeded brilliantly in reducing further the
taste, the sense and the general culture of
the American nation. Like a thundering
flood of bilge and scum, the flapdoodle of
the films has swept over the country carry-
ing before it what seeds of perception were
sprouting, however faintly, among our les-
ser peoples. And today the cinema, ranking
the second largest industry in the States,
proudly views the havoc it has wrought and
turns its eyes to new Belgiums."

"They have gagged the mouths of almost
every newspaper with a rich advertising rev-
enue: if there is a newspaper in the land
that has the honour and respectability to call
the moving pictures by their riglil; name, I
haven't heard it."

"They have bought imaginative actors and
converted them into face-makers and me-
chanical dolls."

"They have elected for their editors and
writers the most obscure and talentless fail-
ures of journalism and the tawdry periodi-
cals."

"And presently-^as I observed last month
— they sweep their wet tongue across the
American theatre. By the time this gets
into prii.t, the moving picture organizations
will — unless a miracle intervenes — have be-
gun to get a strangle hold on the native
theatre. In a year or two, save some mys-
terious Jeanne d'Arc come to the rescue,
the American drama will be dictated to,
not by the Belascos with all their faults,
but by the Marcus Loews with all theirs."

"For all the wails I have heard against
you, you have — save in one instance — never
been other than fair in your dealings with
any i)ublisher or any magazine or any writer
with whom, as editor and writer, I have
come into contact. But, gentlemen, you
would buy a soul, or sell one, for a nickel."

Well, anyhow, Mr. Nathan has his views
on the subject. If he would write with
about one thousand percent more knowledge
of the business his views might have some
semblance of familiarity with his subject.
But why argue pictures with a gentleman
afflicted with cinemaphobia. It's an incura-
ble disease. Then too, everyone has a right
to his own idea of pleasure (i8th amendment
excepted) and if the gifted George Jean
didn't have something to pick on he would
be the unhappiest man in the world.

You've got to pass the cake to him — he's
no Pollyanna.

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126

Photoplay Magazine — Advertising Section

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Alice Lake

(Concluded from page 46)

my dressing-room — and here I am. Almost
a Keystone story itself.''

"Did you find serious drama difficult after
comedy?"

"At first — yes. In comedy you have to
work at top speed, and when I tried to slow
down for real acting it almost killed me.

" 'I can't do it, I can't,' I groaned to my-
self. And then I thought: 'You little fool,
haven't you got any brains? Of course you
can do it, but you've got to learn how.'

"And that's where comedy experience was
invaluable. I had learned to think quickly,
like an athlete. I discovered that I could
tell when I was about to do a thing the
wrong way, and change instantaneously,
without getting out of step."

Like a good many other young women
who have made a success of acting for pic-
tures, Miss Lake owes her start to the fact
that she and 'Vitagraph were both born in
Brooklyn. Half a dozen years ago, the
doors of the Flatbush studio were open wide
to screen aspirants. Extra girls were always
needed for big scenes and Smith and Black-
ton were on the lookout for talent. Names
did not mean so much, stars were just in
the making. Vitagraph was the cradle of
genius because it was one of the first studios
located in the biggest city in the world.

Statisticians have declared that out of
every ten normal girls, nine want to be
actresses. Miss Lake was entirely normal,
and was one of the nine.

Such is the slender story of this slender
young person. There is something strangely
contradictory about her diminutive little fig-
ure— she is only five feet tall— and the im-
pression of a remarkable capacity which she
gives in all her speeches and movements.
Perhaps it is the self-possession that comes
fiom dealing quickly with unexpected contin-
gencies, such as arise constantly in the stren-
uous life of a comedienne. You ask her a
question, her gray eyes focus sharply upon
something, and she replies. There is no
waste. She seems perfectly disciplined,
knowing exactly what she knows and mak-
ing no pretense of wisdom beyond that point.
She has discovered that being an actress is
not a pose, not a dissipation, not a lark, not
a recreation, but a business that requires
constant study, just as being a banker, or
a lawyer, or a shoe salesman requires study.
She has no sweeping theories about pictures
nor about her part in them. It is her job.
She comes to the studio, finds out what is
expected of her, and does it to the best of
her ability. No waste. No protesting that
it should be done this or that or the other
way — that's somebody else's job. She feels
that all her ability should be used upon her
own.

This does not mean that she goes through
her days mechanically — put so much girl
into a machine and take out so much drama.
If you saw her impersonation of the unfortu-
nate young woman in "Should a Woman
Tell?" you know that besides mind she puts
heart into her work.

"The hardest thing I ever did," she says,
"was that scene where Meta tells her mother
of her unfaithful lover. It could not be
emotional in the hysterical sense, and yet
the tears had to come. It was to be a por-
trayal of a girl who was just crushed, al-
most speechless. Anyone can work herself
up into a frenzy of grief where weeping is
almost involuntary, but to make the tragedy
clear by the exact opposite means was a
problem. What was worse, I was feeling
especially happy. However, it had to be
done, and somehow or other I shut out
everything but this poor girl from my mind.
But I was a wreck for days afterwards. That
sort of thing tears your nerves into shreds."

It's only a little Lake, but it's deep.

Every advertisement in PHOTOPLAY MAG.iZINE is gruaranteed.

Photoplay Magazine — Advehtising Section

The Story Your Hands Tell

(Continued from page jo)

so much the same shape on both si(ks that
it is hard to see the first joint. This would
be, under other circumstances, a very sure
sign of the lack of consideration for others,
but the rest of the hand has so many signs
of being easy-going and of having a good
temper, that this would probably be a wrong
diagnosis.

The exceedingly well padded ridge just be-
low the fingers is still another sign of easy-
going self-indulgence. This person would
not be too fond of hard work. The best
feature of the hand, after its sign of non-
irritability, is its appreciatively artistic first
and fourth fingers, but they set at rather a
questionable angle.

No. 7 represents the executive or business
type in the proportions of the whole hand,
with decided leanings toward the artistic and
constructive in the shape and unequal length
of the fingers. This is the hand of an ener-
getic executive, with force, imagination, re-
source and ability, but with very few illu-
S'ons. The fingers are better than the palm,
for they indicate many qualities that are not
easy to find in the hand of the average ad-
ministrator of large affairs. They show an
appreciation of color and texture in fabrics,
for instance — a love of really good workman-
ship, which is also rare in this type of hand.
The palm is strong in structure and gives
evidence of a good constitution, but it also
shows the strain of a continued sedentary
life. It is a gifted hand but to certain ex-
tent a self-indulgent one, not worrying much
about the man next door, rather impatient
of ordinary restraint.

The hand of No. 8 is very unusual in its
wedge-like shape ; the palm is wide and thick
at the heel and narrows down very sharply
toward the fingers. They are wide at the top
and narrow at the tips making the palm look
astonishingly heavy. If it is natural for the
thumb to stand out at this sharp angle it is
a very self-centered hand. Even without the
thumb and notwithstanding its fineness or
line and its delicate fingers, the hand is a very
wi'lful one. Ambition is its ruling note, and
behind it is the driving power of that big
palm. While it shows great physical stamina
it leads me to suspect tendencies toward
melancholia. It is a hand that would gain
its point in many ways, by tact one day and
force of will the next for her mind is very
acute and her force of will overpowering.
She never fears to face an issue or to force it.

Intelligence makes for a fine hand rather
than any physical gift. You will not find a
good one on a stupid person. Some of the
best ones I have ever seen have been on
laborers. The dirt of toil could not obscure
the character lines on No. g. Their owners
may have lacked a finished education, but

the character was there. These in photo-
graph No. Q arc fine examples of what a
good workingman's hand is like. It is fir^t
of all, good tempered. In fact, it almost
smiles at you. It has nothing to hide. It
has a fine sense of order and proportion. It
b.as nervous and physical strength enough for
the day's task and some left over. It goes
about its work earnestly, patiently, accu-
rately. It has time for a good-nalured joke
with everybody. It has a fine sense of re-
sponsibility, and it is more than ordinarily
kind to children. It is not the hand of a
Rolshevik, and can still turn in an honest
day's work without losing its self-respect.

No. 10 shows astonishing driving power.
It would be a great hand to entrust with
the accomplishment of difficult and compli-
cated tasks. It has unlimited self-confidence,
and sturdy, aggressive ability. It is not the
hand of a person with great vision, but the
kind that gets down to brass tacks and does
the work before it without fuss or feathers.
All things being equal, it is a good tempered
hand, with no irritability in it. Although
kind enough, this hand seems somewhat lack-
ing in regard to the feelings of others. There
are two reasons for this, one of them being
that he would get too much engaged in
plowing ahead to have time to think of the
other fe'low's feelings. And the other rea
son would be that his own self-confidence
would lead him to think his own opinion
best in nearly every case, and the signs of
this are the finger tips that do not taper
down quite enough, and the thumb that i^
too thick just before it begins to turn at the
first jo-nt. Of course, it is a weakness to un-
derestimate the other fellow, but as I said
before, this man is a marvel at getting things
done, and in the end he will win out, foi
with the passage of time he will be more
and more willing to study and learn from
others.

Hand No. ii has a combination of good
qualit'es that would be hard to beat. A lonp;
thumb — decision; a wide, deep palm — stam-
ina; long unequal length, big fingers — brains,
imagination and a touch of philosophy.
There is beside in this hand something that
leads you to think that he would have a
fine sense of his moral obligations. This
mnn would fight for a square deal for him-
self and get it. If you don't believe it, loo'c
again at his thumb. But he would be jun
as quick to put up a fight to give the other
fellow an equally square deal.

He would be a man of very decided opin-
ions but of real vision. Interested in lit-
erature and the arts, successful in business,
surrounded with loyal friends, the world is
a very pleasant place in which to live.

"The Pessimist"

By Chester H. Thompson

BEHOLD, I come with palsied hand
And grimace on my face ;
For know ye I'm the Pessimist,
Accursed of all the race.

I poison every thing that's good,
I crab where e'er I go.
And now I've found a virgin field,
It is the Picture Show.

I'll pass amongst the Movie Fans,

I'll show them where it's wrong.

And soon I'll change their merry tunes

Unto a sadder song.

No more will bright lights shine at night,
Proclaiming far the name.
Of Movie Stars that's won the Mass,
And gained a world-wide fame.

But what is that I see far off.
That guides the people's way?
At last it is old Common-sense,
I fear he's come to stay.

Then I must go to other clirnes,
Far from his pesky reach ;
And crab alone beside the waves,
With crabs upon the beach.

Banish Iff

AS discordant as
a costume of
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as a precious jewel
set in a tarnished
mounting, is a youth-
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in gray, faded hair.

Inattention to this impor-
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ONTARIO cOVINGTON.KY. U.S.A.

When you w ite to advertisers please mention PHOTOPLAY MAGAZIXr.

128

Photoplay Magazine — Aunertising Section

Favored by

the Stars

f)!. that delightful, smooth, sweet, clean feeling
^^' Ly f/jQt comes from usin^ Boncilla Beautifier! No
woman desirous of a beautiful skin should ever he with-
out this perfect toilet requisite.— ETHEL CLA YTON.

Boncilla Beautifier

Prepared from Mme. Boncilia's famous formula

CLEARS THE COMPLEXION

REMOVES BLACKHEADS

LIFTS OUT THE UNES

CLOSES ENLARGED PORES

Gives the skin a velvety softness and youthful
texture.

You can now take these treatments yourself by
a simple application of this wonderful preparation.

In a few minutes after applied you feel the sooth-
ing, lifting sensation that assures you of its work of
youthful restoration. It lijts out the lines.

Boncilla Beautifier is more than a skin treatment.
It acts on the muscles and tissues of the face, giving
a firmness and youthfulness in place of any saggi-
ness of the skin or tissues of the face. It also renews
the circulation of the blood in the face, giving it a
renewed fresh, clear, radiant glow of health.

You will note the improvement from the first
treatment. Use twice a week until you get the face
free from lines and other imperfections, then occa-
sionally to keep it so.

You shall not be disappointed, for if it does not
fully satisfy you, we return to you the full price
paid, as per our guarantee with each jar.

If your dealer will not supply you promptly,
send $1 .56 covering price and Revenue Stamps.

The Crown Chemical Company

Dept. 10 INDIANAPOLIS, IND.

The Gordon Motor Crib

a new comtort for mother and baby

This Baby Crib for your auto is being used by thoubands oi
families. An ingenious SPRING arrangement enables
the baby to sleep over the roughest roads and mother can
drive. No jars or shocks. It can be compjictly fohied or
quickly removed when not in use. Cover protetls child
from weather. Occupies no useUil space in Car.

Send for illustrated booklet and dealer's name.

GORDON MOTOR CRIB CO.

Dept. F 219 North State Street, Chicago

Bowlegoed Men

Your legs will appear straight
when you wear

Straightleg Garters

Remarkable invention— Combinntion hose-
supporter and pant - leg Stralghtener —
Qiilcklv adjusted to fit various degrees
of bowlegs: as easy to put on and com-
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t — no harness or padded forms; just au
1 iageniouH Hpecial gaiter for bowleg^ed
5 men — improves ai>pearance wonderfnll\.
Bowleggep men everywhere are wearing them;enthusia8-
tlc. WriTC for free booklet, mailed in plain envelope.

"Aphrodite"

(Continued from' page j6)

S-L GARTER CO.

808 Trtnt Co. BIdg.

DAYTON. OHIO

he was shaking both my hands and saying,
'You are my Chrysis ! I wanted to test your
voice. I wanted to take you by surprise so
that you would not know I was making a
test. I heard you perfectly from the back
of the orchestra, despite all this racket.
When can you come to my office and sign
vour contract?'

"That is the story of my engagement.''
And a darn good story too. A typical
Gest anecdote. He's a shrewd one, is Mor-
ris.

We considered the subject of work— and
how much more work a body could stand.
Miss Dorothy had arrived at the studio at
10:30 o'clock that morning. She had gone
to her dressing room, arrayed herself in the
make-up of the part she was playing in Bar-
rie's "Half an Hour," had posed for two or
three dozen scenes and gone to her dressing
room lunch. At one o'clock she would re-
turn to the studio, caper before the camera
until five o'clock, return to her apartment,
eat her dinner, and leave for the Century
Theatre. At eight she would have adjusted
the few clothes that the heroine of "Aphro-
dite" is permitted to wear, and from eight
o'clock until eleven, she would lend pictorial
and dramatic interest to the story of that
spectacular .drama. By twelve midnight she
would be home again, and after a light sup-
per, would be tucked in bed by her anxious
maid, with nothing to do but dream of her
newer triumphs until nine o'clock next morn-
ing.

"It's a hard life," she said, "but it's worth
while. No one will ever know how eager I
was to get back to the stage. I know the
impression is general that I had never acted
in the spoken drama before being trusted
with this part, but as a matter of fact, I
had two years' experience in stock — work
that carried me through a range of parts of
all descriptions."

She paused and I knew instinctively that
this was the time to put the familiar query,
as to which Miss Dorothy had rather do —
act or pose, and I put it and got it over
with.

"If I could afford it," said she. "I would
do nothing but act. I am devoted to the
theater and always have been. I love it —
hard work, stuffy dressing rooms, smelly
stages and all. I am almost as eager to
get to the theater to-night after playing
Chrysis as I was that wonderful opening
night when my success or failure meant
everything to me, and I am crazy, literally
crazy, to play another part next year, if I
do not go on with this one. But, alas, I
cannot afford to give up the pictures. Nei-
ther, for the matter of that, do I want to
give them up. But if I were forced to make
my choice between the screen and the stage,
other things being equal, I would unhesitat-
ingly choose the stage."

"It's the applause?" I ventured.
"It's the fascination," said she, "and the
satisfaction. It is the inspiration the actress
in the theater gets from her audience, that
the actress before the camera never feels.
It is the lights, the stage, the voice, the
human contact. It is — "

"It is the theater," I said, and she agreed.

We drifted back to pictures. "There was

a rumor, so I've heard, that at one time

you thought seriously of giving up the

movies."

"There was a time," said she, "when the
pictures thought seriously of giving me up."
"Why?"
"Fat."
"Fat?"

"Just plain, ordinary, fat. Not flesh. Fat.
And, ye gods, how I worked to conquer it.
I walked miles and miles. I rode horse-
back until I couldn't move. I took enough

steam baths to vaporize an ordinary body.
I starved for days and days — and added
flesh by the minute. I became so weakened
under this vigorous treatment that I had not
the strength to fight any longer. Then, just
as I was about to give up, one of the
numerous remedies, or all of them in combi-
nation, began working in my favor and I
have had no trouble since. I am not, I
grant you, the airy, fairy Dorothy I should
like to be, even now, but neither am I as
I threatened to become."

We talked of her early pictures. "Which
of them," I asked her, "do you think formed
the foundation on which all your success has
been builded?"

"I have always thought," she said, "that
the work I did in 'The Disciple' was most
responsible."

"That was the picture in which your
beauty was first discovered?"

Her make-up hid most of her modest
blushes as she answered.

"No, that was the picture in which I
worked hardest to conceal such beauty as
the Lord has given me. That is why I at-
tracted attention.

"At that time, you may recall, every
actress in the movies was struggling to be
beautiful. Nothing but a screen star's face
and figure — and principally her face — were
talked about. Every girl who applied for a
position, unless she was an eccentric comedi-
enne, and realized it (which few did), consid-
ered it her duty to smile and smirk and look
as much like Mary Pickford as possible. The
part they gave me in 'The Disciple' was that
of a mad girl. She had many scenes in
which she wandered, a wild thing, through
the forest. I never had seen a mad girl or
read of one who was not disheveled. I de-
termined to play the part as true to my
conception of such a character as I could. I
wore old, torn clothes. I wet my hair and
let it string about my face. I gave my face
a drawn, pinched look. My director ac-
cepted it as an evidence of my willingness
to make a great sacrifice in the name of
art, and I acted that part for all I was
worth.

"As a result, my appearance was in such
marked contrast to that of the other women
in the case that I attracted attention and
from that time on I have had no difficulty
at all in securing positions."

"But," I said, "it is Dorothy Dalton, the
beauty, we hear most about."

"I do not mean," she hurried on, "that I
went on playing ugly roles. There are not
many of them written in the scenarios. I
was soon playing ingenues and heroines who
were supposed to be beautiful. But if I
had not been given that chance in 'The
Disciple' to prove that I could act, I prob-
ably would have been in competition with
all the other good looking girls of the screen
for years and might never — "

"Might never have been working sixteen
hours a day and worrying about the income
tax," I ventured.
"Right," said she.

Anna took the luncheon things away.
"Don't you want to rest?" I asked, being
a considerate party.

"I never rest," said she, "except on Sun-
day. Then all I have to do is to turn my-
self over to a masseuse, a manicurist and
a hairdresser, take a few 'setting up' exer-
cises, go for a long walk, or a long ride, if
the weather dosen't permit walking, read a
half dozen scenarios, talk to a few directors,
producers and such, and visit with the friends
who call. The rest of the day I have to
myself."

"What kind of parts would you rather
play?"

'Vamps. But they won't let me. Vamps

Every acWertlsement in PHOTOPI,.\Y JUVGAZIXK is guaranteed.

Fhoioplay Magazink — Advertising Section

129

"Aphrodite"

(Concluded)

arc no longer vogue. Every time I try one
now the letters pour in by the basketful.
'Why does Miss Dalton do this sort of
thing?' 'Can't you let Miss Dalton be her
natural self?' 'Please, Miss Dalton, no more
bad women.' And so on."

''But why do you like to play vamps?"

"Because they are always the best acting
parts. There is something to them, they
have character atid force. They live."

I asked her if she thought the pictures
were going to improve. She thought they
had improved. And if they had not it was
not the producers' fault. They were willing
to pay any price for stories by the best
writers, and casts of the best actors.

"Whisper," she whispered, "I don't want
them to get too good."

"Why?"

"Because if they were too good there
would be no chance for the stars to save
them."

Occasionally the truth will out.

g!IIIIIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII!!lllllll!lllllllllllllll^

I OUR READERS SAY: |

W Letters from readers areinvited bytheedi- |=j

^ tor. They should be not more than three li

^ hundred words in length, and must have W

^ attached the writer's name and address. ^

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ iiiiiii

Jamaica, N. Y.
Editor Photoplay.
Dear Sir:

IN looking over February Photoplay 1
read your article "Give Labor the Star
Dressing Room." I'll say, you sure did hit
it right in a few words and I liked it.
There are thousands of good workmen that
never have the spotlight turned on them. A
few articles more like that and any man with
brains would endeavor to do better each
time. Even if the public didn't all read it,
he would know somebody appreciated him.
Alonzo E. Kinney,
Locomotive Engineer.

Corsicana, Texas.
Editor Photopl.^y.
My dear sir:

PLEASE allow me to enter my protest
against the manner in which the pro-
ducers of motion pictures abuse the manner-
ism of speech of we Southerners.

It is true that we rural folk use some
words incorrectly, either intentionally or
otherwise, according to the standards set up
and maintained by *taid college professors.

There is one term of ours which if used
in their presence, would cause the afore-
mentioned C. P.'s to raise their eyes and
hands — the former in supplication, the latter
in disgust — to the skies. This particular
term, so often used is- "You all."

However we speak this ahcays in the
plural form. Never in the singular. I ask
them to bear this fact in mind when pro^
ducing a sensible photo-play. They, the
producers seem to forget that there are as
intelligent people in the South as elsewhere.

Now, for example I remember a photo-
play was released, and it became quite a
"drawing card" for the box-office, or was
advertised as such. At any rate it was sup-
posed to possess a Southern locale. And the
way the Southern hero and heroine — also of
the South — conversed — was — outrageous.

Another instance of this barbarous butch-,
ery of the Southern dialect was manifest in
a current release: "Bill Apperson's Boy."
A born and bred Southerner,
^F. JriTi's Starks.

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For 65 Cents

You can obtain the next three numbers of
Photoplay Magazine, dehvered to you by the
postman any vvliere in the U.S. (Canada 80c. )
This special offer is made as a trial subscrip-
tion. Also it will avoid the old story of "Sold
Out," if you happen to be a little late at the
news-stand. Send postal order to Dept. 17C.

PHOTOPLAY MAGAZINE

350 N. Clark Street CHICAGO

GIVEN

1 1 kill PI F Hawaiian Guitar, Violio, Mandolin,
W*W LtLtGuitar, Cornel, Tenor Banjo or Banjo

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IT is easier to be well than to be sick when you learn how. When you
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little effect upon you. Be free from nagging ailments! Weigh what
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Round Slioqlders Irritaliility Poor Circulation Auto-Intoxication

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Our Soldiers Have Done So— Why Not You?

If you are in Chicago, come to see me, but sit down and write me NOW. Don't
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Susanna Cocroft. Dept. 3S. 624- S. Michigan Ave.. Chicago. Ill

Miss Cocroft is a nationally recognized authority on condition-
ing tvotnen as our training camps have conditioned ottr men.

niieii you v^^ite to advertisers please mention PHOTOPLAY- M.^G.\ZINE.

128

Photoplay Magazine-

Favored by

the Stars

The Gordon Motor Crib

a new comfort for mother and baby

This Baby Crib for your auto is lieing used by thousands ot
families. An ingenious SPRING arrangement enables
the baby to sleep over the roughest roads and mother can
dri\e. No jars or shocks. It can be compactly folded or
quickly removed when not in use. Cover protects child
from weather. Occupies no useful space in car.

Send for illustrated booklet and dealer's name.

GORDON MOTOR CRIB CO.

Dept. F 219 North State Street. Chicago

-Advertising Section

"Aphrodite"

(Continued from~pagc j6)

/^7 that delightful, smooth, sweet, dean feeling
^— ^' '■) that comes from usin^ Boncilla Beautifier! No
woman desirous of a beautiful skin should ever be with-
out this perfect toilet requisite. — ETHEL CLAYTON.

Boncilla Beautifier

Prepared from Mme. Boncilla's famous formula

CLEARS THE COMPLEXION

REMOVES BLACKHEADS

LIFTS OUT THE UNES

CLOSES ENLARGED PORES

Gives the skin a velvety softness and youthful
texture.

You can now take these treatments yourself by
a simple application of this wonderful preparation.

In a few minutes after applied you feel the sooth-
ing, lifting sensation that assures you of its work of
youthful restoration. It lijts out the lines.

Boncilla Beautifier is more than a skin treatrnent.
It acts on the muscles and tissues of the face, giving
a firmness and youthfulness in place of any saggi-
ness of the skin or tissues of the face. It also renews
the circulation of the blood in the face, giving it a
renewed fresh, clear, radiant glow of health.

You will note the improvement from the first
treatment. Use twice a week until you get the face
free from lines and other imperfections, then occa-
sionally to keep it so.

You shall not be disappointed, for if it does not
fully satisfy you, we return to you the full price
paid, as per our guarantee with each jar.

If your dealer will not supply you promptly,
send $1 .56 covering price and Revenue Stamps.

The Crown Chemical Company

Dept. 10 INDIANAPOLIS, IND.

Bowiegged Men

Your legs will appear straight
when you wear

Straightleg Garters

Remarkable invention— Combination hose-
supporter and punt - leg Straighteuer —
Quicklv adjusted to fit various degrees
of t)owlegs: as easy to put on and com-
fortable to wear as an> ordinary garter
~ no harness or padded forms; just an
ingenious npecial gaiter for bowlegged
men — improves acpearanoe woiuierftiU;

Bowleggep men everywhere are wearing them:enthusiaa
tic. WriTC for free booklet, mailed in plain envelope.

S-L GARTER CO.

808 Trust Co. Bids. DAYTON, OHIO

he was shaking both my hands and saying,
'Vou are my Chrysis ! I wanted to test your
voice. I wanted to take you by surprise so
that you would not know I was making a
test. I heard you perfectly from the back
of the orchestra, despite all this racket.
Whe>n can you come to my office and sign
vour contract?'
"That is the story of my engagement."
And a darn good story too. A typical
Gest anecdote. He's a shrewd one, is Mor-
ris.

We considered the subject of work — and
how much more work a body could stand.
Miss Dorothy had arrived at the studio at
10:30 o'clock that morning. She had gone
to her dressing room, arrayed herself in the
make-up of the part she was playing in Bar-
rie's "Half an Hour," had posed for two or
three dozen scenes and gone to her dressing
room lunch. At one o'clock she would re-
turn to the studio, caper before the camera
until five o'clock, return to her apartment,
eat her dinner, and leave for the Century
Theatre. At eight she would have adjusted
the few clothes that the heroine of "Aphro-
dite" is permitted to wear, and from eight
o'clock until eleven, she would lend pictorial
and dramatic interest to the story of that
spectacular -drama. By twelve midnight she
would be home again, and after a light sup-
per, would be tucked in bed by her anxious
maid, with nothing to do but dream of her
newer triumphs until nine o'clock next morn-
ing.

She paused and I knew instinctively that
this was the time to put the familiar query,
as to which Miss Dorothy had rather do —
act or pose, and I put it and got it over
with.

"If I could afford it," said she, "I would
do nothing but act. I am devoted to the
theater and always have been. I love it —
hard work, stuffy dressing rooms, smelly
stages and all. I am almost as eager to
get to the theater to-night after playing
Chrysis as I was that wonderful opening
night when my success or failure meant
everything to me, and I am crazy, literally
crazy, to play another part next year, if I
do not go on with this one. But, alas, I
cannot afford to give up the pictures. Nei-
ther, for the matter of that, do I want to
give them up. But if I were forced to make
my choice between the screen and the stage,
other things being equal, I would unhesitat-
ingly choose the stage."

"It is the theater," I said, and she agreed.

We drifted back to pictures. "There was

a rumor, so I've heard, that at one time

you thought seriously of giving up the

movies."

"There was a time," said she, "when the
pictures thought seriously of giving me up."
"Why?"
"Fat."
"Fat?"

"Just plain, ordinary, fat. Not flesh. Fat.
And, ye gods, how I worked to conquer it.
I walked miles and miles. I rode horse-
back until I couldn't move. I took enough

We talked of her early pictures. "Which
of them," I asked her, "do you think formed
the foundation on which all your success has
been builded?"

"I have always thought," she said, "that
the work I did in 'The Disciple' was most
responsible."

"That was the picture in which your
beauty was first discovered?"

Her make-up hid most of her modest
blushes as she answered.

"No, that was the picture in which I
worked hardest to conceal such beauty as
the Lord has given me. That is why I at-
tracted attention.

"As a result, my appearance was in such
marked contrast to that of the other women
in the case that I attracted attention and
from that time on I have had no difficulty
at all in securing positions."

"But," I said, "it is Dorothy Dalton, the
beauty, we hear most about "

"Might never have been working sixteen
hours a day and worrying about the income
tax," I ventured.

"Right," said she.

Anna took the luncheon things away.

"Don't you want to rest?" I asked, being
a considerate party.

"What kind of parts would vou rather
play?"

"\'amps. But they won't let me. Vamps

Every advertisement la PHOTOPL.W JI.VGAZIXE is guaranteed.

Photoplay Magazine — Advertising Section

"Aphrodite

(Concluded)

129

are no longer vogue. Every time I try one
now the letters pour in by the basketful.
'Why does Miss Dalton do this sort of
thing?' 'Can't you let Miss Dalton be her
natural self?' 'Please, Miss Dalton, no more
bad women.' And so on."

"But why do you like to play vamps?"

"Because they are always the best acting
parts. There is something to them, they
have character and force. They live."

I asked her if she thought the picture.^
were going to improve. She thought they
had improved. And if they had not il was
not the producers' fault. They were willing
to pay any price for stories by the best
writers, and casts of the best actors.

"Whisper," she whispered, "I don't want
them to get too good."

"Why?"

"Because if they were too good there
would be no chance for the stars to save
them."

Occasionally the truth will out.

OUR READERS SAY: |

Letters from readers are invited by tkeedi- M

tor. They should be not more than three p

hundred words in length, and must have g;

attached the writer's name and address. 15

Jamaica, N. Y.
Editor Photoplay.
Dear Sir:

IN looking over February Photoplay I
read your article "Give Labor the Star
Dressing Room." I'll say, you sure did hit
it right in a few words and I liked it.
There are thousands of good workmen that
never have the spotlight turned on them. A
few articles more like that and any man with
brains would endeavor to do better each
time. Even if the public didn't all read it,
he would know somebody appreciated him.
Alonzo I. Kinney,
Locomotive Engineer.

Corsicana, Texas.
Editor Photopl.^y.
My dear sir:

PLEASE allow me to enter my protest
against the manner in which the pro-
ducers of motion pictures abuse the manner-
ism of speech of we Southerners.

It is true that we rural folk use some
words incorrectly, either intentionally or
otherwise, according to the standards set up
and maintained by *taid college professors.

However we speak this always in the
plural form. Never in the singular. I ask
them to bear this fact in mind when pro^
ducing a sensible photo-play. They, the
producers seem to forget that there are as
intelligent people in the South as elsewhere.

Another instance of this barbarous butch-,
ery of the Southern dialect was manifest in
a current release: "Bill Apperson's Boy."
A born and bred Southerner,
^F. JrtTi's Starks,

■■■'Ssr '

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For 65 Cents

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This special offer is made as a trial subscrip-
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news-stand. Send postal order to Dept. 17C.

PHOTOPLAY MAGAZINE

350 N. Clark Street CHICAGO

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I30

Photoplay Magazine — Advertising Section

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I REMEMBER — i

\ Every advertisement in PHOTOPLAY is guaranteed, |

[ not only by the advertiser, but by the publisher. |

■ When you write to advertisers please mention that |

i you sav^ the advertisement in PHOTOPLAY. |

rlMiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiii|ii|iii'iiiii;:eiiIiilMiiiiiiii<|iiiiiiiii!iiiiiiiinliiliiliiBiiliiliiiiiiiiiiiiiiiiiluiiiliiliiliiliil)iliiliiliiiiiliiiiii~

Goin^ to bed, irt s tyle ?

Rest
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''TiieSNlGHTwe^i- of a Natibrt^^"

Kind To Dumb Waiters

{Concluded from page jj)

eye as Pauline Frederick do not expect that
society will remain in ignorance of their
private lives no matter how much they wish
this, and Miss Frederick's recent divorce
action announced the sensational failure of
a marriage that promised much. Such a
marriage with a brilliant writer one of the
most brilliant playwrights of the day, could
not fail to make a deep impression upon
so receptive a nature as hers. It is this last
marriage, perhaps, that has brought that
look of deep, wistful sweetness to her face.
We chatter for an hour. She adores
babies, she likes dancing and cards and she
gets as much pleasure from her magnificent
wardrobe as you imagine you would if you
could have it. In fact, her powers of en-
joyment, for a woman who has seen the
world so thoroughly, are singularly unspoiled.
She sings exquisitely. She appeared, before
her motion picture days, in "It Happened in
Nordland," "Toddles," "When Knights
were Bold." "Samson," "Innocent" and
other successes. I am a little tired of the
parade of "mother and daughter" senti-
ment, but there is about the relation of
Pauline Frederick and her mother a whole-
some respect, a mutual regard, that reminds
of Jack Lait's famous line, "Gee, it must be
wonderful to have a mother," and the little
cabaret girl's breathless response, "Gee, it
must be wonderful to be a mother."

Pauline Frederick looked absurdly small
in the corner of the big divan where she lay
relaxed after a hard day at the studio.
With one firm, magnetic little Land, she
scooped up the small black Pomeranian who,
all fours in the air, was trying by every
known dog medium to carry to her his
undying adoration, and cuddled him be-
neath her chin.

"I don't like little dogs, do you?" she in-
quired lazily. "Fact is, I don't like women
who like little dogs. But this darn thing
appeals to my sense of humor. Somebody's
kidded him into thinking he's a mastiff. It
may result in an ultimate demise, but mean-
time it tickles me to see him attacking
Airedales and German police dogs with im-
partiality. Beside, he just naturally picked
me for his own and I haven't the heart to
refuse him. I saw him at a dog show in
New York one day and he hopped right
down off his little old perch and followed
me. When they tried to take him back, he
howled like a wolf. My vanity was my
undoing, I suppose, and anyway I like a
dog that knows what he wants."

Perhaps you have been thinking, after
seeing Pauline Frederick on the screen for
five years — first with Famous Players and
now with Goldwyn — that she should be a
vampire. On the contrary, she is a vam-
pire who isn't.

Romance

S. King Russell

I find my romance on the silversheet,
It really is, by far, the safer way,
My heroine is always pure and sweet
Yet does not scold me, if I choose to stray.
I never find her cross, this dainty miss.
Nor see life's sorrow mirrored in her face
I thrill to every final screenic kiss
When fancy holds me close in love's embrace.
I never worry when my love's pursued
By cruel villains through a trackless waste
The hero comes in time to end the feud
My lady fair, though chased, will turn out

chaste.
And yet for all her lace and lingerie

I never worry over bills to pay,

I find my romance on the screen, you see,

It really is by far the better way.

Every advertisement in PHOTOPLAY MAGAZINE is tmaranteea.

Photoplay IvlAdA/.iNK — Adm:hiising Si-xhion

Ja^^ing Up the Fashions

(Concluded from page 58)

white organdie, trimmed demurely in ruffles.
It was exactly the sort of thing for a gradu-
ation frock, and the enterprising young man
who keeps Miss Minter's name before the
public released the picture to the Sunday
'papers with a detailed description of how
the gown might be made at home. As one
feature of the aftermath, it may be interest-
ing to learn that the makers of white or-
gandie were puzzled for some time to learn
the reason for the large orders for this ma-
terial that were suddenly wired in from de-
partment stores all over the country. Miss
Minter's press agent and a few of us who
have to keep an ear to the ground for fashion
rumors might have enlightened them. It was
just another move in the game of jazzing up
the fashions.

Take the ostrich feather fan as another
example of the influence of motion picture
stars on the current fashions. Last year Elsie
Ferguson was screened in a society drama in
which she carried a huge fan of ostrich feath-
ers. Women came, saw and took mental
notes. Then things began to happen. The
smart shops were besieged with people who
had suddenly made up their minds that they
weren't properly clothed for a dance or the
theater unless they carried around at least
fifty dollars' worth of curled ostrich. The
manufacturers of ostrich plumage, who were
placidly getting ready for the usual amount
of business, were suddenly buried under an
avalanche of orders and they, in turn, began
frantically making S. O, S. signals to the
"raw plumage" men. Of course, the supply
of ostrich didn't hold out, and then the re-
sourceful ones turned to other fields of plun-
der. The turkey tail fan that used to be
grandmother's cherished possession — and that
was put away along with the case of wax
flowers — was dragged from its place of con-
cealment by mother and the girls and the
feathers mounted on ivory sticks. For if
Elsie carried a fan it was dollars to dough-
nuts that mother and the girls wouldn't be
found going out socially without one.

Aside from the practical value of the mo-
tion picture in carrying the new fashions to
people throughout the country, is another
fact quite as important although not so obvi-
ous. That is the value of the lesson taught
by the appropriately-dressed motion picture
actress. For it is lamentably true that a
person may spend huge sums of money on
clothes and yet be badly dressed. Beauty
of line is a religion with the men and women
who design clothes for the film stars and this
lesson is being absorbed by millions of people
in this country every time they attend a film
play. ' •

Incidentally — draw your chairs a little
closer, girls — I had a chance yesterday to
see a little taffeta summer dress that is
being made for one of the film stars. Of
course, I don't believe in repeating things
that I hear, but if you should happen to
have some nice old lace around the house
just put it on your new gown. Just a
flounce around the tunic, you know, and
some around your short sleeves, and a ruffle
about the neck. If you do, you may have
a proud moment about next July when you
find out that you have been jazzing up the
fashions yourself.

131

The Face in the Dark That
Brought $200

He never saw the girl again. A white face pressed for a moment to the
rainy window pane — no more he saw. No one else in the hurrying crowd
looked up.

But he carried home with him the memory of her frightened eyes.

He wondered what made her look like that.

Slowly an explanation took shape in his mind. His trained imagination
worked on it. One rainy night he sat down and wrote the story out — and sold
"The Girl in the First Floor Flat" for $ 200.

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short stories and photoplays

If you have ever had a daydream; if you have
ever wondered about the beggar to whom you gave
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How to develop a story from a commonplace

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step by step Hoosicr Institute takes you by per-
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Sh^rt Story Department
Dept. 1535 FT. WAYNE, IND,

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Short Story Dtpartment

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REMEMBER

That every advertisement in
PHOTOPLAY is guaranteed,
notonlybytheadvertiser.butby
the publisher. When you write
please mention PHOTOPLAY.

Copy this Sketch

and let me see what you can
do with it. Many newspaper
artists earning $30.00 to
$125.00or more per week were
trained by my course ot per-
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mail. PICTURE CHARTS
make original clrawini,' easy
to learn. Send sketch of J
Uncle Sara with 6c in stamps ^^'^
for sample Picture Chart, list ^^.^
of successful students, ex- '^

amples of their work and evidence of what YOU
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^l^e Landon ScKool

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When you write to adrertlsers please mention PHOTOPLAY MAOAZIXr,

132

Photoplay Magazine — Advertising Section

Lift off Corns
with Fingers

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If we are any judge of pictures, tliis * Undenvood Siamese exhibitors made money with
Siamese movie queen is giving the " Huniman, ' the monkey god, with

gentleman a piece of her mind. !»»» warriors and retainers.

Movies in Old Siam

COULD it be possible that ancient
Siam had its censorship trou-
bles, too? Perhaps. Because Siam
had movies centuries and centuries
ago — and talking movies at that.

It was this way. The "movie
producer" carved small figures and
things out of leather, and attached
them to sticks. Then the "movie
director" manipulated these figures
pushing them in a trough before a
light in such a way that they cast

shadows on a curtain suspended be-
tween them and the audience. As
the shadows moved, or posed or
emoted, the "director" recited five
reel dramas telling the romances of
the kings and queens represented.
All this came to light the other
day, when a forgotten gift given by
the King of Siam to this country in
187s was found hidden away in
dusty boxes in the National Museum.
It contained several of these picture
shows of antiquity.

Questions and Answers

(Continued from page 121)

P. B. and C. K.— The hieroglyphics at
the end of your letter almost drove me to
coca-cola, or some other equally noxious
drink, until I reached the happy conclusion
that you didn't intend I should know what
they represented. Righto, little ones? Con-
stance Talmadge is as charming off the stage
as on. Creighton Hale is with World Film,
but Earle Foxe is now on the stage. Mollie
King's late pictures have been "Greater Than
Love" and "Women Men Forget." Sorry
to disappoint you on the "Sandman" in
Snow White. The casting director did not
keep a record of this dignitary's name.

pay for the chorus. But after a long, bitter
fight an amiable agreement was reached.

Leah, Miss. — The course of your purple
ink took a straight, unwavering path and
here is its reward — prompt on everything.
At this writing Norma Talmadge is taking a
well earned rest in Florida, but mail should
be sent to her at 318 East 48th St., N. Y. C.
The present showing of "Pollyanna" answers
you on Mary Pickford. Both Doug and
Charlie live in Los Angeles. Yes, they even
speak when they meet each other — nothing
upstage about either!

Isabel Burns — No, I'm not surprised to
hear from you again. Nothing could sur-
prise me after the adoption of national
prohibition. What was the actors' strike
about? Well, in brief — and it's very brief
because it's rather out of our line — the
Equity Association wanted recognition of
their demands from managers, and untQ
these demands were recognized their mem-
bers refused to perform, except at their own
benefits. The Equity demands included pay
for holiday work, footgear and hose supplied
to the chorus (without charge) and better

Madge Evans Forever. — Tiiat sounds as
good as three cheers. You love the little
lady, don't you, young fourteen? She is
now with Prizma, Ft. Lee, N. J. Tommy
Evans is not her brother. Her parents are
not professionals, though her father is her
manager. Before her mother crossed the
English Channel, she was a fairly famous
model of a well-liked London sculptor.
Joyce Fair played a lead with Essanay when
she was twelve. That's four years ago.
Emory Johnson is married, not Montague
Love — at least he has not told us of it if
he is. Carlyle Blackwell's last picture was
an International — "The Restless Sex." The
Lee children always play together. Aleta
Dore is Marguerite Clark's adopted sister.
She's about seventeen or eighteen. Yes, we
will forward your letters to players. No
to your query about Marie Osborne. Mary
McAlister is now on the stage. Neither she
nor Madge Evans have brightened the old
Answer Man's life by dropping in on him.
But we used to know Mary, in Chicago.
We are stationed in Manhattan now, you
know. Great place, N'Yawk ! We are learn-
ing to drop our R's and everything.

Clara, Indianapolis. — Mae Marsh's hus-
band is not in pictures, so it is not likely his
picture will appear in our magazine. He is
Louis Lee Arms, a New York newspaper
writer. Yes, I believe the two stars you
mention would send you their pictures.
Their addresses will be found elsewhere.
Wanda Hawley is at the Lasky Studio, Hol-
lywood, Cal., and Ralph Graves at the
Griffith Studio, Mamaroneck, N. Y.

Every a>lvcrtisement in PHOTOPLAY MAGAZINT3 is guaranteed.

Photoplay Magazine — Advertisino Section

133

Questions and Answers

(Ccmtinued)

Smiles, Ohio. — They comes in stacks of
blue, pink, white, lavender, brown — but,
yours; ah! delicate tone of jade. I vow, that
paper gave me a thrill. Tom Forman is a
"has-been" on marriage — divorced. He's
about twenty-five. He will get a letter from
you if addressed to Lasky Studio, Holly-
wood, Cal.

Lonesome, Fla. — How lonesome? As
lonesome as a walnut in a barrel? Oh, roll
along! Wm. Hart has written "Pinto Ben
and Other Stories"; Pearl White "Just Me";
Douglas Fairbanks, "Laugh and Live" and
"Making The World Worth-While;" Olga
Petrova, poems and popular songs; Doris
Kenyon, book of verse. Any bookstore with
a complete line carries these publications.
If you wanted to try a New York one, you
might write to Brentano, Fifth Ave. and
37th Street. Eugene O'Brien is thirty-five.
Maybe "Laugh and Live" would drive away
that lonesomeness.

Molly, III. — Have I any pull with the
editor? Wal, I dunno. But — and this hope-
fully— I'll pass your suggestions on to him.
The last I heard of Mary MacAlister she
was playing at the Majestic Theatre in Los
Angeles. Harold Lockwood's son was a
junior. Mollie suggests a fine Irish nature.
Right or wrong?

Doris, Oregon. — What a superb imagina-
tion you have. Nurture it tenderly, child,
and some day there may be hope for you
as a vivid novelist. Oscar Wilde said "many
a young man starts in life with a natural
gift for exaggeration which, if nurtured in
congenial and sympathetic surroundings, or
by the imitations of the best models, might
grow into something really great and won-
derful." Yes, Natalie Talmadge is in pic-
tures, though confessedly not crazy about it.
Here are some of Dustin Farnum's old pic-
tures: "The Scarlet Pimpernel;" "The Spy;"
"Durand of the Bad Lands;" "Light of
Western Stars;" "North of Fifty Three;" "A
Son of Erin." "A Man's Fight" is a rather
recent one of his. "The Corsican Brothers,"
from Alexandre Dumas' great story, is his
very latest.

L. G. H., Milwaukee. — Carol Dempster
p'ayed opposite Richard Barthelmess in
"Scarlet Days." A vague "perhaps" is our
answer to your Norma Talmadge query.
No, she is not bobbed. "Hawthorne of the
U. S. A." is Wally Reid's latest. Allan For-
rest is thirty and divorced. Dcug has not
ventured into matrimony again. Billie
Burke is thirty-four. "Held by the Enemy "
is Wanda Hawley's latest.

N. O. Girl, La. — Monroe Salisbury is
thirty-eight. Married. Cullen Landis is
twenty-four, Ethel Clayton thirty and June
Elvidge twenty-seven. The last named is
divorced. Billie Rhodes cheerfully admits
she was born in San Francisco, but just as
cheerfully omits the year. Stumped.

LoRNA, New Zealand. — Awfully sorry to
disappoint you, youngster, but we are no
longer publishing letters inviting correspond-
ence between our readers. Your sketches are
nice. They remind me of those of the
late Theodore Roosevelt to his children, when
they were at an age capable of grasping only
pictures.

Ruth B., Iovv^a.— Have a heart— the An-
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and trimming of a cinema star's gown is
quite beyond me — ask me something easy —
as, "Will snakes become extinct with prohi-
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(Continued)

C. B. W., Canada. — So you would just
love to be an actress! Piffle, child, continue
with your books. Then perhaps five years
from now think about it again. Clara Kim-
ball Young is married, and is twenty-nine.
Just keep at your books awhile, and then
write her some years hence telling her all
about your ambitions and who knows what
may happen? My advice is forget it.

Peggy Hay, Colo. — Your green dipped let-
ter, with its sprinkling of French, recalled the
time when I was struggling toward the end
of being able to read French opera before
hearing it. I loved then to appear like a
linguist in my correspondence until some real
friend begged me to lay off. I did. Harri-
son Ford and Wallie Reid may be addressed
Lasky, Hollywood, Cal. Anita Stewart,
Tally Theatre Bldg., Los Angeles.

L., Decatur, III. — "Giving Becky a
Chance" is the picture, starring Vivian Mar-
tin, which you mention. James L. Crane
was Miss Burke's husband in "The Mislead-
ing Wife" and Frank Mills played Colonel
Preedy. The valet in "Something to Do"
was Charles Gerard; so you see your hunch
was off. "In Search of a Sinner" was the
latest picture of Constance Talmadge. Not
married.

Doris, Maine. — Your first attempt struck
twelve. I hope all your first attempts will
be equally successful. Wallie Reid was born
in St. Louis. "Hawthorne of the U. S. A.;"
"The Lottery Man;" "The Valley of the
Giants;" "Too Many Millions" and "Roar-
ing Road" are some of his commendable
productions. William Farnum is forty-four
and his wife's name is Olive White. Anita
Stewart was born in Brooklyn twenty-four
years ago. From the earth skyward she
reaches five feet five inches.

M. S. W., East Orange.— While Wallie
Reid has blazed a trail across the screen, he
didn't blaze a trail in the \J. S. service. He
was ready and willing, of course, but then
there was wife and young son to look a^ter
until the bugle hailed him. But the bugle
blew its final call before it came around to
Wallie. Yes, I am sure a quarter sent to
Norma Talmadge at 318 East 48th St., N.
V. C, will bring you her photo. Where are
you going to hang it?

(Continued on page 136)

The Fable of the Good
Scenario Writer

(Continued from page 86)

me to rule Nations, yes even the League
of Nations itself. What though you offer
me the half of a Director's stipend, or t^he
fifth of a Star's? Still must I cry 'No
thank you!' For, verily, I say unto you I
am a Good Scenario Writer, and as such
I have too much sense to continue writing
scenarios !"

And he vanished as suddenly as a picture
when the reel endeth.

And that night the Producer's lamenta-
tions filled the air, and his prayers reached
the Seat of All Justice.

But the Lord, which is a just Lord, mere-
ly pulled a thick cloud over his head that
he might hear no further. For, verily, is
it mete to succor those who know not what
they want, nor how to obtain it if they
knew, nor yet to hold when once it has
been thrust upon them?

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Photoplay Magazine — Advertising Section

A Wife Too Many

Into the hotel lobby walked a beautiful
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—in 10 volumps. If the books are not satiafactory 1 will return both
sets within 10 days at your expense. Otherwise I will send you $1
within 5 day> and $2 a month fur M months.

OCCUPATION ,::

Send for Special Canadian Offvrz

Questions and Answers

Continued jrom page jj4

R. K. U., La.— Pat Moore is the little fel-
low you mention who played in "The Squaw
Man." He is not related either to the Moore
brothers or to Colleen Moore. Albert Ray
and Charles Ray are cousins. Bert Lytell is
not related to Viola Dana. Joseph Schenck
is Norma Talmadge's husband. Constance
not married.

J.-KPAN. — Sessue Hayakawa was born in
Tokio, i88q. Attended college in Japan and
liad six years' stage experience in the land of
his nativity. After coming to the U. S. he
attended the University of Chicago. Height
5) lyi't weight 157. Rides, swims, fences,
wrestles, paints and writes. Mary Pickford
is divorced. Marshall Neilan played op-
posite her in "A Girl of Yesterday'' and Cas-
son Ferguson in "How Could You Jean."
I have no record of the comedy you men-
tion. Niles Welch's latest pictures are with
Bessie Barriscale in "The Luck of Geral-
dine Laird" and in a Vitagraph special by
James Oliver Curwood — "The Courage of
Marge O'Doone," with Pauline Starke, our
little brunette free-lancette. Edward Earle
is 5, 1114; weighs 160 pounds; fair com-
plexion; blue eyes and light brown hair.

Marglterite K., British Columbia. — I
wonder if you are going to say "no thank
you" to proffers of candy, sadly but firmly,
again this year? Is the offer still good of
sending the Answer Man what you don't
cat? Enid Markey is at present on the stage.
Elmo Lincoln at tjniversal Studio, LTniversal
City, Cal. Vivian Reed is the girl in "The
Guilty Man" you refer to. Kathlyn Williams
is at Lasky Studio, Hollywood, Cal.

Elizabeth T., British Columbia. — Jack
Holt is at Lasky Studio, Hollywood, Cal.
Oh, I'm sure he would send a little British
Columbine his photograph. Yes, that's his
honest-to-goodness name.

Master Len, Ala. — What a pessimistic
cherub you are ! Marie Osborne, Priscilla
Dean and Norma Talmadge are not dead —
in truth, they are all very much alive. Pris-
cilla Dean lives on the Coast, which in the
cinema world signifies California; and 'tis
said she is married, at least engaged, to
Wheeler Oakman.

Mariance, Manhattan. — Heigho, once
again! Dick Barthelmess is twenty -five and
Eugene O'Brien thirty-six. Yes, twenty-five
cents in thrift or postage stamps will bring
you their pictures. True, our covers are
always of beautiful women. We don't care
for beautiful men.

May Evans, Cuba. — Shades of Truth!
No, Mary Pickford is not thirty, any more
than she has had three husbands. One. As
Antonio Moreno spent the first fourteen
years of his life in Spain, I should say you
would be safe in writing him in Spanish and
)i iving him understand it. Vitagraph Studio,
Hollywood, Cal., will reach him.

Helen B., Utah. — Promises must be made
in Heaven, or some equally distant place, be-
cause that fudge you promised is apparently
still enroute. Wesley Barry is the lad with
the ocean of freckles — cute, you call him.
Kenneth Harlan is a bachelor and receives
his mail at the Lasky Studio, Hollywood,
Cal. '

Philip, Cleveland. — Marion Leonard is
living, but living out of pictures. Your
note carried a shade of anxiety, and I am
glad to relieve it. . .

Make "YOURSELF

Don't Ptay in the clnss of "no"
good" nifn who never are able to
do anything that counts; who
are despised or pitied by success-
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look the facts in the face; you
won't "get better pretty soon**—
you*lI get worse, and go sliding
down into the ecraplieap of use-
less human wrecks, unless you

Brace Up and Build Yourself Up

There i.>^n't any doubt that you can dolt.
If you just WILL to do it, and g-o about it
the right way. You can get rid of the
constipation, indig"estion. dyspepsia, bit-
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ailments that are _ destroying all your
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back ; you can strenp'hen your vital
org-ana, build up your muscular system
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already' have succeeded in doing, Pptent
tnedicmes and druggists' dope didn't
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Pills and potions will only empty your
purse and put money Into the pockets of
their promoters. Take the right road.

Let Nature Help You Do It

I have spent my lifetime studying out Nature's ways of restor-
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unfortunate men, I have learned the secret of the wonderfully
recuperative, rejuvenating power she exerts, when a few of her
simple laws are known, obser\'ed and followed. It is the force
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Physical and Health Specialist
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Questions and Answers

(Continued)

Steno. Denver, — I can see that Casson
Ferguson has you vamped right off the
earth. Photopl.'W has no intention of
slighting him, dear little lady, but we have
a lot of ground to cover. Cheer him up by
sending a billet doux to the Lasky Studio,
Culver City, Calif. Of course I liked your
letter and say very heartily, "write again"'.

Chicken, Arizona. — So you do not write
on pale-blue stationary because you are a
perfectly plain everyday sort. That may
be, but your listed accomplishments put
you in a class with a finished debutante.
As a poetess I believe you are yet to set
the world agog. Better send Bill Hart that
blurb.

Gertrude E., New Orleans — Your pink
effusion carries a note of impatience, and so

1 am a little sheepish to realize that in this
case your impatience is well merited. I even
passed the three month span this time. But
watch me the ne.xt time you write!

Anita Stewart has her own company at

2 West 4Sth Street, N. Y. C. Marguerite
Clark has seen thirty-two summers, is mar-
ried to H. P. Williams of New Orleans, and
last starred in "Luck in Pawn". William
Russell is divorced from Charlotte Burton
and his latest picture is "Eastward Ho".
The lady in this domestic drama has not
appeared recently on the screen. Lastly,
the right name of Man,- Miles Minter is
Juliet Shelby, and she was born in Shreve-
port, La., seventeen years ago.

Betty Brown Eyes, Wisconsin — Beware,
child, I see the curse of skepticism hover-
ing over you. You say you "suppose" all
my answers are true; well, I know darn
well they are. And now here are some
pearls of truth for you. Gloria Swanson
has twice been a blushing bride — the last
time to Herbert K. Sanborn, president
Equity Pictures Corp. Brown is her hair
and blue her eyes. Vivian Martin is mar-
ried to Thomas Jefferson, and Doug Fair-
banks is divorced. Constance Talmadge is
in New York at present. Yes, the stars do
flit from coast to coast, but everyone likes
to share their radiance. Wouldn't Wisconsin
whoop with joy if a few stars descended
upon her?

Jack D., Detroit — My word, man, how
you hate yourself! Have you visited the
hatter recently? Well, when you do, the
largest size is going to pinch. If you're
such a good-looker, it's a shame that you
don't become an answer man. Then the
scented missives on aesthetic pink, blue
and lavender would swoop down on you
in such an avalanche that you would be
paging your good looks in a month.

Lady Balttmore. — With only two pas-
sionate desires in life — one to be an in-
terviewer and the other to see some of
the film stars in flesh — there's not much
danger of your going astray. But I sus-
pect you of another passionate desire, and
that is to bounce Dan Cupid and take his
job in mating motion picture stars. It
can't be done. Lady Baltimore, 'cause love
is blind even among the stars. Meanwhile,
see that you corral an Adonis yourself
for charity begins at home. X'est pas?

Mrs. G. W. M.. Middletown. — I am so
glad you came out on top in the argument
— Gale Henry has been a woman since she
first saw the light of day in Bear Valley,
Calif., ' twenty-six years ago. There's no
dodging the issue — comedienne does spell
the female of the species.

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^38

Pt OTOPLAY Magazine — Advertising Section

Questions and Answ^ers

(Concluded)

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T^flT"**

Present

7-2S-1i

Street

snri Nn

City

State

Clara, Deadwood, S. D. — You remind me
of the young bride who told her husband,
when he asked her what she wanted for her
birthday, that she'd love him just as much
if he didn't give her a thing. And then she
left him because he took her word for it.
Call me Old Rip; call me Whiskers; call me
anything, but don't insinuate that I'm an
Answer Lady instead of an Answer Man.
I won't answer your questions next time if
you do. Ralph Connors' books are being
filmed, in the original locations. I don't
think Olive Thomas' late picture material
has been up to her talents. She's an Irish
beauty, a little past twenty, and married to
Jack Pickford. She has an apartment in
New York and works at the Selznick West
Fort Lee studios.

J. S., New York. — That's from Schopen-
hauer, I believe: "We (the human race) are
like lambs in a field, disporting themselves
under the eye of the butcher, who chooses
out first one and then another for his prey."
I don't know much about this pessimistic
philosopher; I prefer not to think — and to
be rather happy. Dorothy Dalton started
with Thomas H. Ince; she played relatively
unimportant parts, sometimes with Bill Hart,
until her ability was noted and she was
starred. "The Flame of the Yukon" was her
first great success. Her present contract is
not with Ince but with Famous Players-
Lasky. She is playing "Aphrodite" on the
stage. Probably will do it on the screen, too,
later on.

ToTON, Flint, Michigan. — It is indeed
tragic that, having complied with my dearest
hopes by not writing on colored or scented
stationery and not asking a single question
about Dick Barthelmess, your query hap-
pens to be one I have already answered
elsewhere. Won't you, please, write again,
Toton?

Jim, Williston, N. D. — Your eulogistic
letter may swell my already large pile of
correspondence — but not my head-si2e. At
the present price of hats — Bill Hart is
lately seen in "Sand" in which he shares
leading honors with his horse Pinto and the
beauteous Mary Thurman, and "The Toll
Gate" — the name of which latter picture may
be changed for release. Kathleen Clifford
with Doug in "When the Clouds Roll By."
Since Margery Daw left the Fairbanks com-
pany to star for Marshall Neilan, Doug has
Iiad a different leading lady for each picture.
Charles Ray will be making his new pic-
tures for First National, though there are
-everal more releases to be filled on his Ince-
Paramount contract. You bet I'm for
Qiarles.

G. Hansen, Wis. — Your reference to
Kathleen Kirkham started me whistling
"Gee, but It's Great to Meet a Friend from
Your Home Town." Menominee, then, is
responsible for both you and Kathleen. Here
are some of her pictures: "For Husbands
Onlv," "He Comes up Smiling," "A Modern
Musketeer," "The Beloved Cheater." Ad-
dress Louis Gasnier Studio, Glendale, Cal.
The other addresses are: Anna Q. Nilsson,
Lasky, Hollywood; Owen Moore, Selznick,
729 Seventh Avenue, N, Y. C; Helen
Holmes, S. L. K. Serial Corp., 112 West 42d
Street, N. Y. C; Ruth Clifford, Universal,
Universal Citv, Cal.; Mrs. Sidney Drew,
Pathe, 25 West 4Sth Street, N. Y. C. I
think all screen stars make a noble effort to
answer their correspondence but at times it
sets a bit beyond them and their staff of
stenographers. You ask for Chicago film
companies. There are Essanay and Emerald
Film companies.

Henrietta Stalls, Ky. — No, Pearl White
is not married. Address this star, Fox Stu-
dio, 126 West 46th Street, N. Y. C. You are
going to get a thrill when you see Pearl on
Photoplay's cover. She's a glorious vision
of light and color.

Indian Mule, Mich.— Tut, child, what
rash statements you make. I shuddered
when I read your preference of men. I don't
think I'll tell you what I look like because
I can easily see I would not interest you — I'm
not handsome enough, for one thing. Your
hope is realized — Kenneth Harlan is in Cali-
fornia with the Universal.

Everybody, New Zealand. — What you
ask us about Charlie Chaplin is answered
in our vein of thought in the April Photo-
play. "One Hundred Million" was Sid Chap-
lin's first picture under his new contract.
Billie Burke is at present playing in "Cae-
sar's W'fe" in New York. This is a stage
production. Theodore Roberts is a character
actor — and one of the finest, too. Your
query about a New Zealand setting is a
poser, and a bit out of my line. I'm sorry.

K. A. R., Cal. — Of course I'll answer
your questions and very gladly. Jack Pick-
ford is a brother of the lovely Mary, but
so well has he done on his own that he does
not bask in the light of her reflected glory
as "Mary Pickford's brother," but rather
stands squarely on both his own feet. Write
and tell him of your admiration and see if a
picture, is not forthcoming. If the book you
mention has attributes akin to the screen —
action, love, humor, humanness, or spectacu-
lar quality — it possibly would make a good
picture.

Manon, Tenn. — Andrew Robson played
Robert Marsh in "The Gray Horizon." And
now for the cast of "The Man Beneath" :
Dr. Chindi Ashutor, Sessue Hayakawa; Kati
Erskine, Helen Jerome Eddy; Mary Erskine,
Pauline Curley; James Bassett, Jack Gilbert;
Countess Petite Florence, Fontaine LaRue;
Francois, Wedgewood Nowell. The black-
ness of your ink rather fascinates me. As
ink goes these days, it must be a pretty good
product. Watch out for the evidence you
leave on your blotter!

Blondie, Mass. — For the present, sun-
daughter, I must remain an enigma, dark and
insoluble as that ancient worthy, the Sphinx.
But what's a little mystery among friends?
Let's rip. Your collection is great — a collec-
tion that individually, or collectively, will
go down through history. Yes, Ralph Graves
is the youngest leading man in captivity. In
Richard Barthelmess' latest picture, "Scar-
let Days," there were two important iteminine
roles played by Carol Dempster and Clarine
Seymour. Nazimova confesses the place of
her birth, but not the year. She is Russian.
But what does it matter? ""Why Change
Your Wife?" is Bebe Dan'els' latest picture.
Address Lasky Studio, Hollywood, Cal. Dor-
othy Gish's latest is "Turning the Tables,"
with Raymond Cannon supporting her. Sea-
weed is my favorite necktie — a bit outre, but
a neat comeback on highbinder haberdashers.

BiLLiE, Kansas. — I'm glad you confessed
to me you were a girl. Though the Answer
Man loves all mankind, naturally he gets a
bit of a thrill when the writer suggests frills
and sweet — or Coty's — jasmine. Harrison
Ford registers at the Lasky Studio, Holly-
v/ood, Cal. Alice Brady is at Realart. Per-
haps you would better send them each a
quarter for their photos. Remember me to
Governor Allen, Billie. He's a great Amer-
ican.

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Photoi'lay Magazine — Advertising Section

139

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Send me your new catalog with illustrations in color and
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tails of the free trial and easy payment offer.

Nam*. . .
Address .

(Miuicai initrumtnt in which I am tipttially ii\Ur§ii$i.)

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I4.0

f HOTOPLAY Magazine — ^advertising ii^ection

?"We are advertised by our loving friends"!

cfPo,.

If your baby is not doing as well as you
hoped he would, use the Mellin's Food
Method of Milk Modification. It has
raised thousands of the brightest and
healthiest babies in the world.

Write for a Free Trial Bottle of Mellin's Food and our helpful
book, " The Care and Feeding of Infants. "

Mellin's Food Company, Boston, Mass.

Every adTerUsement in PHOTOPLAY MAGAZINE Is guaranteed.

■Aim,

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"^**'?!!9fe

7 vW^^

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X#»A'

:z:::sai:i: "■•■?..

Enchantment

Talcum Powder

Soft as the twining rose, caressing as a balmy soutli-blown
breeze. Its fragrance hints of dew-wet flowers yielding sweet
incense to the morning sun. What a charming San-Tox
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for her fair skin! She may rest assured, too, that its purity is
absolute. In frosted crystal bottles to grace her dressing table.

DE FREE

D^-ui York^ Holland, <JlSCich. San Francisco

SAN-TOX FOR PURITY

ONLY SAN-TOX DRUGGISTS
— Specially appointed btcause of their
high standing — sell San-Tox Prepara-
tions. Look for this sign of the nurse.

For the out-of-doors days

KODAK

And not merely the alluring picture story, but on every
negative at least a date; and a title, too, if you like. Titling
is the work of but an instant with an Autographic Kodak;
is as simple as making the picture itself — and there is no
extra charge for Autographic film.

Ifi^ isn '/ a7t Eastma7t, it is7i '/ a Kodak*

EASTMAN KODAK CO., Rochester, N. Y., The Kodak City

Caialoeue fret at your Dealer' i or by mail.

ay^azinc

■A * J * ! *

The Pickfovd-Faivhanks Wooing
Confessions of Theda Bava

In This Issue

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A une sorcerie feerique ieulement pouvez-vous
attribuer le cbarme de mon talc Djer-Kiif —
captivdfit dans son exqutiite, captivant dam
son charme francais. — Kerkoff, Paris.

Translation — To faerie magic alone can
you impute the charm of my Djer-Kiss
Talc -^ captivating in its exquisiteness,
captivating in its French grace.

DjerKiss Talc

— the warm summer through

Made in Paris, Djer-Kiss Talc brings to you
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And what a softness and purity — what a fra-
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warm weather!

Surely, Mademoiselle, more than ever you
will love this unusual French Talc — Djer-Kiss
Talc — the warm summer through.

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EXTRACT • FACE POWDER • TALC • SACHET
TOILET WATER • VEGETALE • SOAP

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•ROUGE

^Made in An

'•LIPSTICK •CREAM

erica luilh DicrKia Concentre

In return for fifteen cents the Alfred H. Smith

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will be happy to send you samples of

Djer-Kiss Extract, Face Powder

and Sachet. ^,*s*^C-^ ^^''""^"'S^

'( — ■^<

Pho'joim>ay Magazine — Advehtising Section

With the Victrola and Victor Records
you hear the greatest artists
just as they wish to be heard

Your interpretation of a piece of
music may be in itself a highly ar-
tistic achievement, but not if super-
imposed on the interpretation of a
master* It then would be neither
one thing nor the other.

The Victrola is equipped with
doors so that the volume of tone
may be regulated to suit varying
conditions. They are not in-
tended to be used _ in imposing
amateur "interpretations" upon
those of the world^s greatest artists,
for that would be to lose the very
thing you seek — the finest known
interpretations of music.

A Victor Record of Caruso is
Caruso himself— provided always
that some less qualified person
shall not tamper with what the
artist himself has done.

Victrolas $25 to $1500. Victor
dealers everywhere. New Victor
Records on sale at all dealers on
the 1st of each month.

VICTROLA

REG. U S PAT. OFF.

is" a trademarked word which identi-
fies products manufactured by the

Victrola XVII, $350
Victrola XVII, electric, $415

Mahogany or oak

Victor Talking Machine Co.

Camden, New Jersey

This trademark and the trademarked word
"Victrola" identify all our producM. Look
under the Udl Look on the label!

VICTOR TALKING MACHINE CO.
Camden, N. J.

When you write to atlverti^erg please iiieation PHOTOPIAT MAGAZINE.

Photoplay Magazine — Advebtising Section

II T out ^L AOMIT K>nr ^L ADMIT ONr^LAOM -T v" e^^*D" ' ' 0"^ ^^ AClWiT QUE ^^AOlin ONt ^^ AOMIT Our X ADMIT ONE^J iOMlT " ■- ■■ ^-ftPPin fINC ^^^CTIIT ON6.J

kJ^ouv please ^

LJ/jL family affair:

That's the way to get the most out of Paramount
Pictures.

Multiply the pleasure by sharing it !

Good entertainment logic, and happy logic, too.

You can see it illustrated by smiling faces at any
box office where money paid buys a view of Pic'
tures that are Pardmount.

Know before you pay. ^

Make sure it's a Paramount. Then "four, please"
is right.

paramount ^Iciure^

FAMOUS PLAYERS -TASKY CORPORATION MH^

AiK>LPtl ZaSORP-Vi JF.BSE L LAfiKV IVb Pna CECIL B OT MOiS. DrnxBr Otio"^ \=iiiS11 11 Wi

Every advertisement in PHOTOPLAY MAGAZIXK is guaranteed.

The World's Leading Motion Picture Publication

PHOTOPLAY MAGAZINE

JAMES Rl QUIRK, Editor

Vol. XVIII

Contents

No.l

June, 1920

Cover Design,

Katherine MacDonald

From a Pastel Portrait by Rolf Armstrong.

Rotogravure

Helene Chadwick, Peggy O'Dare, Bill Farnum, Helen
Ferguson, Raymond Hatton, Marion Davies, Jane
NovEik and Dorothy Gish.

The Welcome Wolves
They Both Rebelled

Two Shooting Stars Swap Firmaments.

Broadway's Royal Family

The Remarkable Story of the Barrymores.

Beauty Her Great Handicap

Katherine MacDonald's More-Than-Skin-Deep Troubles.

Dollars and the Woman

A Splendid Lesson in a Beautiful Story.

The Family Circle

A Heart to Heart Talk.

West Is East

A Few Impressions.

(Contents continued on next page)

Editorial 27
28

Ada Patterson 30

Julia Regis ' 34

Nanon Belois 36
Margaret E. Sangster 41

Noncensorship Howard Dietz and Ralph Barton 42

From Soup to Nuts, a Merry Menu.

Delight Evans 44

Editorial Offices, 25 W. 45th St., New York City

Published monthly by the PHOTOPLAY PUBLISHING Co., 350 N. Clark St., Chicago, 111.

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

Pictures Reviewed in the
Shadow Stage This Issue

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

Page 66

Dr, Jeckyll and Mr. Hyde

Paramount-Artcraft

Page 67

In Search of a Sinner. .First National
The Idol Dancer. . Griffith-First Nationl
Page 68

Dangerous Days Goldwyn

A Child for Sale Ivan Abramson

The Family Honor

Vidor-First National

Excuse My Dust. Paramount-Artcraft
Mary Ellen Comes to Town

Paramount-Artcraft

Old Lady 31 Metro

Page 95

His House in Order

Paramount-Artcraft

Duds Goldwvn

The Village Sleuth

Paramount-Artcraft

Page 99

The Harvest Moon

Gibralter-Hodkinson

Daredevil Jack Pathe

Locked Lips Universal

The Torchy Comedies C. C. Burr

Haunted Spooks Rolin-Pathe

Alarm-Clock Andy

Ince-Paramount-Artcraft

The Stolen Kiss Realart

The Lost City . Warner Brothers Serial
Polly of the Storm Country

First National

Molly and I Fox

Love Without Question Jans

The Emotional Miss Vaughn ... Pathe

Simple Souls Pathe

Shore Acres Metro

The Woman Game Selznick

A Manhattan Knight.. '. Fox

Sooner or Later Selznick

Partners of the Night Goldwyn

Page 116

The Sporting Duchess Vitagraph

The Evil Eye Hallmark

The Daredevil Fox

The Beloved Cheater.. Robertson-Cole
The False Road .Paramount-Artcraft

Copyrieht, 1920. by the PHOTOPLAY PUBLISHING COMPANY, Chicago.

Contents — Continued

The Lonely Princess Frances Denton

Pretty Blue -Eyed Mary Miles Minter.

Movies

Wonder What They Think About?

The Sennett Barnyard Philosophizes.

The Golden Age of the Pictures 0. R. Geyer

Movies

The Arabian Nights Outdone.

Who Is Houdini? Fred Lockley

The Story of the Handcuff King.

A brilliant satire on the
-^^ motion'picturi2,ation of
successful novels, by that in'

The Round-Up Gene Sheridan

A Thrilling Tale of the Southwest.

imitable author of "Pigs is

Alice In Wonderland Norman Anthony

Pigs"-

Illustration.

Ellis Parker Butler

The Confessions of Theda Bara Agnes Smith

Read 'Em and Weep!

— will delight thousands of
readers of the July Photoplay.

Rotogravure

Charles Ray, Constance and Natalie Talmadge, Mr.

and Mrs. H. B. Warner and their little daughter

Joan, Marion Davies, Carlyle Blackwell, Robert

Leonard, the Bryant Washburn family, Madge Ken-

The

nedy, Elizabeth France, Mr. and Mrs. Conrad Nagle,

and Norma Talmadge.

Close-Ups Editorial Comment

Fashion

What "Fashion" Really Means Norma Talmadge

Articles

The Screen's Best Dressed Star Becomes Photoplay's Fashion Editor.

The Shadow Stage Burns Mantle

Reviews of New Pictures.

Norma Talmadge, the screen s
acknowledged leader of fash-

The Pickford-Fairbanks Wooing Billy Bates

ion, will chat each month

The True Story of the Screen's Greatest Romance.

through Photoplay of the

Why Do They Do It?

very latest in styles. Miss

The Movie-Goers' Own Page.

Talmadge makes her bow in
this issue as Photoplay's Fash-

What Motion Pictures Mean to Me

ion Editor.

The Latest Winners and a New Photoplay Contest

Plays and Players Cal York

What's Doing Behind the Silversheet.

How VJould You

The World Shortage of Theaters 0. R. Geyer

The World's Building Plans.

Kun a 'Motion

The Stage and the Screen Betty Shannon

Picture Theater?

Albert Parker Tells About Both.

Questions and Answers The Answer Man

Photoplay Magazine will pay
for the five best letters on

What Do You Think?

122

this subject from its readers.

What Photoplay Readers Have to Say.

And She Was a Viking's Daughter A. B. Bernd

124

Tou may read all about it

The Baroness Goes Into the Pictures.

on Page 78 of this issue.

(Addresses of the Leading Moving Picture Producers appear on page

,6.)

Photoplay Magazine — Advertising Section

Co
:Q
Co

o
o

When you winte to advertlseis please monti'iii PHOTOPLAY' M4GAZINE.

Photoplay Magazine — Advertising Section
ALBERT E.SMITH presents

THE COURAGE OF
MARGE ODOONE"

JAMES OLIVER CUFM)

A Vigorous, Fighting Photodrama of Breathld^
Mystery and Red-Blooded Adventure!

Directed by David Smith

IT begins on a Transcontinental
train, snowbound on the edge
of'the Arctic — a scene that already
summons a thrill. David Raine, a
young man who has "lost himself
is running away from the misery
and tragedy of a shattered romance.

Then comes thrill on thrill, ad-
venture toppling on adventure in
that vast white arena of the frozen
North — that breaks the hearts and
sinews of men. It is a smashing
story of surprise and suspense, of
primitive men, beautiful, courageous
women, fierce huskies and male-
mutes, a thrilling fight between
grizzly bears, a gruelling battle be-
tween men for the possession of a
woman, the flight with the girl, the
last stand — and then a thundering
climax beyond all anticipation.

A masterpiece of dramatic writ-
ing that has been turned into a
masterpiece motion picture.

A Northwest Classic!

See It at Your Favorite
Theatre

A Vitagraph Spmal Pmttttt

Eferv adverUsement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Tonight the daughter of
an earl — tomorrow you
marry a cowboy

PRESTO — you are in Normandy. You wear a velvet
gown and flirt with dukes. Your lovers duel in the
moonlit garden.

Tomorrow night the same magic may transport you to
Wyoming. In khaki you gallop over the plains — sheriffs —
horse thieves — fights at the water hole and up into the saddle
with dare-devil Dan and you are off into the night.

* » * *

Whenever you are tired of yourself and your work-a-day
life — when you wish to be whisked away to other worlds —
go to a Goldwyn picture.

Gone are your troubles. You are the heroine — you can
lead a thousand lives.

One day you are a young girl blushing at her first sweet-
heart— the next a woman detective stalking a spy — a mother
— a princess — a pampered New York wife.

Goldwyn pictures are true to the simple human feelings.
You laugh, you weep, you love, hate and pity.

So fine are Goldwyn stars — so real are Goldwyn settings
— so absorbing Goldwyn stories — you are lost in their
fascination at the first flash of the picture.

Never miss a Goldwyn picture. They open the door to
a thousand new worlds.

GOLDWYN MOTION PICTURES

When you write to a(t?t'itisers please mention PHOTOPLAY MAGAZINl .

PiroioFi.AY Magazine — Advertising Section

STAMBOUL

Universal -Jewel

t500,000

Pioduction de Lijxe

DIPLECTED B>^

TOD BRO^^rsilNG-.

Thelfears Most
Stupendous*
Production

SIX months in the making —
painted by a master hand on a
mighty canvas — glowing with all
the vivid colors of the romantic East,
"THE VIRGIN OF STAMBOUL"
has ridden into the hearts of the
public "on a stallion shod with fire."
As human as the call of love — as
dashing as its wild-riding desert
warriors — as full of mystery as a
shuttered harem. Brightened by
delicious comedy as only PRISCILLA
DEAN can register it — made fiery
and electrifying as only PRISCILLA
DEAN can make it. A picture that
lifts you out of your seat with the
smash of its crisis. The biggest pic-
ture of the year. Yours for the asking.

V-

PRiscM dm

Everj' a.lroitisfinent in I'llOTOPLAY MAGAZINE is fiiaranteed.

Photoplay Magazine — Advektising SegtioxN

I I

(osmopoliian Productions

MARION DAVIES

Marion Davies, starring in Cosmopolitan Productions,
is shown at all leading photoplay theatres. "The Cinema
Murder," "April Folly," and her latest production, "The
Restless Sex," were selected for the screen from the

writings of the world's most famous authors, and have
appeared in one or the other of the great chain of Hearst
magazines and newspapers. Cosmopolitan Productions
are distributed as Paramount-Artcraft Pictures.

INTERNATIONAL FILM SERVICE CO., INC.

When you wiite to ailvMtisers pliasi; ninition PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Train for the

Big Position

The higrh salaried poeitions are open only to men
who can show they have proper training. Big bus-
iness organizations everywhere need men able to
assume responsibilities — to think, plan and carry
out important policies. LaSalle Extension Univen
sity has trained thousands of men for promotion tt)
executive positions. Its big etaflp of experts can
help you increase your earning power. Rise above
oetail work to a place where you direct others. You
can— but will you? The LaSalle plan will not
interfere with your presentduties. You can train
for promotion during spare time at home by mail.
Mark with an "X" below the kind of position for
which you wish to qualify. We will send full
information about the course and service and our
convenientpaymentplan. Alsoour valuable book
for ambitious men, "Ten Years' Promotion in
One." Take the first step to bigger pay by mailing
the coupon now.

□ HIGHER ACCOUNTANCY:
Training for positions as Auditors,
Comptrollers, Certified Public Ac-
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□ BUSINESS ADMINISTRATION:
Training for Official, JVlanagerial, Sales
and Executive Positions.

□TRAFFIC MANAGEMENT-
FOREIGN AND DOMESTIC:
Training for positions as Railroad and
Industrial Traffic Managers etc.

□ LAW:
Training for Bar; LL. B. Degree.
□ COMMERCIAL LAW:
Reading, Reference and Consultation
Service for Business Men.

□ PRODUCTION EFFICIENCY:
Training for Production Managers. De-
partment Heads, and all those desiring
training in the 48 factors of efficiency,

□ BUSINESS LETTER WRITING:
Training for positions as Correspond-
ents, Mail Sales Directors, and all
executive letter-writing positions.

□ BANKING AND FINANCE:
Training for executive positions in
Banks and Financial Institutions.

□ BUSINESS ENGLISH:
Training for Business Correspondents
and Copy Writers.

□ COMMERCIAL SPANISH:
Training for positions as Foreign
Correspondent with Spanish-speaking
countries.

□ EXPERT BOOKKEEPING:
Training for position of Head Book-
keeper.

□ EFFECTIVE PUBLIC SPEAKING:
Training in the art of forceful, effective
speech for Ministers, Salesmen. Frater- .
nal Leaders. Politicians, Clubmen, etc.

□ C. P. A. COACHING FOR AD-
VANCED ACCOUNTANTS:
Prepares for State Board and Institute
Examinations,

LaSalle Extension University

*'The Largest Business Training Institution
in the World"
Dept. b,}02-R Chicago, IlUnois

[Name]

[Present Position] "

[Address]

30 DAYS FREE TRIAL

and freight prepaid on any

"RANGER" bicycle. Write at

once for our big catalog and special
offers. Select from 44 styles, colors and
sizes in the "RANGER" line,
EASY PAYMENTS if desired, at a
small advance over our Special Fac-
tory-lo-Rider cash prices.
You cannot afford to buy without
getting our latest propositions and
Factory- to- Rider prices.
Boysv be a "Rider Agent" and
make big money taking orders
for bicycles and supplies. Get our
liberal terma on a sample to intro-
duce the new "RANGER".
Tires, equipment, sundries and
everything in the bicycle line at
half usual price 8. Writp tofiat/.

IICAnCYCLE COMPANY
In CHU Dept. A-40, Chicago

Ranger
Eioctrie
Llghtott
MotorbikO

Every Advertisement in Photoplay is Guaranteed,
not only by the Advertiser, but by the Publisher

CLASSIFIED ADVERTISING

rxrv.

Rate

35cents

per

word

pseiKKa'

J U M;l,

ff^mwt^rmf\'^nrih^nWc\nHWE

All Advertisements

have equal display and
same good opportuni-
ties for big results.

^::UvUU;U.U'U;U

PH0IDBl3»y

This Section Pays.

85%- of the advertisers
using this section during
the past year have re-
peated their copy.

U U U U:UiJjyiJi|JiJ,:ii(ij

FORMS FOR AUGUST ISSUE CLOSE JUNE FIRST

HELP WANTED

WOKK FOB YOUR GOVERNMENT. HUNTtREDS
meii — women. 18 up. wanted imiinediately. Pleasant
woik. Commence $100 month. Experience unneces-
sary. Excellent list positions open — free. Write im-
mediately. Franklin Institute. Dept. S-203. Rochester,
N. Y.

WOMEN TO SEW. GOODS SENT PREPAID TO
your door: plain sewing: steady work; no canvassing.
Send stamped envelope for prices paid. Universal Co..
Dept. 21. Pliiladelphia. Pa.

BE A DETECTIVE— E.\RN BIG MONEY: EASY
work: write Wagner. 186 East 7 9th St.. New York,
Dept. 585.

HELP WANTED TO TINT PHOTOGRAPHS. TURN
spare time into money. Kxperience unnecessary. Fas-
cinating work, easy to learn. Write: liedkrafts, Dept.
21H, Denver. Colo.

IHETECTnTES EARN BIG MONKEY. TRAVEL Ex-
cellent lopportunity. Write .Johnson's Detective School.
23 2 Sheldon Ave., Grand Rapids. Mich.. Desk 41.

WOMEN WANTED. BECO.ME DREISS DESIGN-
ers. $125 month. Fascinating. Sample lessons
free. Write immediately, Franklin Institute. Dept.
R-8 6 6. Rochester. N. Y.

RAILWAY TRAFFIC INSPECTORS EL4BN FROM
$110 to $200 i>er month and expenses. Travel it
desired. Unllmitad advancement. No age limit.
We train you. Positions fuml3he<I under guarantee.
Write for Booklet 011-2 6. Standard Business Train-
ing Institute, Buffalo. N Y.

AGENTS AND SALESMEN

TELL THE KEADEBS OF PHOTOPLAY WHAT

yod liave of interest to tlieni. You can reacli liiem
at a very small cost through an advertisement in tlie
classified section. 85% of the advertisers using this
sci'tion during the past year have repeated. The section
is read ant! Ijrings results.

$40 TO $100 A WEEK. FREE SAMPLES. GOLD
Sigii Letters anyone can put on windows. Big demand.
Liberal offer to general agents. Metallic Letter Co..
431 -K N. Clark, Chicago.

SALESMEN— CITY OB TRAVELLING. EXPEBI-

eiice uiHiecessary. Send for list of lines and full
particulars. Prepare in spare time to earn the big
salaries— $1,5 0 0 t(, $10,000 a year. Employment
services rendered Members. National Salesmen's Train-
Ing Assoolatioh. Dept. 138-G, Chicago, 111.

■ INSYDE TIRES— INNER AR.MOR FOR AUTOMO-

blle tires; prevent punctures and blowouts: double tire
iDileage. Liberal profits. Details free." American
Accessories Co.. Cincinnati. Ohio, Dept, 129.

EXTRA MONEY for YOU

We pay surprisingly hieh pricesfor old watches, diamonds,
platinum, old or broken jewelry, old gold, silver, magneto
points, old false teeth, war bonds and stamps — anything
of value. Send them to us today. Cash by return mail.
Goods returned if you're not satisfied.

THE OHIO SMELTING & REHNING CO.
204 Lennox BIdg. Cleveland, Ohio

arn'35to100aWei

BECOME A PROFESSIONAL

PHOTOGRAPHER
Big Opportunities NOW.

Qualify for this fascinating
profession. Three months'
course covers all branches:

Motion Picture — Commercial — Portraiture

Cameras and Materials Fui nis)ied FRF.F.

Practical instruction; modern equipment. Day or
evening classes; easy terms. The .school of recog-
nized superiority. Callor write tor catalog No. 37.

N. Y. INSTITUTE of PHOTOCRAPHY

141 W. 36lh Si., New York 505 Stale St.. Brooklyn

AGEJSTS— TO TRAVEL BY AUTOMOBILE INTRO-
ducing our big line of fast summer sellers. The
greatest line on earth. Make $10 a day easy. Com-
l)lele outfit and automobile furnisheti to workers.
Write at once for exclusive territory, Am^rioaa
Products Co., 2358 Araeilcan Bldg.. Cincinnati. O.

IHOTION PICTURE BUSINESS

$35.00 PROFIT NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by goyernment institutions. Catalog
free. Atlas Moving Picture Company. 438 Morton
Bldg., Chicago,

FILMS FOR SAUO: ONE MIIJ.ION FEET, ALL

makes, lengths and varieties $4.00 per reel and up.

Send for list. Featuire Film Company. Loeb Arcade,
Miinieapolis.

olC coins wanted
watch your change. have you a nickel

nf 1912 with S Mint? We will pay lOo for it.
This is one of thousands of coins we pay high cash
premiums for. Some as late as 1916. It will pay you
to get iK>sted. Send 4c for large Illustrated Coin
Circular. Send now. Numismatic Bank, Dept.-75, FVirt
Worth. Texas.

COLLECT OLD COINS FOR PLBASUKE AND
profit. Send only lOe. Get large old U. S. Cop-
per cent, nearly size of half-dollar, and illustrated
coin catalogue. Send now, B, Max Mehl, Coin
Dealer, Dept. P, Mehl Building, Fort Worth, Texas,

PATENTS

PATENTS. WRITE FOR FREE GUIDE BOOK
and Evidence of Conception Uliink. Send model or
sketch for opinion of its patentable nature. Highest
References. Prompt Attention, Reasonable Terms,
Victor .1, Evans & Co.. 763 Ninth. Washington, D. C.

PATENTS— SENT) FOR FREE BOOK, CONTAINS
valuable informatkHi for inventors. Send sketch of
your invention for Free Opinion of its patentable na-
ture. Prompt service, (Twenty years' experience,)
Talbert & Talbert, 4724 Talbert Bldg., Washing-
ton, D, C,

MISCELLANEOUS

TELL THE READER.S OF PHOTOPLAY WHAT
vou have of interest to theui. Ynu can reach them
at a very small cost through an advertisement In the
cla.>^sified section. 85% of the advertisers using tbia
.section during the past year have repeated. Tile section
is read and brings results.

Learn How to Write
Short Stories JeS^ofs&rt'^

|f stories, photoplays and feature articles. You
can learn how to write at home in Bpare time, lack
London said so. He and other g^reat writers have en*
dorsed oor home atady course. Course is fasciofttioir
ffnd takes only a few of your spare hours-
iUfi^a fnr frAA hnnk ^"d details of our Limited Intro-
Wirilt: lUr irCC UUUn ductor^ offer. No obligatione.
Hoosrer Institute, S. S. Dept At53 Ft. Wayne, Ind.

Be a "Movie"
Photographer

Earn $50 to $200 Weekly

Fascinating work taking you to
all parts of the world

E. BRUNEI COLLEGE
OF PHOTOGRAPHY

(No connection with
any other school

1269Broadway,N.Y.

Day or ni(?hl classes. 3 months' course complete instruction In
General Photography and Motion Pictures operating standard
cameras. Expert instructors. Installments taken. Emile Brunei
operates 20 studios in New York, ('hicago. Boston, Phi la -
delphia. Detroit, PittsburRh. Call or send today for Booklet P.

,JOSr WHAT

ON SEA FARM\

YOU WANT

OR RANCH

272fEET
LONG

ONLY

99 Cents

ACHROMATIC TELESCOPE MADE UPON NEW SCIENTIFIC PRINCIPLES.
Positively sucU a good Telescope was never sold for tbis price before. Eastern Telescopes aro
made hy one of the largest manufacturers of telescopes in America; we control entire production;
measure closed 8 Indies and open over 21/2 feet m 4 sections. TI)ey are nicely brass bound, witU
eeientlflcally ground lenses. Guaranteed hy the maker. Every sojournor in tlie country or at the
seaside resorts should certainly secure one of these instruments, and no farmer should be wlUiout
one. The scenery Just now is beautiful. A Telescope will aid you in taking views. Objects are
brought to view with astonishing clearness. Sent by mail or e.vpress, safely packed, prepaid, for
only 99 cents. Our new Catalogue of Watchei. etc., sent with each order. This Is a grand offer
and you should not miss it. We warrant each telescope just as represented or money refunded.
Send 99 cents today. To dealers 6 for Four Dollars.

EASTERN NOVELTY CO., DEPT. 73 172 E. 93d STREET, NEW YORK.

Every advertisement in PHOTOPLAY MAG-^ZIXE is guaranteed.

Photoplay Magazine — Advertising Section

Dr.EsenWein.

»;=l(jrMi=M=li=Mi=li=lij=Mj=li=Hcu=uj:

HoWtoWrite.'WhaHo Write,
and WKere to sell .

^^^ Cutti\'a1:e your mind. DeVelop

C^SkW^^^A ^our literary gift's. MasfertKe

^^^^^1 «rtof self-expression. Make

your spme Hmo profitable.

' Turn your ideas into dollars.

Courses in Short-Story Writ-
ing, Versification, Journalism,
Play \A^riting, Photoplay
Writing, etc., taught person-
ally by Dr. J. Berg Esenwein,
for many years editor of Lippincott's Magazine, and
a staff of literary experts. Constructive criticism.
Frank, honest, helpful advice. Real teaching.

One pupil has received over $5,000 for itoriei and
articles written mostly in spare time — "play work," be
calls it Another pupQ received over $1,000 before
completing her first course. Another, a busy wife
and mother, is averaging over $75 a week from
photoplay writing alone.

There is no other institution or agency 'doing so much
for writers, young or old. The universities recognize
this, for over one hundred members of the English
faculties of higher institutions are studying in our
Literary Department The editors recognize it, for
they are constantly recommending our courses.

We publish The Writcr't Library, 13 volumes: descriptive
booklet free. We also publish The Writer's Monthly, the lead,
ing magazine for literary workers; sample copy 20 cents, annual
subscription $2.00, Besides our teaciiing service, we offer a
nianuscript criticism Service.

150-Page illustrated catalogue Free. Pteate AJdren

■Cfie Home Correspondence School

Dep't. 95, Springfield, Mass.

ESTABLISHED I69T

NCOrtPORATED |90* V\^^'^

jHTjaiJtrjHrjHngnHiJM,iJ-LT]igTmT^ '

600(> iytll e Gua ran tee

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1^ ard in reconstructed tires. Tl

tha
stand-

Their

reinforcement of 4 extra layers of
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PUNCTURE PROOF TUBE FREE
that under ordinary conditionswill last
ten to 20,000 miles. Our 6.000-milP tire
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Prices Include Tire andTube

S2x4H fl200

33x4H 12 60

34x4H 18.15

35x4H 13 40

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80x3 $7.40

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33-:4 11.15

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Reliner Free With Every Tire
State whether you want straight side or cliiicher,
plain or non-skid. Send $2 deposit for each tire ordered
balance C 0,D., subject to examination, or 6 percent
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UNION RUBBER COMPANY

Dept. 114, Racine Avenue & ISth Street, Chicagn

legs will appear straight
when you wear

Straightleg Garters

Remarkable invention — Oombinatiou hose-
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— no harness or padded forms; just an
ingenious special garter for l>owli'gKt?d
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Bowleprged men everywhere ure wearing them; enthusias-
tic. Write for free booklet, mailed in plain envelope.

S-L GARTER CO.

790 Trust Co. Bide.

DAYTON. OHIO

liARM'^MiiniHi

MAKING TRIAtS
OF TRUE TONE

We furnish our accurate teachinpr device with tools.
Action Model, lessons, and analysis of business adver-
lisingr which makes you a master of the tnnnr's art.
Diploma given griaduates. 16 years* experience in teaching
themostindependent nnd lucrative profession by cor-
respondence. SIIdPLEIl And BETTER thnn oral iDslruCtion.

Write today for FREE illustrated booklet.
^^^^ NILES BRYANT SCHOOL OF PIANO TUNING ^. ^
402 Fine Art lnst.» Battle Creek, Mich.

Cartoon Stars
^^ make big money

Andy**

•Min"

** Skin lay**

Sidney Smith, Clare Briggs, Fontaine Fox and other
cartoon stars make from $10,000 to $50,000 a year.
Bud Fisher makes over $50,000 a year from Mutt and
Jeff. R. L. Goldberg's yearly income is more than
$125,000. Yet both Fisher and Goldberg started as $15
a week illustrators. Ministers, bookkeepers, and
mechanics have become successful illustrators and car-
toonists through the Federal School of Applied Cartoon-
ing. Don't let your present job hold you back. Capi-
talize your cartoon ideas. The way is now open to you.

Send Six Cents for "A Road to Bigger Things"

This book shows studio pictures of the 32 greatest American

,. __^^_.^^^ cartoonists who are on the staff of the Federal School. It tells

^ ''cf^^:^ how in one course you can learn cartooning, animated cartoon-

*- ■ '"' • ing, chalk talking, and window card writing. One of these is

your big field. It shows how, by home study, you can learn I he

skill, stunts, short-cuts, and the professional touch of these

famous cartoon stars on the Federal Staff.

1 hese stars make big money from simple cartoon ideas. Do

you want their fame and incomes? Just fill in your name and

N f,-^i^i*«!^-\f address, and mail the coupon with six cents postage for this book

t,-jf^O ,_\' that tells you how. Be sure lo stale your age and present occupation. Do It Now.

*^ ''^ Federal School of Applied Cartooning

068 Warner BIdg. Minneapolis, Minn.

TEAR OUT COUPON ALONG THIS LINE

Please send by return mail my copy of "A Road to Bigger Things." I enclose six cents for postage.

Name

Age Occupation

Address

"Th^

i Toonerville
Trolley '

" Powerful
Katrinka"

068

City and State. .

MMHM

MIMiW

lours Through Ihis
Wonderful New Method

A strong, cle:ir. forceful voico

is one f the greatest business

and soriiil assets you can possess.

People are instantly atlracie'l

to the man or woman whose

voice reveals a rich qualify of

re»on:in<^e and power. I)on]t

envy the perfect voice when it

is actually within your reach! A few mciu ents a

day in your own home devoted to the remarkable

Feuchtinger Method will quickly bring surprising

results. If your voice is harsh, husky, droning.

weak, stuttering, stammering or lisping, this new

method can work wonders

for you.

Voice Culture Book

rncr Write t.nlay for our tree
rImLIj iliiistriiied ISook on \'oice
Culture which we will gladly send
you without ol'hgation. Ex-
I iilains the amazingly simple
,(■( ret of the Feuchtinger
uethod. Learn how^i ur voice
can easily be made stronger,
clearer, richer in tone, wider in
range. Ke?.d the endorsements
of Hiirope.in opera stars, speak-
ers, aii-i hundreds ot other de-
lighted students.

PFNn A POSTAL TO-DAY

PERFECT VOICE INSTITUTE. StidloAl 53.
1922 Sunnyside Ave., CHICAGO. lU.

BIG MONEY
in this game

Write U3 today. Let us show you the big money there
is in American Box Ball. Scores of men are making
$100 a week from just two alleys. C. T.
Patterson of Illinois opened three alleys
and cleaned up $800.70 the first two months.
Now he operates eight alleys and out of
the proceeds has paid for a beautiful 3-
story home

Wonderful automatic features

American Box Ball becomeathc raK*; whert-ver .
It is stai'ted. Moi e fun thanordinaiy bowling.
5 cents per game and practically 10i< per cent
profit. No helpers and no waives to pay. •
Pins arc reset and balls returned auto- '
matically. Wonderful aiitomatic eiic-
trie lighted scoreboard. Write for lull A.
description and particulars of our /^^
special pro,>osition to live men.

We help you start

Very little eash is needed
We let you have the equip-
ment on easy
Pay ments.
ay out of
the alleys'
profits.

Write us to-
day for our
liberal prop-
osition and
full descrip-
tion of the
equipment.
No ob I i fi a •
tion. Write at
once. A post-
card will do.

AMERICAN BOX BALL CO.

858 Vwi Burtn SL

Indlanapell*. bio.

iiiiiitiiiiiiiiiiiiiiitiiiiiiiiiiiiiii

I LIGHTNING 5PirE0 | '3*^ ^^ /^JLA I

I ACCURACY -^

I i: A 511 ()i-opi-.ration|

Photoplay Magazine — Advertising Section
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii*

I 80 TO 100 W0RD3 |

ACCURACY --^iOJEWWAY EFFICIEMgr^^ ^^^ ""''^^ ' '

PERFECT COPY I
|LI-:55 PHyr>ICAL fjII^AINl
iiiiiiiiiiiiimiuiiiiiiniiiiiiiiiiiiii

IIMUIIIIIIIIIIIIIilllllllllillllllUi

Earn $25.00 to $40.00 Per Week Because They Can
Guarantee Their Employers 80 to 100 Words Per
Minute!! — Highest Possible Degree of Accuracy!!

A wonderful new method of acquiring speed and accuracy on the type-
writer has been discovered. Almost overnight it has revolutionized the
entire Tyyewriting situation. The NEW WAY has blazed a wide trail to
success for every ambitious stenographer — to the $25, $35, $40 per week
positions — the Private Secretaryships, the Department Managerships — then
the Higher Executive positions at salaries that pass the hundreds and run
into thousands per annum.

LEARN BY MAIL

10 EASY LESSONS

80 to 100 Words Per Minute
or Money Returned

Don't be inefficient. Don't be satisfied to write 35 to 40 words per minute
— making frequent errors. Don't struggle along on a salary of $10.00 to
$15.00 per week — never finding it possible to lay aside that $5.00 or $10.00 per
week you had hoped to deposit. Become an Expert! Write 80 to 100 words
per minute. Earn $25.00 to $40.00 per week — easily meeting rapidly rising
living expenses — depositing regularly $10.00, $20.00 or more per week to your
savings account — sure of the next promotion and salary increase when it
becomes necessary to move an employee up from the Stenographic Depart-
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"touch operators" who never exceeded 40 to 50 words per minute are writing
80 to 100 words with infinitely greater accuracy and their salaries have been
increased $300, $500, $1,000 and more per year.

VALUABLE NEW WAY BOOK FREE!

We cannot describe here the principle of this New Method, based on Special Finger
Exercises which bring results in days that old way methods will never bring. But we have
prepared a big 32-paRe book telling all about the course which is free to those interested.
This book is brimful of eye-opening ideas and valuable information. No instruction
book ever written told so plainly the real "How and Why" of EXPERT TYPEWRITING.

If you are ambitious to get ahead— if you want to make your work easier— if
you want more money in your pay envelope — NOW is the time. Employers all
over the country are in need of efficient typists. Not nearly enough Experts to
supply the demand. This is your opportunity — write for the book now. It will
be a revelation to you as to the Speed and the Salary that is possible to typists.
Money Back Guarantee to every student.

Tjy^TtjLX^OjSS

Mail coupon
at once

7S76 COLLEGE HILL, SPRINGFIELD, OHIO

Please send FREE "New Way" book to

Name.

Address.

promotes Accuracy
and Puts Win^s
on "Your Rn^ers

Copy this Sketch

and let me see what you can
do with it. Many newspaper
artists earning $30.00 to
$12.'i.00or more per week were
trained by my course ol per-
sonal individual lessons by
mail. PICTURE CHARTS
make original drawing ea.«y
to learn. Send sketch o
Uncle Sam with 6c in stamp
for sample Picture Chart, lis
of successful students, ex
amples of their work and evidence of
can accomplish. IHease slate your age.

what YOU

^Ae Lanclon School

of CARTOONING and ILLUSTRATING
1207 .Schofield BldK. Cleveland. Ohio

Learn Piano

This Interesting Free Book

Fhowa how you can heroriie a skilled
playerof pianoor orfiran at quarter UHUal
cost. It shows why one lesson with an
expert is worth a dozen otliL-r lessons.
Dr Quinn's f8m..us Written Method
includes all of the many importatit mod-

_-- i-ur"i 1. tf" •"<Pr<""-ntcnt.i in teachinK music.

Brings right to your home the great advantages of conservatory
study. For the hck'inner or experienced players. Kndorsed by great
artists. Siiccessiul graduates everywhere. Scientific, yet easy to
understand, fully illustrat, d. All mueic free Diploma granted

Write Today for Free Book
Qalnn Oonierratorr. .Sludlo PK. Social Tnion Bide,. Boston Maw.

^P^

Buy at
Big Saving or rent
, oneofmyrebuilt-hke-newStand-
ard Visible Underwood Type-
writers, fully guaranteed. Equip-
^ ped with back spacer, two-color
f ribbon, tabulator, automatic ribbon
reverse, etc. Looks, writes and wears
like new. Try one for 10 days FREE.
Pay only when fully satisfied. Easy
terras, bi(? discount for cash, or earn
one FREE througrh my agency plan.

NocanvaasinfT, 200,000 satis-
fied customers. 27 yearaexpe- I
rieoce. Act quick and sav*
money- Asls for offer
Wo, 53.

C W. S. Shlpman

President

TYPEWRITER

EMPORIUM

I 34-36 W. Laktt

Street

CHICAGO

QUICK

Every Advertisement in Photoplay
Magazine is Guaranteed.

LEARN
DRAFTING

at home in spare time as you would in
actual practice. Men and women in great
demand for permanent positions as me-
chanical draftsmen. Our comprehensive
Home Study Course qualifies you to
secure and hold one of these desirable positions.
No previous training is necessary to become a
prachcal, mechanical draftsman by our successful
method of home instruction. We have hundreds of
successful graduates now holding ^ood positions.

Earn $35 to $100 a Week

Many of our graduates have reached biah salaries
rapidly owingto their practical training. They have
secured excellent salaries at the start — as high as
$2600 the first year. Usual pav of draftsmen is
$35.00 to $100 a week. Advancement is rapid.

Drawing Outfit Furnished

We supply every student with a Drawing Outfit
for use throughout the course. There is no extra
charge for this and it becomes your personal
property when you have completed the course.

Help You Secure Position

We are frequently able to place our Students in
good positions sometimes before they complete
the course. Many concerns write us offering
positions to our graduates. The demand for
trained draftsmen is greater than the supply. The
training we give enables students to secure posi-
tions easily on completing the course. Write
today for Free Book of particulars.

COLUMBIA SCHOOL OF DRAFTING

ROY C. CLAFUN. President

Dept. 1133

14lh and T Sts. Washington, D. C.

((

Don't Shout"

"1 hear you. I can hear
now as well as anybody.
*How"? With the MORLEY
PHONE. I've a pair in my ears
now, but they are invisible. I
would not know I had them in,

myself, only that I hear all right
"The MORI EY PHONE for the

to the ears what
glasses are to the eyes,
visible, comfortable, weight- i
less and harmless. Anyone
can adjust I'L'" Over 100.000 sold. Write for booklet and testimonials.
THE MORLEY CO..Dept.789.26S.15th St..Phila.

Dye That Skirt,
Coat or Blouse

"Diamond Dyes" Make Old, Shabby,
Faded Apparel Just Like New.

Don't worry about perfect results. Use
"Diamond Dyes," guaranteed to give a
new, rich, fadeless color to any fabric,
whether wool, silk, linen, cotton or mixed
goods, — dresses, blouses, stockings, skirts,
children's coats, draperies, — everything!

A Direction Book is in package.

To match any material, have dealer
show you '"Diarnond Dye" Color Card.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteal.

Photoplay Magazine — Adveriising Section

Be a Big Man
In the Office

The Expert Accountant is consulted
Sn all business affairs. He is a confi-
dential adviser in all matters of
finance. His reports and recommen-
dations are souglit after by every
business man. He is highly paid.
Some Accountants earn $10,000 to
$26,000 a year. Think of this
in planning your
{uiure.

^ BECOME AN EXPERT

Accountant

The Profession That Pays Big Incomes

The tremendouB commercial growth of this
country has created a rich field for the expert.
There are only 3000 Certified Public Accountants
to do the work of the half million concerns needing
their services. The expert Accountant is also
needed today in every executive organization. We train
you by mail for one of these blp positions.

Knowledge of Bookkeeping Unnecessary

to begin. Our course is under thepersonal supervision
if WilliamB.Castenholz. A.M.,C.F.A ,fo^merCo^lpt^ol-
lerandIn3t^ucto^, University of Ulinois.andotherexperts
who will give you whatever instruction or review on the
subject of bookkeeping you may personally need— and
without any extra expense to you. Our FRE3E Book ex-
plains how we train you from the ground up according to
your individual needs. Send now for full information
regarding our Home Study Course in Accountancy, C. P.
A. E..aminations, etc.— also how you can qualify for 3
high-grade accounting position and pay for it. a little each
month if you wish. We have helped over 200,000 ambitious
men— learn what wecandof or you. Writetoday— NOW.

LaSalle Extension University

**The Largest Business Training institution

in (he World"

Dept* 6302-H Chicago

Instant Bunion Relief

Prove It At My Expense

Don't send me one cent— just let me
prove it to you as 1 have done for over
72,500 others in the last six months. I
claim tohave the most successful remedy
lor bunions ever made and 1 want you to
let me send you my Falryfoot treatment
Free. I don't care how many so-called
cures, shields or pads you ever tried
without success— I don't care how dis-
gusted you are with Ihcm all- you have
not tried my remedj'and I have such
absolute confidence in it that I am go-
ing to send it to you absolutely
FREE. It is a wonderful yet simple
home remedy which relieves you almost
instantly of the pain; it removes the
cause of the bunion and thus the ugly
deformity dissappears- all this while
you are wearing tighter shoes than ever.
Just send your name and address and
Fairyfoot will be sent you promptly in
plain sealed envelope. Write today".
Foot Remedy Co.. 3BB1 Dgden Ave., Dept. 33 Chicago

"He Loved Her

at First Sight"

" Whyf" Because she had a satin
skin. First impressions are lasting, so
make them pleasing. Everyone ad-
mires a satin skin in man or girl ; it is
captivating, irresistible, and the secret
of a satin skin is hidden in Satin Skin
Cream and Satin Skin Powder, the
truest friends your skin can ever know.
They do the things you most wish for,
bring changes that add to your attrac-
tiveness. Your skin needs Satin, so
start now enjoying the blessings
brought by Satin Skin Cream and
Satin Skin Powder. Sold at the best
toilet counters. There is no substi-
tute for Satin, and imitations bring
disappointment, leave one dissatisfied.
Seek the store that sells Satin.

"BOW LEGS and KNOCK-
KNEES" UNSIGHTLY

Sentl for Booklet showing photos of men with
and without THE PERFECT LEG FORMS.

PERFECT SALES CO.. Dept. 54
54 N. Mayfield Ave., Chicago. III.

1 '

-■^,

.^:

"$100 a Week, Nell!

Think What That Means To Us!"

"They've made me Superintendent — and
doubled my salary! Now we can have the
comforts and pleasures weVe dreamed of — our
own home, a maid for you, Nell, and no more
worrying about the cost of living!

Thousands of men now know the joy of happy, pros-
perous homes because they let the International Corre-
spondence Schools prepare them in spare hours for
bigger work and better pay. You will find them in
offices, shops, stores, mills, mines, factories, on railroads,

everywhere. . T«HouTHr«

INTERNATIONAL CORRESPUNDENCE SCHOOLS

Why don't you study some one
thing and get ready for a real job, at
a salary that will give your wife and
children the things you would lik«
them to have.?

You can do it ! Pick the position
you want in the work you like best
and the I. C. S. will prepare you for
it right in your own home, in your
spare time — you need not lose a
day or a dollar from your present
occupation ' ^

BOX 6517 SCRANTON. PA.

Explain, without obligating me, how I can qualify for
the position, or in the subject, before which I mark X.

□ EI.ECTKIOAI, ENUINEEIt
nEleetrie I.lehting aud Ujf*
D Electric Wiring
n Telegraph Engineer

□ Telephone Work
P UEOIIANIOAL ENGINEEII

] Uaclilne Sbop Praotlea

JToolmaker

j Gas Engine Operating

j CIVIL ENGINEER

JSnrrerlnf and Mapping
UINE F01IEMANarE^U■U

JSTITIONAKT ENSINEEU

■ Marine Engineer

jShip Drufisman

1 ARCHITECT

] Contractor and Bnllder

] Areblteetnral Urafttmaa

] Concrete Builder

] Structural Engineer

) PI.UMHINU AND nElTINO

] Sheet Metal Worker

I Textile Overieer or Snpt.
_JnilEMIST
Q Navigation

□ SALESMANSHIP

□ ADVERTISING

□ Window Trimmer

□ Show Card Writer

□ Sign Painter

□ Railroad Trainman

□ ILLUSTRATING

□ Cartooning

□ RISINESS MAN'AtlEUENV

□ Private Secretary

□ BOOKKEEPER

C Stenoprapber and Typist

□ Cert. Pub. Accountant

□ TRAFFIC MANAGEiC

□ Railway Accounlaot

□ Commercial Law

□ GOOD ENGLISH

□ Teacher

□ Common Seboot 6nb|e<ta

□ Mathematlca

□ CIVIL SERVICE

□ Railway Mail Clerk

BAUIOMORII.E OPERATIHa
AdIo ItepalrlnK inSpanUk
n »()ltiClIl;rll|il': inFr.neh

□ 1-i.nltrr Ralalne ■□Italian

Name

Present
Occupation-

Street

and No

City.

When you wiite to ailvri timers plc.ne mention pnoTOPI..\Y MAGAZINE.

Photoplay Magazine — Advertising Section

June Mornings

Bubble grains on berries

Mix these airy, flimsy bub-
bles in every dish of berries.
Use Puffed Rice or Corn
Puffs. The blend is delight-

"~" J ful. It adds what crust adds

^ ^ to a shortcake.

At breakfast, also, serve
with cream and sugar— any
of these fragile, fascinating
grains.

June Evenings

Whole wheat, steam exploded

For suppers, float Puffed
Wheat in milk. That means
whole wheat with every food
cell blasted. The grains are
puffed to eight times normal
size.

They seem like tid-bits, but
every flaky globule is a grain
of wheat made easy to digest.

June Afternoons

Airy, nut-like confections

For hungry children, crisp and douse
with melted butter. Then Puffed Grains
become nut-liked confections, to be eaten
like peanuts or popcorn.

Use also like nut-meats as a garnish on
ice cream. Use as wafers in your soups.

Puffed Puffed Corn

Wheat Rice Puffs

Also Puffed Rice Pancake Flour

Prof. Anderson's creations

In Puffed Grains every food cell is blasted by a steam explosion. A hun-
dred million steam explosions occur in every kernel. Thus digestion is made
easy and complete. Every atom feeds.

The grains are toasted, crisp and flimsy. They taste like nut-meats puffed.
Never were grain foods made so inviting.

But remember the great fact. Every element is fitted to digest. They are
ideal grain foods which never tax the stomach.

In summer serve at all hours, and in plenty. Keep all three kinds on hand.

The Quaker Qafs Ompany

Sole Makers

3369

Studio
Directory

AMEBIC AN FILM MTG'. CO.. 6227 Broadway,
Chicago: Santa Barbara. Cal. (s) .

ARTCUAPT PICTURES CORP., 485 Fifth Avenue.
New York City: 516 W. 54th St.. New York
Cltj (s) : Fort Lee. N. .T. (s) : Hollywood.
Cal. (s).

BLACKTON PRODUCTIONS. INC.. 25 W. 45th
St., New York City (s) : 423 Classen Ave.,
Brooklyn, N. Y.

ROBERT BRUNTON STUDIOS. 5300 Melrose
Ave.. Los Angeles, Cal.

CHIARLES CHAFI.IN STITDIOS, La Brea and De
Longjire Aves., Hollywi'fd, Calif.

CHRISTIE FILM CORP., Sunset Blvd. and Cower
St., Los Angeles. Cal.

FAMOUS PLAYERS FILM CO., 485 Fifth Ave.,
New York City; 128 W. 56th St.. New Yorli
City. (8).

FOX FILM CORP.. 10th Ave. and 5fith St., New
York Citv: 1401 Western Ave., Ixis An-
Keles (s) : Fort Lee, N. .T. (s).

TfTB FKOHMAN AMUSEMENT CORP., 310
Times Building, New York City.

GAR.SON STUDIOS. IXC. 1845 Alessandpo St.,
I.09 Ai.eefes, Cal

<;or,n\VY.N film CORP., 469 Fifth Avenue, New
York City: Culver City. Cal.

THOMAS INCE STUDIO, Culver Cits. Cal.

LASKY FEATURE PLAY CO.. 485 Fifth Ave..
Neiv York City: 6284 Selma Ave., Hollywood,
C'<il. (s).

METRO PICTURES CORP.. 1476 Broadway. New
ViiiU City: 3 W. 61st St., New York Cits (») :
10 25 Lillian Way. Los Angeles. Cal.

EXHIBITORS-MUTUAL DISTRIBUTING CORP.,

1600 Broadway. New York City.

PATHE EXCHANGE, IND.. 25 W. 45th St., New
York City: ASTRA FILM CORP.. Glendale, Cal.
(s): ROLIN FILM CO., 605 California Bldg..

l.rw AiiKeles, Cal. (s).

ROCHACKER FILM MFG. CO.. 1339 Diversey
PiUltway, Chleago, III. (»).

SELIG POLYSCOPE CO., Western and Irving Park

Blvd.. Chicaeo (s) : 3sno Mission Road. Los
Antrcles, Cal.

SELZNICK PICTURES CORPORATION, SO" Kast
IT.'illi St.. New York. West Ft. Lee, N. .1.

UNIVERSAI, FILM MFG. CO., 1600 Broadway.
New York City: Universal City. Cal.: Coytesvllb.
N. J. (8).

KING W. VIDOR PRODUCTIONS. 6612 Santa
Monica Blvd., Hnllvwood. Cal.

VITAGRAPH COMPANY OF AJIEBICA, B. 15th
St. and Locust Ave., Brooklyn, N. Y. : Holly-
wood, Cal. (8).

Ever}- advertiscmi^nt in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — AuviiiaisiNG Slctiois

(

[q]

EUGENE
O'BRIEN

ELAINE
HAMMERSTEIN

OLIVE
THOMAS

OWEN
MOORE

YOUTH, Beauty, Romance, — these are the
very soul of picture art.

SELZNICK PICTURES are- made with a practical
understanding of this great principle.

The qualities you seek in friend or lover, you find
in these productions, and that is why —

FICTOIDES

Create Happy Hours
At Theatres Where Quality Rules

When you write to advertisers please nient'"n PHOTOPLAY MAGAZrNB.

Photoplay Magazine — Advertising Section

Under Searching Eyes

Do you ever wince inwardly?

AN unexpected meeting — a
/jL battery of eyes focused
upon your face — can you meet
it with composure? Is your skin
flawless? Clear,lovely in color-
ing? Or is there some blemish
that stands out mercilessly in
your own consciousness?

There is nothing that so de-
stroys a man's or woman's poise
and self-confidence as the con-
sciousness of a complexion at
fault.

Blackheads are such a disfig-
urement. Enlarged nose pores,
a skin that will gft shiny — But
these things can be corrected.

Take care of the new skin
that is forming every day as the
old skin dies. Give it everv
night the right treatment for
your particular trouble, and
tvithin a iveek or ten days you will
notice a marked improvement.

Take one of the most com-
mon skin troubles. Perhaps
your skin is constantly being
marred by unsightly little blem-
ishes. No doubt you attribute
them to something wrong in
your blood — but authorities on
the skin now agree that in the
great majority of cases, these
blemishes are caused by bacteria
and parasites that are carried

into the pores Jrorn outside^
through dust and fine particles
in the air.

How to remove skin

blemishes

By using the Woodbury method

of cleansing your skin, you can

free it from such blemishes.

Just before retiring, wash in
your usual way with warm water
and Woodbury's Facial Soap,
finishing with a dash of cold
water. Then dip the tips of your
fingers in warm water and rub
them on the cakeof Woodbury's
until they are covered with a
heavy cream-like lather. Cover
each blemish with
a thick coat of this
and leave it on for ten
minutes. Then rinse
very carefully, first
with clear hot water,
then with cold.

Use this special
treatment until the
blemishes have disap-
peared,ithencontinueto give your
face, every night, a thorough
bath in the regular Woodbury
way, with Woodbury's Facial
Soap and warm water, ending
with a dash of cold water. In this
way you can guard against any
reappearance of the blemishes.

Thebookletcontainingfulldirec-
tions for each one of the famous
Woodbury treatments is wrap-
ped around each cake of Wood-
bury's Facial Soap. Get a cake
today and begin using it tonight.

You will find Woodbury's
Facial Soap on sale at any drug
store or toilet goods counter in
the United States or Canada. A
25 cent cake lasts for a month
or six weeks of any treatment,
or for general cleansing use.

Would you like to have a

trial size cake?
For 6 cents we will send you
the trial size cake (enough for
a week of any Wood-
bury facial treatment),
together with the book-
let of treatments, "A
Skin You Love to
Touch," Or for 15
cents we will send you
the treatment booklet
and samples of Wood-
bury's Facial Soap,
Facial Powder, Facial Cream
and Cold Cream. Address The
Andrew Jergens Co., 506 Spring
Grove Ave., Cincinnati, Ohio.
If you live in Canada^ address
The Jndrew Jergens Co.^ Limi-
ted^ 506 Sherbrooke Street ^ Perth ^
Ontario.

Every adverti'^ement in PHOTOPLAY MAGAZINE is guaranteed.

XK -ilaiHe at Helene Chad wick and you don't wonder that, tlic caim'ra is kind
to blondes. Once in serials, drama "sought her out. Now she is a bright star
on Broadwav—Lo.H Angeles. Chadwick, New York, was named after her.

Pi:(i(;V (•"DARK i.- tile heroine of a rpal romance. An oil magnate saw her on
tlie screen an<l decided there was iiotiiin<: i-lse in life for liini. He went out to
Tniversa! (^ity, met I'ejrffv. and married her. liosf : anotlier perfect serial-ette.

DeGaston

MUTUKI} likes hii- sweet-rough suiil*' ; latlicr saw him in "Thi- Littlest Uchcl.'
in the ]e<iitimatc; hrothef decides not U) mind his own eurly hair, while sister
wouldn't miss'^H Rill Farimni film for anvthiiij.. Remember "Les Miserables?"

Hoover

TT wa.sn't Ilelori Fi;i<;uM)irs voutli or licr hruiicttc vivacit}' which won her a position
in our cini'niatic yoiiii>ior set. It was her complete willingness to become a
stenographer to earn enough money to continne her career in celluloid.

Bull

CALLI.\(J any actor "j^nat" involves a lot of explaining. Hut is tliere anyone in
your nHollection mIio l)as |)!ay('(l sueji a variety of finely-delineated eliaraoters
as Raymond Hattoii? He was the Kiij-g in "Joan" and is to f)lay Lofko's '"Septimus."

Kdwiirri Ttiavur Mcitirix

MARION DA VIES i.'" one iiiitioiially-kiiown beauty who doesn't liclicvc lluit
pulcliritiKJf is cvcrytllinfi^. Slio works as hard as any extra with siiuh nose
and scraggly hair. Marion is the filmed lieroino of many popular novels.

Dull

THE screen has many pretty j»rofessional martyrs whose studio life is just one
struggle after another. But .lane Novak contrives to play her parts with a
degree of humanness which makes us wish she might rebel. She's married I

White

D()J{()'riI V (jIISII is that rarest comhinatiori : a young girl with a sense of humor
and eonsiderahlc brain. Slio has the (-aim of the philosopher and the joy-of-
living of a Little Disturber. And some day she wants to do very Serious roles.

<t??ie World's Leading oJ^lovin^ ^idiure CyVIa^azine

PHOTOPLAY

Vol. XVIII

June, 1920

No. 1

n^he Welcome V/olves

A CHICAGO newspaper reporter possessed of remarkable patience and inge'

/\ nuity extracted from a pious and prosperous mail-order fa\ir a detailed

^ \ account of the system that had brought him riches — and the fatal interest

of the Postofjice Inspectors. "I must than\ you for the story," said he, "since

in giving it to me you have made it impossible ever to come bac\."

"My boy," murmured the ancient sinner, with a benevolent sha\e of his gray head,
"how little you understand human nature! My — my customers will not only permit
me to come bac\; they are waiting for me to come bac\!"

So it is with no expectation of really disarming the dishonest picture promoters
and stoc\-sellers who are again bestirring themselves that Photoplay calls attention to
their trickery. Rather, we remar\ it as news, and beg merely to chronicle regret that
so beautiful a thing as the T^ew Art has vermin on its gleaming body.

One scheme now afloat is the promotion of a manufacturer too well established to
stoop to such a thing; he advertises a vast stocl{ expansion of his business, shares for
sale, in restricted quantities, to fans only. Another concern is beginning a second har'
vest in the West, where, a year and a half ago, it gleaned a tremendous reward by
selling stoc\ on a miserable picture which was actually ta\en and released, thus \eep'
ing within the letter of the law. Their returns so far — and they are about all in —
are said to be nearly six cents on the dollar. A third film V/allingford wor\s from
Washington, where he promises the world or any part of it, for — what have you ?

The crux of fiim-flam, which ma\es it endure from age to age, lies in the fact that
no man was ever s\inned in one of these games who did not expect to s\in the s\inner.
Therein is the humor of the three shells and the little pea. The manipulators are
wolves — but they are welcome wolves.

Verily, in the metallurgy of quic\ profits the dominant' minerals are jasper
and gypsum!

They Both

Edith Roberts performed
the famihar right-about-
face from comedy to drama.

HE was a comedienne, and she
wanted to make people cry.
Edith Roberts performed the
usual stunt of forsaking com-
edy for drama, following in the foot-
steps of Alice Lake and Mary Thur-
man — only she didn't really follow
them; she decided it just about the
same time Miss Thurman did.

Edith has the sparkling face of
the born comedienne. She fairly
radiates good humor. A clearly-
detined sense of fun is expressed in
her eyes that turn up ever so slight-
ly at the corners, in her brisk little
nose, and her wide, laughing mouth.
She's slim and energetic and snappy
— simply made for farce.

And she went in for farce from
the first. She was a tomboy whose
mother had the worst lime imagin-
able keeping her within bounds. She
was the life of every fudge-party at
the school on the Hudson where she
spent her intermediate years. It
was as a dancer and a sprightly
singer that she made her stage de-
but; but she soon decided there
wasn't enough variety in the va-
rieties to suit her, so — she discovered
motion pictures.

She was a Lyons-and-Moran lead-
ing lady, and everyone knows an
actress has to possess a natural gift
for comedy to keep up with those
boys. They were saying that Edith
would develop into another Normand then. Came the time when
Miss Roberts was restless, and yearned for another fling at the
stage. Universal gave her leave of absence, and she and her
mother journeyed East, and Edith became a musical comedienne.

Did Edith like it? Edith did not. It's one thing to be a
comedy queen on the coast, and quite another to be just one of
the girls in a Broadway musical show. Edith and mother soon
journeyed West.

But the stage fhng proved fatal. Edith developed a surprising
disinclination to go back to comedy. True, she was never obliged
to act as a target for custards or anything like that. But the
dramatic yearn was born in her, and after a series of funny pictures,
she decided that life held nothing more for her unless she could be
a serious actress.

Fortunately, Universal City agreed with her. She was given, not
long after, the title role in "Lasca," in which she emoted to her
heart's content, and became, after that opportunity, a full-fledged
dramatic artiste, with other intense parts promising to come her
way.

When The City read a story called "The Triflers," a comedy
drama, they could not visualize anyone but Edith in the amusing
leading role. So they approached her in considerable trepidation,
inquiring in meek tones — for film men — if she would mind going
back into her former phase just this once — because it was such a
good part, and such a perfect vehicle for her. Edith isn't unreason-
able, so .she did "The Triflers," and was very sweet and funny in
it, and it's proven one of her most popular pieces. But jus^ wait,
she says, until she finds something tragic enough for her talents.
Well, you'd better bring an extra handkerchief, that's all!

SKe fairly radiates good liumor,
but she d rather make you weep.

Rebelled

Colleen Moore decided
reprisals were in order
and left drama for farce.

SHE was a sob artist, and she
wanted to make people laugh.
What, then, was surprising
about Colleen Moore's deser-
tion of drama and alliance with
Christie comedies?

Colleen had always been told that
she had the tragic face, the full,
drooping mouth, the sad Mona Lisa
eyes that seemed wise beyond her
years. She wept through "Little
Orphant Annie" and many Fine-Arts
tragedies, and finally became so
wearied of her gloomy existence that
she formed a little soviet of her own,
sought fresh fields, and blossomed
out as a real comedienne in such
farces as "A Roman Scandal" and
"Her Bridal Night-mare." Thus re-
ve'rsing the familiar situation which
has robbed the comedy concerns of
so many of their leading luminaries.
It is said that once a bard tried to
write a poem to Colleen Moore. The
logical lead, thought the poet, would
be her eyes. He had seldom seen
lovelier, more living orbs. So he be-
gan, "Oh eyes of blue that thrill you
through—" and then, he looked at
her again. Surely he had been mis-
taken: Miss Moore's eyes were not

blue, but brown. So he made an- '
other start, "Brown eyes that seem

a poet's dream" One eyes brown, the other blue.

And then he gave it up — which Maybe that accounts for it.
was just as well, as it would have

been a rotten poem anyway — because he discovered to his dismay that
Colleen's eyes were neither brown nor blue — that is, 07ie was blue and
one was bromi — and what's a poet to do in a case like that?

She was bom Kathleen Morrison, in Port Huron, Michigan. She
was living with an uncle and aunt in Chicago when she met David W.
Griffith, who came to the Windy City on business. She met him at a
very formal luncheon, where perhaps her youth and her naivete pro-
duced a welcome relief. He asked if she would like to go to Cali-
fornia and play in his pictures. Inasmuch as she had wanted to be an
actress ever since she was old enough to know anything at all, she
accepted his offer and soon became one of the ingenue class at the Fine
Arts studio. She played many of the parts scheduled for Mildred
Harris, before the present Mrs. Charlie Chaplin departed for picture
pastures new. Colleen did "The Bad Boy" and "An Old-Fashioned
Young Man" with Bobby Harron; and "Hands Up" with Wilfred
Lucas. Then Selig sent for her to come back East — as far as Chicago
— to be "Little Orphant Annie" in their production of the Riley poem.
She also did "Patience Thompson" in "A Hoosier Romance." With
these parts, she graduated into stellar distinction.

But such a little girl as Colleen was hard to fit as to star vehicles, so
when she returned to the West coast — Fine Arts-Triangle having been
relegated to the limbo of forgotten things — she was given ingenue
leads to play, with Universal — opposite Monroe Salisbury and others;
with Charles Ray, and more recently, Sessue Hayakawa. Then, after
a funny little bit of "business" she injected into one of her pictures,
Al Christie sent for her.

"How," he asked, "how'd you like to join my company and be a
regular comedienne?"

Colleen is being featured, now, in a series of Christie Specials.

Broad

The real story of "The Three
Musketeers of the Rialto."

Jolin

IT. is a curious commentary on the strange tricks life
plays upon us that the reigning family of Broadway
is a disappointed trio — or was. Ethel Barrymore,
who plays in tear-conjuring '"Declasse" around the
corner from a billboard bearing a critic's pious ejaculation:
"God knows when we have seen such good acting!" wanted
to be a pianiste. She says it was because she '"had to have
money at once" that she went on the stage

Her elder brother, Lionel, the star of "The Letter of
the Law," studied painting in Paris. He would a painter
be! But in common with Sir Johnston Forbes Robertson,
he found the returns slow and the landlord's demands
rapidly reiterative. He sought the place of quick returns
— the stage.

The youngest of the trio, he who still answers preferably
to "Jack." wanted to be an illustrator. He drew strange
pen and ink sketches of Dorean themes and treatment.
He says he was "fired" from the newspaper that employed
him. He says it blithely, for it was that fact that drove
him to the profession that yields a weekly pay envelope.
John Barrymore followed his disappointed sister and
brother upon the boards. He, too, shines in stellar dignity
in Richard HI.

A distance of but four blocks separates the busy Barry-
mores, Ethel at her established theater home, the Empire;
Lionel at the Criterion; Jack at the Plymouth. The three
musketeers of the Rialto! "One for all and all for one!"
Greater loyalty hath no family than this.

Turn the corner from the Empire and Uncle "Jack" —
John Drew — playing in "The Cat Bird" turns a compla-
cent glance down the street.

way's Royal Family

By ADA PATTERSON

Decorations by R. F. James.

Lionel

"Do you keep up with my youngsters?" he
asked the Good Queen Bess of Broadway, Elis-
abeth Marbury.

"Of course I do, John," was the answer in Miss
Marbury 's high power delivery. "Haven"t I seen
them grow up? Didn't I all but see them born?"'

The present generation of the reigning stage
family wished to avoid sovereignty before it be-
gan. It was like a brood of princelets and prin-
cesses who wanted to sign away their rights to
the crown. They were of a mind with De Wolf
Hopper, who in a musical comedy weeps elon-
gated tears, asserting the while: "I don't want to be king."

Backgrounded by three generations of actors, the urchins
and maiden were early disillusioned. Not one of them wanted
to buy grease paint and a rabbit's paw. They knew not only
the glorious but the inglorious phase of a mummer's life. They
were born and grew partially up in the period of individual
management and frequent strandings. They wanted art, but
they preferred other forms of it.

Ethel, the eldest, was the first to yield to the pressure of
necessity and of fate. Because she had to have money at once
she ceased her piano lessons at fifteen, bought the grease paint
and made her way into and out of the stage door as a pro-
fessional in 1804. The place was the Empire Theater. She
entered reluctantly the play house in which a little more than
ten years later it was her destiny to star. The play was "The
Rivals." The chief players were John Drew and Maude Adams.
She was fifteen then, or, more properly, fourteen and a half.
for her birthday is recorded as August 15, 1879.

She was seventeen when first I saw her. She was playing

Ethel

the customary maid, the only role that is the open sesame to
the stage. She was in her uncle's supporting company, with
Maude Adams, in "Rosemary.'' Her stage name was Priscilla.
She wore a short, striped skirt, a tight, low bodice, and a
starched cap. She was a plump and comely young person.

One less gifted with dramatic intelligence would have con-
sidered her part a colorless bit and made no attempt to inject
vividness into it. But Miss Seventeen did. Hers was to make
love to a ponderous, many-syllabled person. Standing at a
table, at some work for her mistress, she turned her glorious
young eyes upon the elderly object of her admiration and
praised his pedantic speech.

"Your words r-oll and r-oll and r-oll," she said, naively
tender. That was the first evidence of the since famous Barry-
m.ore drawl. The audience applauded her entrance and exit.
It was not the first intimation she had received that she is a
member of the royal family of the stage.

I met her first when she had returned from England. She
had turned into her twentieth year and was already in her own

Photoplay Magazine

When he was
23, John was
not known to

the stage.

black evening gown escaped her. Or if it didn't escape her
she defied it with her slow, smiling dignity.

She was plying her needle not rapidly — she is of deliberate
habit — but with precision, when some of us asked her whether
we might wish her lifelong happiness.

"Such a wish is always welcome," she answered serenely,
"but what is the reason?"
"Your engagement."

"I'm not engaged. Mr. Blank seems to find me companion-
able. That's all."

The next Saturday she sailed for Europe. Mr. Blank, scion
of a family of wealth and long antecedents, made a striking
entrance. He arrived in a cab drawn by a horse that looked
as if some sportive wretch had scattered a tub of soap-
suds over him. The young man tossed a coin to the
fast driving cabby, sprang across the dock and leaped
upon the gangplank as it was being lifted from the ship.
The steward howled as the plank fell on his fist. Thi
eager young man staggered as he tried to keep h;s
equilibrium on the moving plank. And from their place
at the deck rail Ethel Barrymore and some voyaging
friends smiled. Yet the ocean-crossing Lochinvar from
New England did not win her hand. He came back
from Europe alone and puzzled.

Inquisitive reporters sent by news scent-
ing editors climbed often the steps and rang
the bell of the old-fashioned brown stons
house to ask whether Miss Barrymore
was engaged to some new suitor. The'r
inquiries concerned young men whose

CHARLES U RITZMANN.

right a celebrity. She had
gone to London to play Miss
Kittredge in "Secret Ser-
vice" with William Gillette, had toured the
provinces with Henry Irving as Annette in "The
Bells," and had played with the future knight
at the Lyceum in London. She had been the
Euphrosyne to Irving's Peter the Great in
what was then the world's metropolis. London had
discovered that she had beauty and distinction.
It had stamped her with social success. The
Duchess of Sutherland had taken her under her
wide spreading, guaranteeing wing.

She came out of a rear room, the landlady's sleep-
ing chamber, where the young woman had been pay-
ing a bill. She looked very tall and straight and slim
in her white cloth suit. Under the broad brim of her
wide hat she looked with a smile that was bewitching-
ly shy and girlish. She crossed the room with a slow
grace that seemed almost motionless. She stopped to join the
chat, but she said little. She never does. She has always
seemed to me the almost wordless woman.

We lived in a theatrical boarding house opposite the Lambs
Club on West Thirty-sixth Street. Maude Adams, who owned
a mortgage on the house was an occasional tenant. Her mother
occupied her rooms when she was on tour. Ethel Barrymore
and her brothers lodged ther'' when she was in town. Ida
Conquest, who had foUo^Med Maude Adams as John Drew's
leading woman, and was an artist in Boston before she became
a Thespian, was her fellow lodger. Maude Hosford, who plays
an anxious wife of a politician with Lionel Barrymore in "The
Letter of the Law," lived there and heard Miss Adams read
her lines in Juliet before the ingenue star dropped them upon
Charles Frohman's listening ears at rehearsal. Lotta Linthicum
was one of the lodgers, as was Gladys Wallis before her mar-
riage and retirement. Kitty Brady Harris lived there briefly,
too, ten years before she became the mother-in-law of John
Barrymore. The landlady, a costumer and dressmaker, man-
aged a business in the basement.

Naive and girlish was Ethel Barrymore in those lodging-
house days. A memory picture remains of her sitting beside
a window mending her lingerie. She had learned need'e-craft
at the convent school in Philadelphia. The incongruity of
patching and darning while she sat in a glittering sequin-covered

And how^ hrother,
Lionel

in 15 \ ears.

PURCHASED FHOM

CHARLES L. RITZMANN.

■CEUEQR.T^ES

228 FIFTH AVENUE.

NHW YOrtK.

names appeared in the society columns of New York and
London polite prints. Occasionally a name known to the stage
or to literature was coupled with hers. Usually she did not
see the Mercuries from Park Row. She sent brief notes —
"No thank you," or "Not this time." Now and then thesa
repeated queries rasped her nerves. While she was playing in
Buffalo, in "His Excellency the Governor," she telegraphed
me: "Please, for friendship's sake, deny latest report that I am
engaged. I don't know this man."

Nevertheless suitors thronged the small reception rpom of
the lodging-house kept by a dressmaker. In this capacity, the
fellow lodgers believed, came Richard Harding Davis. They

Photoplay Magazine

knew that his earliest visits
had been paid to Maude
Adams. But Miss Adams'
vows to cehbacy would not
be broken. The novelist
carried his disappointment
to the youngest member of
her company. Whether
Davis' name was on the
list in the Barrymore ro-
mantic archives we were
not sure. But if it was they
agreed to forget it, for
Ethel Barrymore was a
bridesmaid at his first wed-
ding, when his bride was
Miss Clark of Chicago.

When Bessie McCoy had
replaced her in the domestic
circle, Miss Barrymore was
a frequent guest at their
home at Mount Kiscoe.
During that domestic inter-
lude in her hard dancing
life. Miss McCoy showei
strong student propensities.
While she sat with the
library glasses shpping from
her dainiy nose, her once
restless feet inactive, a
book held before her in
both hands, her husband ex-
claimed to their guest:

"I married a dancer, and
look at that!'

In those days of many
wooings it was said that
Ethel Barrymore received
at least one proposal of
marriage a week. Some
came wooing with gems.
She showed us a magnifi-
cent solitaire ring.

"I shall have to write a
note and send this back," she said.

"Why not accept it as a tribute to your
art? I hear that is being done in London."
I mentioned a musical comedy star who had
invaded Mayfair and was receiving jewels by
every messenger.

"But this isn't a tribute to my art." Sh
grasped the shining thing with determination and
went to the second floor back to write th
letter.

Already, though she had not come into he
dramatic own, she was admired of young gir
They studied her gowns and copied them.
At a tea in a Fifth Avenue drawing room —
for the Knickerbockers had followed the
example of the Britons and Miss
Barrymore was "invited everywhere"
— a woman who poured the tea ad-
mired "the sweet simplicity and abso-
lute charm" of her frock.

"I bought it for fifteen dollars," was
her answer to the compliment.

Her superb height, her s'ow, grace-
ful carriage, emphasized the
beauty of the dress. These
and her girhsh slimness
It can never be truly
said of Ethel
Barrymore

that her slenderness was a blessing that
brightened for her only when it took

its flight. I remember that she stood before a full-length mirror

in the dining room surveying herself in a new peach colored

taffeta and appreciatively stroking her hips.

"I am so glad my hips are f!at," she said with admiring

candor.

At this time, while she
was ripening into twenty-
three. Miss Barrymore was
ambitious in a relaxed,
serene way. Not tensely,
aggressively, pugnaciously
so, but wistfully, hopefully,
in a minor key.

"I think I have played
all the bad parts that were
ever written," she said re-
flectively once at a gather-
ing of the lodgers.

■"What kind of part
would you like to play?"
asked an animated ques-
tion mark among them.
"Any kind that is
good. I would play
a Hottentot if it
were a good
part," was her
answer.

"Julietr'

a si k e d the

human inter-

rogation

point.

'■No," she
answered with a
slight smile.
"Rosalind."

Opportunity
came in the
guise of Mine.
Trentoni in "Cap-
tain Jinks." The
girl who wanted
any good part
welcomed the
opportunity, i n
her gentle, un-
worldly way. But
three generations
of actor inherit-
ance had made
her sensitive to
conditions. She
mentioned the
name of an actor
who would play
opposite her in
one of the cli-
maxes of the
Clyde Fitch
comedy.
"He intends to "hog
the scene,' " she re-
marked in her even
manner. "I can see
that coming."

It was character-
istic of her that no
tirade against the
poacher followed. She
had made a state-
ment. That was enough. It is
her habit.

Ethel Barrymore is of gregari-
ous habit. She likes her kind.
When some of the lodgers in
what the newspapers familiarly
termed "Maude Adams' Adam-
less Eden" had gathered together
for a chat before they fell into dreams, the girl, coming home
from the Garrick, would stop and tap on the door.
"Come in."

The door opened and her lovely face appeared.
"What's going on here?" she would inquire and would join
the group for a chat. Occasionally the chats were pointedly
(Continued on page 120)

EtKel w=s little diffeient in 1906, wKen she
pl--.yed the title role in "Alice Sit-by-the-Fire."

Beauty

But Katherine Mac-
Donald wouldn't Trade
It — She Hopes to
Overcome It.

such a little while ago after ^
winning fame as an artist's -
model in New York,
possesses to an extraordin-
ary degree that extraordin-
ary thing called beauty.
When you look at her, you
wish the whole human race
could have been made per-
fect, as it was intended to
be.

But Miss MacDonald,
while she is intensely grate-
ful for her beauty, while
she has learned in a sur-
prisingly clear way to look
upon it as an outside posses-
sion, like a diamond neck-
lace or a bad disposition,
nevertheless declares that
it's a difficult thing to live
with.

"There are three things
that people always say
about a woman whom the
world calls beautiful," said
Miss MacDonald, with a
serious Httle pucker be-
tween her brows. "She is
a fool, of course; she cer-
tainly can't act, and she's
at least improper, if not
openly immoral."

TKe

Girl.-

Ideal
Belo-sv-

sister, Mary MacLaren

IT is not to be denied that beauty is only skin deep.
But since that is about all the General Public is likely
to see in this \i^e — unless we are to considei X-Rays,
ouija boards and such factors — would not the average
woman lump all her other possessions and trade them for beauty?

If every woman could write her own ticket for the fairy godmother
who presides over our destinies, I am convinced that the beauty factory
would be flooded, to the exclusion of brains, virtue, and even gold.

Statistics prove, I believe, that only three persons in a million are
possessed of beauty, as differentiated from mere prettiness, good looks or
charm. Also, that it would be easier to pass the lunacy commission to-
morrow if you were left a million dollars tonight than' if you suddenly
discovered that instead of being a bit difficult to look at you were per-
fectly beautiful.

Now certainly, these things being true — and one advantage about writ-
ing is that nobody can contradict you without going to a lot of trouble
— it would hardly occur to anybody that beauty could have any handicap
— that, as it were, there could be a fly in its ointment.

But there is.

Katherine MacDonald says so, and Katherine MacDonald is a beauty.

Not so long ago, she might have followed the profession of being a
beauty, as did Lillie Langtry, and longer ago have rocked thrones as effect-
ively as Nell Gwynne or Du Barry.

There are many who contend that, so far as the physical fact can be
judged by standards, Miss MacDonald is the most beautiful woman on the
screen.

As a matter of fact. I believe that this star, who came to the movies

Her Great Handicap

She's a tailor-
made girl and
adores camel s-
Iiair mufflers.

By
JULIA REGIS

Now isn't it true?"

She was sitting on the end of a wicker divan, painted gray,
in the lovely home in Los Angeles Wilshire district, where she
lives with her mother, her sister-star, Mary MacLaren, and her
at-home sister, Miriam MacDonald. A mass of bright colored
cushions supported her lovely head and framed the ivory
shoulders that orchid folds of chiffon and creamy old lace left
bare. There was just the hint of a smile in her radiant blue
eyes.

"Isn't it true," she repeated solemnly, "if a girl or woman
is considered beautiful that everyone immediately concludes
that she hasn't anything inside her head? It seems to be
traditional that a beautiful woman doesn't need to be clever.
Of course it is wonderiul to be thought beautiful, but, graciou-S
one doesn't like to be elected an idiot on that account.

"Then, of course, she can't act! Why
should she? That's the way they seem
to figure it. She gets by on her looks.
People only want to see her.

"As for her morals — " she held up two
slim hands, "every humorist in the world
has written a variation on how hard it is
to be good if you are beautiful.

"So you see all the things you accept
when you receive beauty."

"Still,'' said I, "would you trade it for
everything else rolled into one?"

She nibbled the end of a chocolate
cream and inspected the interior to de-
termine its flavor.

"No," she admitted at last, raising
honest young eyes, "but truly, I don't
want it to be the end of my existence.
I do want to act. I am so sure that I
can. I am so happy to have the oppor-
tunity. And I am determined to over-
come the handicap of — beauty!"

Katherine MacDonald and her sister
Mary, known on the screen as Mary Mac-
Laren, came from Pennsylvania. She
started her career as a beauty by posing
for Malcolm Strauss, a New York artist,
whom she later married. She was
divorced from him two years ago. She
followed her sister into pictures and for
three years ' has done regular small part
apprenticeship.

She began producing her own pictures
shortly after making "The Woman Thou
Gavest Me." Her first independent re-
lease was "The Thunderbolt."

One of the best-dressed women on the
silversheet, Miss MacDonald is a tailor-
made girl rather than the fluffy ruffles
type. She typifies perfectly the healthy,
wholesome, ideal American girl.

She adores camel's-hair mufflers, as is
evidenced by her generous assortment.
One of her favorite costumes is a tan
tweed tailored suit, with narrow belt and
pockets; her blouse of finest handkerchief
linen, daintily finished with collar and
cuffs of the same material, knife pleated
— the muffler thrown over her shoulder.

Miss MacDonald's fourth production is
an adaptation of C. N. and A. M. Wil-
liams' story, "The Guests of Hercules,"
calling for thirteen changes of costume.

Dollars and the

Their social friends believed that Dan and Madge went South.
Instead, they sold most of their possessions and went East — way-
over east in a part of New York City unknown to their friends.

self,

T was after that gay holiday party at the Hunts Club that
Madge Hillyer found out for the first time how they
really stood in a money way — Dan Hillyer, the boyish but
brilliant young inventor whom she had married, and her-

It had never occurred to her to inquire into Dan's financial
status. All the men she knew had money. After a few sea-
sons of judicious flirtations, in which she had been sought
by some of the most desirable bachelors of New York, she
had met Dan Hillyer and discovered that she loved him.
That was enough.

It would have made no difference in her final choice of him
if she had known that he was what would have been termed in
her set a poor young man. But she would have started out on
their little matrimonial venture in a verj' different way. She
would have taken a modest apartment in Brooklyn or in one
of the cheaper districts of New York City, for she was a sen-
sible person. She would have worked out an economical
household budget system that would have made the money Dan
did have last them a long time. Madge was that kind of a girl.

It had been Dan's fault that they had set up in a smart
and expensive apartment house overlooking the Park, and had
proceeded several months on a season of quite unnecessary
extravagance before the subject of dollars arose between them.

Dan had a youthful, stubborn pride, which was one of the
things that made him lovable, but this pride, coupled with the
usual delicacy of feeling that besets young people about to
be married, had kept them from coming down to brass tacks
on the matter of the wherewithal on which they were to live
after they were wed. He had indicated that he had realized
importantly on a mine windlass patent; but had never told her
that the extent of his realizations had been only $15,000 — a
large enough sum in some circles, but nothing in theirs. Madge
had taken it for granted that they had plenty.

Arthur Crewe was at the Hunts Club ball. He had been one
of Madge's most persistent suitors — a handsome, serious, some-
what older man of cultivated tastes and the money to indulge

Every married man and -woman
who prizes the happiness of the
home should read this story.

By NANON BELOIS

them. He was a worshiper of beauty,
and Madge's fragile loveliness had always
appealed to him as a rare flower he would
like to own and cherish. Immediately
after Madge's marriage he had hied him
off for a trip half way across the world —
but the restless longing to talk with her
again, to be where she was, to give him-
self the exquisite pain of seeing her,
though married to another, brought him
back for the annual club affair at which
they had danced each year since she had
been old enough to be out and about.
He felt — he knew — that he would never
love another.

Dan Hillyer, watching his wife dancing
with Arthur Crewe, read all the older
man's thoughts in the dark brown eyes
that bent on her. Dan could see the mis-
ery— yet pleasure — that Crewe felt in her
nearness. He was seized with a vio'.ent
jealousy, joined with a sort of vague fear
of the money and the power that Crewe
possessed — which served to make him a
little bit irritable after they reached home. A most inoppor-
tune time to expose the fact that (he household had accumu-
lated bills — a whole teapot full!

"I just stick them in there," Madge laughed as she pulled
them out of the silver pot so that she might put Dan in a
more cheerful frame of mind with a cup of tea, "and when
there isn't room for any more, I pay them. Simple, isn't it?"
When Madge returned from the kitchen with fresh water for
the kettle, she found her Dan seriously counting up the bills.
She stopped in surprise.
"What's the matter?"

"Matter?"' answered Dan. "Heavens, Madge, how could we
have spent so much money?"

Madge stiffened perceptibly. Dan had always insisted on
her buying all the things she wanted. She told him as much.
Dan's eyes fell in embarrassment — then he raised them and
looked shamefacedly at his wife.

"When I won you from — from Crewe and the rest" — it was
agony for him to confess it — "from all the men who had plenty
of money — I — I couldn't bear to let you think you had suffered
through your choice. I never told you the whole truth about
my finances, Madge. It was not a fortune I got from my mine
windlass patent. It was only fifteen thousand dollars. I was
sure I could sell the new smelter process before that money
was gone — but — but I'm not so sure now."

"Oh, Dan, Dan, why didn't you tell me before, my dear?"
Madge went over to her husband and put her arms about him.
The thought that he had been working on and worrying with-
out her sympathy and help, while she had been practically throw-
ing money away, that he had been discouraged perhaps, and all
because he had not known how willing she was, how anxious
to be a real inspiration in his life — hurt her more than Dan's
weakness in not telling her the truth before.

"But you still have faith in the smelter process, haven't
you?" Madge's practical mind, given a chance, reached out
to tackle their problems.

"It will be very valuable to the copper industry," Dan an-
swered with certainty. "But it takes time to work out the
details — more time than I thought."

"Well, we still have a little money left," said Madge. "We'll
sell most of our things, and we'll save all we can while you
finish your work. Why — it will be fun to be poor, and to

.ft

Woman

Ninety- nine per cent of the world's
domestic discord is caused by
money or lack of it. That was the
one false note in the love-harmony
of Dan Hillyer and his worshipping
wife. This gripping narrative of
their fight teaches a lesson that
should not be lightly cast aside.

help you, Dan. But my dear" — a flood of
tenderness for this foolish boy of hers
rushed over her and filled her eyes with
tears — "my dear, if you had only told
me in the beginning. Now Dan," Madge's
cheeks flushed anci her voice grew soft.
"now we must win out, you and I — be-
cause— because — "

Dan raised Madge's drooping head, antl
forced her to look at him. There was a
tender mother love in her eyes. He
clasped her to him.

THEIR social friends believed that Dan
and Madge Hillyer packed up and
went South the following week. Instead,
they sold all but a few of their possessions
and went East — way over East in a part
of New York City as unknown to their
friends as the heart of Africa — even less.

On the edge of the East Side with its
crowded tenements, its seething, dirty
streets, its push-cart markets, its jargon-
ing bargainers, Madge found a tiny apart-
ment in a rather new house watched over
by a kindly dispositioned janitress, Mrs.
Sherman. It was clean, it was compara-
tively cheap, and its handiness to the
curbstone vegetable dealers and the in-
expensive stores, where those who were
really poor could find things within their means, made it de-
sirable from Madge's new viewpoint. At any rate, the novelty
of the experience wooed her into forgetfulness of its sordidness,
at first.

And how she economized! How she scrimped and saved!
How she planned— while Dan put the finishing touches to the
invention on which they had staked everything they possessed
and helped her with the housekeeping all he could.

One day. several months after they had entered upon their
new existence, a letter arrived at the Hillyer flat addressed to
Dan. It came just at the moment when Dan, clad in pajamas
and bathrobe, was pressing the one and only business suit that
remained.

Madge was out marketing. Returning, she found her hus-
band frisking about like a little boy. He rushed to her, grabbed
her in his arms for a resounding smack — but not before she
had managed to slip a box she carried behind the bedroom door
— then handed her the letter. It was from the secretary of
Colonel Elijah Barnard of San F"rancisco, president of one of
the largest smelter plants in the world. She read:

"Dear Mr. Hillyer:

"Colonel Barnard directs me to say that he is much inter-
ested in your smelter process and will be pleased to see you
at the eastern offices of the Coast Smelting Company at your
earliest convenience.

"Ver\' truly yours,

"Thomas J. Martin."

"Dan." Madge exulted, taking his face between her hands,
which had become calloused and worn during her months of
unaccustomed work, "I am so proud of you, dear."

Madge looked into his wliite face and blood-sJiot eyes. "Go' ' she
said bet-ween taut lips. "If you don t I — 1 think 1 shall kill you 1"

Dan went back to his pressing, but as he looked down on
the worn trousers spread out on the board, he gave a grunt of
dismay.

"Oh, Madge," he despaired, "look at these. Like the one-
hoss shay, I'm going all at once."

Madge picked up the trousers to examine them more closely,
and as she stretched the thin fabric out to see the extent of the
worn place, it gave way.

Madge looked at Dan in horror. A sudden burst of anger — -
anger at circumstances, at Fate — seized Dan. He jerked the
trousers from Madge's hands and tore them to pieces, then
stamped on them.

"I wore out that suit in their confounded chairs, awaiting
my chance, and now"^he snorted, pacing up and down — "now
— oh, it's too ghastly! Madge, we're ruined, unless" — a sud-
den hope springing up in him — "you can do something."

Madge had accomplished so many things these past few
months — had produced so many needed things out of thin air,
that Dan had acquired an almost childlike belief that her
powers were unlimited. And indeed, though Dan did not know
it, Madge already had done something to replace the now ruined
garment. That afternoon she had gone to the little second-
hand shop where Anton, the friendly Jewish tailor, made old
clothes look as good as new.

Dan's eyes opened wide in happy surprise when that box
slipped surreptitiously behind the bedroom door appeared
draped on the end of a broom through the partly opened bed-
room door a moment later. The box held a dark gray suit.

Photoplay Magazine

"Remember the old suit you scorched with acid?" Madge
demanded between kisses, when she had been dragged with the
broom handle from behind the door. "I had the tailor rip it
apart. Isn't it marvelous?"

"Marvelous," agreed Dan. Then a disquieting thought
struck him — even this must have cost money.

"I found that I didn't need lunch, Dan. Two meals a day
are more than enough for me — so when you've been gone at
noon, I've just saved the money — and in other ways.'' She
said nothing of the clothes she had gone without.

"Madge, dearest!" Tenderness swept Dan, and he drew
Madge very close. "I'll make
it all up to you some day."'

COLONEL BARNARD hs-
tened with real interest to
what Dan Hillyer told him in
the Eastern offices of the Coast
Smelting Company. Beside them
was the model of Dan's smelting
process improvement. But in
the midst of their conversation
the Colonel pulled himself up
sharply, took out his watch,
'hen rose with outstretched hand.

"It's most interesting, Hill-
yer," he said. "But I've an im-
portant meeting in ten minutes.
I'm sorry. I wish I might have
a longer talk with you before I
leave for the West tomorrow."

His tone was encouraging,
friendly. Dan could not bear to
let this moment slip without
making an effort to bring the
Westerner to some sort of bar-
pain. An idea entered his mind
— an idea which a few months
earlier would have occurred to
him, perhaps, as a matter of
course. Today it was very dar-
ing. This one meal would cost
as much as it took them to live
a week, or maybe two.

"Can't — can't you have din-
ner with me tonight," — Dan
gulped — "at — at the St. Croe-
sus?"

Dan paused in scared silence.
The Colonel accepted his invi-
tation.

Colonel Barnard seemed to
enjoy his dinner immensely —
and ate, as Dan afterwards com-
plained to Madge, like a poor
relation. But the meal was a
miserable one for the young in-
ventor. Through it all he was
haunted by the fear that the
Colonel would go away without
giving a definite promise in re-
gard to his patent — and that
would mean the price of the

dinner wasted. Then, too, the picture of Madge came to take
the cheer out of his heart.

She had been so horrified at first at the money it would take
for this one act of propitiating Fate — then, poor child, she
had broken down and wept because she could not go to the
St. Croesus too. She had laughed through the tears at herself
for being a silly baby as she handed over the household emer-
gency fund. Dan understood the heart hunger for a taste
of her old life that had swept over her — and he hated the bril-
liant hotel, its music and its audacious price-list, which had
made it impossible for him to bring her along.

The upshot of the dinner was a terrifying bill and an invi-
tation for Dan to come to the Coast to demonstrate his inven-
tion to the Colonel's board of directors. Barnard offered to
pay Dan's expenses, but he neglected to advance the money.

Madge, starting from the big chair where she had curled
up, a shawl about her shoulders, to wait for Dan, found black
despair written on every feature of his face on his return.

Lack of absolute confidence means th
wreck of manv a beautiful romance —

— Wbile livitb perfect understanding,
"nothing ill can dwell in such a temple."

"But Dan — we still have money in the bank," she said when
he had told her the evening's story.

Dan answered firmly: "I know, dear, but we're saving that
for you. We can't touch that."

"But I'll be all right,'' Madge insisted. "I'll leave enough,
and you'll be back long before — before — " she hid 'ner face a
moment on his shoulder, "and then we'll be rich. It's your
big chance, Dan. We mustn't let it slip."

The next morning Madge Hillyer drew the $300 from the
savings bank. As she left the bank, a man, by seeming acci-
dent, stepped into the same revolving door compartment as

she. When she reached the
comer she discovered her hand-
bag was gone. Involuntarily
she cried out. A crowd gath-
ered— but the thief had disap-
peared.

WHAT should she do? She
must act somehow without
letting Dan know. For some
reason her thought went to
Crewe — perhaps it was because
he, back in his apartment after
another unsatisfying trip into
strange new countries, was
thinking intently on the Madge
he had one time loved. She de-
termined to crucify her pride
and go to him for help.

Yamadichi, Crewe's Japanese
servant, admitted Madge into a
living room rich with soft woven
hangings and vivid with many
colors. The fragrance of flow-
ers came to her nostrils, and a
plaintive melody, played with
Crewe's touch on a piano, crept
to her from another room.

Yamadichi disappeared for a
moment, then came back to say
that his master would see her.
Madge trembled as she followed
the silent Jap, trembled at the
audacity of her coming here,
trembled more at the memory
of happier days. Of a sudden
the stuffy, smelly apartment, the
unattractiveness of her luxury-
stripped life, repelled her. She
became faint.

At the sight of the pale
Madge in her shabby garments,
Crewe's expectant manner
changed to one of frank disap-
pointment. He had expected to
see the graceful, vivacious crea-
ture of his dreams.

"What can I do for you?" he
said stifily, after an embarrass-
ing pause.

"Arthur" — she was the prac-
tical, self-controlled new Madge
again. "I want $300 — as a loan for a month." She shrank
from the coldness of Arthur's look, but she forced herself to
tell him of their struggles — hers and Dan's.

"We'll pay you interest — eight or nine per cent if you want
it," she finished.

"Thanks." Crewe's tone was frigid. "I'm not a loan shark.
Why not go to one of them?"
Madge smiled bitterly.

"I thought of that — but we have no security to offer."'
"Then what security could you offer me?"
Madge looked the man who had one time loved her straight
in the eye. then gathering all the scorn she possessed in her
voice, she said, "Myself."

Arthur Crewe winced perceptibly. For an instant the flame
of old desires leaped up in his eyes, and died down again, to a
look of hurt misery.

"Madge, you might have spared me this!" he cried. "You
have wrecked my dreams. The very sight of you — worn, hag-

Photoplay Magazine

gard in your slavery to that man — shattered all that was left
to me, my memories, and now — this!"

He came closer, his face growing white. "Why should I
waste money on a woman whose looks and vivacity are gone —
who is frankly selling herself — "

As the significance of his words sank into her dazed con-
sciousness,'at the knowledge that any man who knew her as
well as had Arthur Crewe could so have misunderstood her,
Madge drew herself up to her full height.

"You beast! You dared imagine that I meant — "

"What did you mean?'' asked Crewe in honest bewilderment.

"I meant myselj — myself with
all the power for working, and
saving and starving. I'll work
my hands to the bone until the
debt is paid."

"Madge! Forgive me. I
didn't know — " Crewe was
humbly apologetic.

"There are some things a
woman never forgives," Madge
said quietly. "Let me tell you
that no matter what you decide
to do, I shall never forget the
abominable insult you have of-
fered me today. I tell you that,
so we may be above board. If
I had not been desperate, you
may know that I would never
have come in the first place."

DAN HILLYER got safely
away to San Francisco that
afternoon, without guessing what
the cost had been to his wife.
"God help us both," Madge
whispered to herself as the train
pulled out of the depot. Then
she started wearily back to the
East Side and the shabby apart-
ment.

When a husband pays, as interest on the bonds of
matrimony, pretty little attentions to his wife —

ARTHUR CREWE spent the
most unhappy hours of his
life the night after Madge's call.
Now that the first shock of see-
ing her had softened, he was
tormented with the knowledge of
her poverty. He was tortured
with the thought that he had
misunderstood her, that he had
insulted her. And he knew that
though the old fairy Madge had
disappeared, it was the soul of
her that was beautiful — that he
loved.

In the morning he left the
house to see if walking would
relieve his mental distress, and
almost without knowing it, he
found himself at the address
Madge had given him as hers.

With some difficulty he fer-
reted out the door to the Hillyer apartment and rapped. From
within came the sound of some one walking, then there was a
dull thud and all was very still. Crewe rapped again and again,
each time louder, until the janitress heard him and came run-
ning.

. When Mrs. Sherman had opened the door with her keys, they
found Madge lying still and white on the floor.

Arthur Crewe picked the unconscious form up in his arms
and laid her gently on the bed, then rushed out to call an
ambulance.

"Poor dear, poor dear," sighed Mrs. Sherman when he was
back again. "Many's the time I told her she should be more
careful of herself — not work so hard."

"What are these?" inquired Crewe, noticing a pile of en-
velopes on the table. They were addressed to "Daniel Hill-
yer, Care Coast Smelting Company, City Bank Building. San
Francisco, Calif."

"She wrote a letter for each day," answered the woman.

— The "K. P. " of the home ceases to be a drudg-
ery and the bluebird of happiness flies in.

wiping her eyes. "It was the last thing she had the strength
to do. I'm to send one to him on every morning's mail — so he
won't worry."

As the ambulance bearing Madge Hillyer to her hour of trial
clanged out of sight, a telegraph messenger arrived at the
apartment door. Arthur Crewe was just leaving. He opened
the envelope, addressed to Hillyer.

"If not started," the telegram read, "postpone trip. Must
delay action on patent until vice president's return from South
.America next spring. Am writing. — Elijah P. Barnard."

Crewe folded the envelope with a grim smile on his face.

What fateful irony this was.

ARTHUR CREWE hovered
in the background the next
few days while Dan Hi dyer's
wan young wife hung between
life and death. He saw to it
she had a private room and paid
for extra nurses. But she did
not improve. She took no in-
terest in anything — not even her
baby.

"She hasn't the will to live.
Her vitahty's been sapped. The
fight has gone out of her," the
specialist said.

To Crewe as he heard this
there came an idea for forcing
the young mother to save her
own life. But when told of the
plan, the doctor stared at Crewe
as if he were mad.

"Why, man, she'd hate the
very ground you walk on if she
should live."

But Crewe was firm. "She
does anyhow," he mused. Then
aloud: "It will make her fight."

A moment later the doctor
bent over Madge's drawn face
and spoke her name very harsh-
ly. 'When the dark lids stirred,
he said slowly, but sternly:
"Mrs. Hillyer. Listen to me.
Your husband has failed. Do
you hear me? They won't buy his
patent. And Mr. Crewe wants
to know when he is going to get
his money."

Madge's eyes opened wider.

"The money you borrowed,"
continued the doctor. "Mr.
Crewe wants to know if you are
going to cheat him out of it."

"Tell— him," the doctor had
to bend low to catch the faint
words "—I'll— pay." Madge's
brown eyes closed.

"By Jove, Crewe," said the
specialist, coming into the cor-
ridor, "you're a better doctor
than I am."

WHEN Madge Hillyer returned home with baby Dan, three
letters — registered — awaited her. As she opened them, a
perfect shower of money orders fell to the floor. Mrs. Sher-
man, who had brought the letters, picked up the pieces of
paper. There were ten of them for one hundred dollars each.
A fortune!

"I followed Barnard to Butte and back again — and was as
welcome as the hives," read one of Dan's letters. "He said
I was just wasting my time and his. Then overnight he
changed — Heaven only knows why. The next day he received
me with open arms. Bonus of $15,000 and a royalty guaran-
teed not to drop below $10,000 a year for the next fifteen
years."

"We're rich, Danny boy," cried Madge, holding her baby
tight to her heart. "We're rich."

Before Dan's return she had deposited the money orders
and mailed Crewe a check for the $300, wishing to wash her

hands of this loan that had haunted her out of the valley of
the shadow. She wanted to put Arthur Crewe from her Hfe
forever.

JACK LONDON tells of a man who, escaping starvation in
the frozen North, after his rescue used to steal crusts from
the dinner table and hide them away in fear of starvation again.
And so, in a different way, it was
with Madge Hillyer.

Her suffering in so critical a time
had left its mark deep upon her.
The thought of a return to poverty
made her shudder in terror. She
could not bear to spend or enjoy the
money that had come to them as a
result of her toil and sacrifice. Dan's
happy recklessnesses — occasional
flowers, a beautiful ring, toys for
httle Dan — filled her with dread in-
stead of pleasure.

"Dan, we must save," she would
repeat. "The horror of what we
have gone through haunts me. It
must not return. It would kill me
to go through it again!"

"I mean to save within reason,"
Dan would reply, irritated by her in-
sistence. "But we don't have to be silly about it."

And so the question of dollars — always dollars — even now
came to loom between them and threaten to destroy their hap-
piness.

It would seem that dinner at the St. Croesus, the opera,
supper at a gay cabaret — these should have aroused Madge's
late love of gayety and luxury. Dan insisted on taking her
out to these places one evening, when he felt that her obses-
sion for saving was driving ,him to distraction. Her spirits

Photoplay Magazine

Dollars and the Woman

NARRATED by permission from the
Vitagraph production, adapted
from the book by the same name by
Albert Payson Terhune, and directed
by George TerwLlliger with the follow-
ing cast:

Madge Hillyer Alice Joyce

Dan Hillyer Robert Gordon

Arthur Crewe Craufurd Kent

Mrs. Sherman .Jessie Stevens

rose when she donned her evening gown, which had lain idly
in her closet for so long. The color came back to her cheeks,
and her eyes sparkled. Dan's old time impetuosity returned
and he caught himself kissing her hand over the table. But
before the evening was over they were jangang again.

"You didn't hesitate to spend money on yourself when you
needed it at the hospital," Dan remarked. "Not that I regret it

— I'm glad you did."

"It was all free — furnished by the

city," answered Madge heatedly. "I
didn't spend a cent."

"Then who did spend it?" asked
Dan. "You can't tell me the city,
gave you a private room and two
nurses for nothing."

As they left the cafe, angrily, they -
passed close to a table where Arthur
Crewe was seated. He had been
watching them. He started to rise,
but Madge only nodded at him coldly
and passed on.

The unnatural relation which had
arisen between Madge and Dan Hill-
yer over money led them both to do
despicable things, which neither
would have done under ordinary cir-
cumstances. Driven by a sort of
inexplicable doubting and jealousy, Dan went to the hospital
where Madge had been ill and demanded to know about her
bill. It had been paid, but when Dan asked by whom, "Ask
your wife," was the superintendent's calm answer.

He hurried home. Madge was out and being alone, he sat
down to work out plans for a laboratory in which to work out
further experiments. A question of the price of a piece of
apparatus bought by Madge came up in his mind, and he turned
for her check book. As he glanced through the stubs, his eyes
suddenly became riveted on a certain one. His hand began
to tremble, and he let the book drop from his fingers.

Weakly he went to the desk and ran over Madge's can-
celed checks till he came to the one she had sent to Ar-
thur Crewe.

His manner was cold and accusing when
Madge came in from her afternoon's mar-
keting. (Continued on page ij8)

"Why did you give my wife
this? " Dan held out the check.

The Family
Circle

First of a series of monthly
heart to heart talks

By MARGARET E. SANGSTER

THE name of Margaret E. Sangster has held a
peculiar place in the hearts of American readers
for fifty years. It is because the owner of the name
has devoted her understanding, kindly, pliilosophic
pen always to the cause of humanity and its prob-
lems.

The first .Margaret E. Sangster died about ten
years ago, and her mantle fell on the slioulders of
her granddaughter, who inherited her name as well
as her genius. Ever since she wa.sl fifteen years
old, .Miss Sangster has been on the editorial staff
of one, of the religious magazines. At the same
time lier poetry, her stories and her essays have
been appearing in other periodicals and in books.

Photoplay takes great pleasure in bringing you
the gift of Margaret E. Sangster, second, through
its columns. Miss Sangster has been given a page.
.She is going to fill it up each month just as she
wishes — but she will always touch on some phase,
some problem, some thought that has to do with
the motion pictures.

Miss .Sangster tells you in this, her first article,
for Photoplay, what she plans to do. She invites
you into her friendship. She will be glad to con-
sider your own perplexities.

THE term "Family Circle" has always drawn a vivid
mental picture for me — the picture of a cozy hearth
fire with an easy chair or two standing in front of it
and a great dog, or perhaps a fluffy kitten, dozing in its
warm light. It isn't a startlingly original picture, but its com-
fortable and satisfying. It's comfortable and satisfying be-
cause it typifies a home.

A Home is the most important thing in the world, I reckon.
It is the foundation that world civilization is built upon, it's
the reason why men fight — and die — in wars. It's the reason
for the great fundamentals of life and for the little, seemingly
unimportant trifles.

If it wasn't for the Home there probably wouldn't be books
or magazines or theaters or moving pictures. Because the real
audiences — the worth-while audiences who
buy magazines and books, who go to thea-
ters and motion picture shows — are home
people. They are home people though
some of them live in lonely hall bed-
rooms with never a fireplace, though some
of them have only a geranium on a win-
dow sill for a garden, though some of
them will never have a real conception of
home except in their souls. Every one
in the world, underneath his own particu-
lar veneer of sophistication or ignorance
or carelessness, is a home person.

And, back of every home, is the family
circle, the meaning of it all— the circle
that groups itself around the hearth fire
(even though that hearth fire is an imag-
inary one) and talks over its troubles,
and confesses its perplexities, and asks,
unashamed, for advice.

It's the tender memory of such a family circle that has
kept many a weary heart alight with hope — it's the dream of
such a family circle that has snapped many a chin up, made
many a spirit courageous.

So it isn't strange, at all, or out of place, that every theater
where plays or motion pictures are shown should have a defi-
nite number of seats which it calls "The Family Circle."
And it's typical that, while those seats are not the most
expensive seats or the most prominent seats in the house,
they are in the center of the theater, filling a certain gap and
holding the other seats together.

I AM a newcomer to the pages of Photoplay Magazine.
But, for a good many years, from a magazine that is prima-
rily a home magazine, I have watched Photoplay and the
great industry that it stands for. And I think that I can
understand what moving pictures have come to mean to home
people — people who have hearth fires and easy chairs and
all the rest of it.

Take my own home, for instance. Every night at dinner

Margaret E. Sangster

time, my mother and my brother and I sit down at the dining-
room table and take up our soup spoons (or grapefruit
spoons, as the case may be) and look into each other's eyes
and start to talk.

My brother and I both have our work, work that is inter-
esting and absorbing to us, but work that my mother in no
way understands. And my mother has housekeeping prob-
lems that, though they go to make up her whole life, seem
small and insignificant to us. If she talks about the out-
rageous price of sugar, or the advance in the cost of beef
steak, or the way that laundries tear linen sheets, we are apt
to be bored. And if we talk about making up pages, and
printers' strikes, and free verse, .she is interested — on the sur-
face— but there is a vague question in the depths of her
eyes.

And so we have come to talk, across
our dining-room table, about the movies
— a subject that we are all interested in —
that we can all look at from the same
point of view. It makes the dinner hour
easier, chummier, more pleasant for all
three of us. Mother is just as eloquent
on the subject of her film favorite as
my brother and I. She can argue a
point with as much intensity and logic
as we can.

We are all puzzled at the same technical
triumphs, we are all enthusiastic over the
same successes. The motion pictures
have come, in a very few years, to be our
common meeting ground, our big common
interest. And I fancy that they mean the
same thing to many other families.

THAT'S the side of the motion pictures that I want to
wrhe about in Photoplay. It's the home side, th3 fam-
ily side, that I want to emphasize. I don't want to tell you
intimate details about high salaried stars (I don't know any
intimate tletails about them!) and I don't want to discourse
learnedly on dramatic effect, and continuity, and picture
values (the terms don't mean any more to me, really, than
they do to you!). I want to talk with you, jrom the outside,
about something that we're both interested in.

And I want to talk with you, not as an authority who knows
the ins and outs of the business, but as an acquaintance of
yours — as some one who sees things in your own way. I want
to be as close to you as the woman next door, as the girl who
shares your luncheon table in the restaurant, as the young
person who has the apartment on the floor above your own.

This is going to be a home page. And it's going to be
more than that! It's going to be a real family circle if we
can make it so, you and I. It's going to be our common
meeting ground and our big common interest. And through
it we're going to be friends!

^^ciP

OUT on the lot where plays are made
In picture form with light and shade,
The golden gateway to our nation
Sends forth a royal invitation
To those whose steps would be waylaid
To where the photoplay parade
Furls forth its banners, decked with braid.
The coast — the land of cinemation —
Out on the lot!

"And how mnch is this actor paid?"
"In what productions has she played?"
"I hear he's good at aviation!"
"How old is Ann?" .... with agitation
They gossip movies, young yet graved,
Out on the lot!

APdO(9\A

The brilliant authors of this page

o n c e n ^

By HoAvard Dietz

Confess that they are movie fans.

If now and then they seem to rage

And curse a lot

In verse (a lot)
Attribute this bad taste to badness.
Don't look for method in their madness.

Ignore satiric

Bits of lyric
Provided that the metre scans.

We go to pictures now and then
To get the wherewith for our pen
We listen with attentive ear

It is remarkable, not that tlie percentage of movie-goers in this
when you consider that, after all. the very worst thing
country" picture and have to watch "Natures unspoiled

For instance — only yesterday,

While we were in some hippodrome,
We heard a witty female say:

"This picture's rotten — let's go home."
(We've got to print remarks like these
Or else our stuff will never please.)

Another time we heard a voice

Exclaim: "O, look at Alice Joyce!"

(

To what the people say around us-
The things that oftentimes we hear
Combine to puzzle and astound us

(We ask you, can a bard resist

To put such comments in his list?)
And so it goes (as "it" will go)
We've laid before you detailed plans

Of all the wares we seek to show.

Peruse them carefully and know

That though we criticize severely
We love the photodrama dearly —

And, as we've said — we're movie fans.

■And when we sit us down to write

We say "What have we heard tonight."
And so we put a little joke in
Which some one at our left has spoken-

Who knows — perhaps your bright remark

Delivered in theatric dark

Right on these pages may appear?

s o r s

and Ralph Barton

h i

1 p

l4|(^1oR,^

When Danlc wrote his primal script

To stave off all his frenzied creditors

And via Burleson it skipped

Into the clutches of the editors,

The judges in the movie faction

Said "Send it back — it needs more action.

When Aristophanes was ^igned

To write his stuff in continuii}-.

His comic captions were declined
For insufficient incongruitj-.

His work was finally rejected

As plot that could not he directed.

country is so high, but that the entire population are not devotees,
ttat can happen to you in a cinema is to run into a "hill-
ctild" peering at the handsome city-chap through the foliage.

DlR£e]oR<^'@Wo

(Much after, and 'with apologies
to, IV. S. Gilbert. )

When Goldamount sought Sophocles
To write a few refined scenarios.

They found the stories didn"t please
The stars and their Lotharios.

They couldn't see him in the west —

His stories lacked "love interest."

When the villain cannot make the right expression

To register his bitterness and hate,
Or the ingenue's not seized with the obsession

That her part is just a little too sedate.
Then the star is busy talking to her mother

And delaying all the work that's to be done. .
O, take one consideration with another.

A director's lot is not a happy one.

And that is how it came to pass

That men whose names live though eternity
Were found unworthy for the mass

Of picture-goers of modernity,
And had to yield the better places .
To .Arthur Reexes and Louis Tracvs.

mWof

Xow the camera is not in proper focus,

Or perhaps they're having trouble with the set.
Now the lights are wrong and raising hocus-pocus

And obstructing the effect one wants to get.
Now the leading man's supposed to have a brother,

But the make-up's got him looking like a son.
O, take one consideration with another,

A director's lot is not a happy one.

Out on the lot— we started so.
And things that start must end. you know.
So let us hasten this refrain.
That you may turn the page again
.And say: ""Here you noncensors — blow!"'
So ranging n,-hmes in proper row^
And turning them both sweet and lo.

Once more we strike the golden strain
"Out on the lot."

Once more the cry is: "Westward ho!"
And Presto! Here's the studio —

The land where only pictures reign —
The land of stars that never wane
"WTiat, never?" echoes this rondeau —
Out on the lot.

^^'^%iM9ll^M\

-.J^,

WEST IS EAST

DO you Remember
"Manhattan Madness?"
The Picture
That Allan Dwan Directed,
With Douglas Fairbanks
As a Westerner
Who is Initiated

Into the Wild Life of New York?
He Ran Into
Everything in the Way
Of Wickedness

That Manhattan had to Offer.
Somebody Bet Allan Dwan
That Nobody could Really
Be Framed

The Way Poor Doug was.
Allan Took him.
He Got a Magazine Editor,
Some Nice Girls,
An Artist and Other People.
And Staged a Picture Party —
With Bevo for Booze —
And an Unsuspecting Publicity Man
From the West Coast

To Fall for it.
He did.

Dwan had Sold his Interest
In the Mayflower Corporation
To the Magazine Editor —
(Playing a Crook) —
For a Mere Song,
And had Gambled Away
His Hollywood House and Lot
To One of the Ladies, when
The Publicity Man Stepped In

And Said,
"Stop — Dwan, vou
Can't Do That'!" and
Drew him Aside, and
Told him

He was Being Buffaloed —
And Advised him
To Get Out Quick,
Before he Lost
His Watch.

DWAN Kept It Up
Until he'd Almost
Proved to himself
That he isn't Such
A Bad Director.
He Offered to Sign Up
The Editor for Pictures
(He Played his Part So Well)
If he Would Leave his Magazine.
Dwan has Attended
At least

Thirty-six Banquets
Since he Enrolled as
A Charter Member
Of the Associated Producers.
You Know, and I Know,
That Mr. Thomas Ince
And Mr. Allan Dwan
Can Make Good Pictures, and
That's Why they Organized
This new Combination —
But Just Now
It Looks as if they Did It
To Brush Up

In their After-Dinner Speaking.
But Say—

IJJ Evans
Not such a bad Director.

That Publicity Man

Isn't Quite Sure Yet

That the Frame-up was a Joke.

He's Going

To Tote a Gun

Next Time he Comes to New York.

MY intention had been
To have a Quiet, serious Talk
With Roscoe Arbuckle.
I see Now
How Wrong I was.
Just as we Entered the Dining-room,
Fa — Mr. Arbuckle
Sneezed.

He Couldn't Help it.
Neither could You.
But—

It Came just at the Wrong Time —
And I'm never Going
To Criticize Again
That Old Film Situation
In which the Hero and Heroine,
Successfully Hid from their Pursuer,
Spoil it all with a Good, Healthy,

A Few Impressions
By DELIGHT EVANS

Old-fashioned Kerchoo.

That's what Roscoe did.

Im.mediately

It was as If

He was the Only Customer.

The Captain and

The Waiters Came Running and

Fairly Begged him.

With Tears in their Eves,

To Accept the Best Table.

•'Hello, Roscoe!"

It was Joseph Schenck —

Mr. Norma Talmadge.

He Stayed awhile.

"I'm giving up slapstick,"

Said Roscoe,

"I've signed a New Contract

To Make Only Features

In the Future.

I'll Do

'Brewster's Millions'

and 'The Travelling Salesman'

Instead of

The Two-reelers which Take Me

Twenty-four Hours a Day to Make —

(And I Can't Sleep Nights

When I'm making one.)

No — I'm going to let the Other Fellow

Have the Trouble of Directing —

And Devote my Own Time

To Thinking Up

Original Comedv Touches.

Luke?

Luke's Fine.

Weighs —

How are You,

Marcus?"

MARCUS LOEW,
The New York Exhibitor,
(His son married
Adolph Zukor's Daughter)
Sat Down at our Table
And Told us How
He Isn't Going to Let
Any Poor Pictures Get
Into his Theaters, if he
Can Help it — even if
He Produces 'em himself.
And Roscoe Said Dreamily
The Show he'd Enjoyed Most
Not Even Excepting the
New Ziegfeld Roof,
Was "Abraham Lincoln."
And that After All, it was
Serious Things that Counted —
You have to Take Things Seriously
To Make Good. And that
He's Never Going to Let
Anything Unlifelike Creep Into
His Comedies.
And

He Likes Harold Lloyd's Work—
And

I Never Did Find Out
The Weight
Of Luke,
The Dog.

The

Lonely

Princess

A very modern fairy-tale,

with a motion picture

star for the heroine.

By
FRANCES DENTON

ONCE upon a time there was a fairy princess.
She was a regulation princess with golden hair that
didn't come out of a bottle, blue eyes, and a sunkist
disposition. She was only nineteen or thereabouts; she
was a very human princess — she even had freckles and a sense
of humor. She would, in fact, be too conventional to write
about, except that —

She was lonely. She had a big white palace, maids, and
butlers at the door. She had a lovely blue car with her mono-
gram on the door, in gold-embossed letters. She had pretty
dresses, and a diamond ring. She had other jewels that she
would wear when she was grown-up. She had everything she
wanted — but she was the loneliest girl in the world.

Her mother looked after her. She scarcely ever went out-
doors without her mother; or, at least, her grandmother or
her duenna. Her mother always inspected everyone who came
to see her, before the princess was permitted to know them.
That way, of course, she missed meeting an awful lot of inter-
esting people. She was given beautiful books to read; beauti-
ful books — that is, the covers were pretty. The insides were
all about science, or art. or literature. \\Tiile all the time the
princess would love to have read some French novel.

Slie ^vould have made a good seliool teacher, too.

Ever since she was a baby, her life had been lived by rules.
Certain standards were set; she couldn't do this and she
couldn't do that, because she was studying to be a queen and
her life was, therefore, not her own. She was to be great —
and lonely, and miserable.

But once in a while the gates were let down. Persons with
passes and certificates were let in to talk to the princess. Once,
one of these persons was even permitted to see her alone; to
spend a day — several days — with her alone. When there were
no mothers and grandmothers and duennas; not even a maid!

M.\RY ISHLES ]\nXTER had been working hard. She
probably works harder than any young girl of her age in
the world. She is. perhaps, one of the most envied children in
this or any other country. And she is the loneliest.

I saw her one day — one rainy miserable day. It was the
middle of the week, and Mar\', Just returned from a tedious
location trip, had been working for three nights to catch up
on interiors. I had, I was told, arrived at the wrong moment;
Mary was busy on the floor, and IMary's mother and grand-
mother were away. IMary was all alone. So I watched her
work a while.

Photoplay Magazine

I think Mary is much more than the ingenue many people think she is.
Her hfe has always been mapped out for her; the sunny-haired child has
always taken dictation. And she has managed, somehow, to keep within her-
self a separate shell, which holds her own little individuality, her distinct
personality — a personality few know about, a whimsicality few suspect, a
depth which would surprise you. Mary Miles Minter is subtle.

She is one of the best actresses I know. She has the greatest art — that
which conceals art. To the casual observer, she is a pretty child, very much
intent on "getting there" but not quite knowing what she is going to do
when she does arrive. There, I think they are wrong. When Zukor took
her under his managerial wing, she made up her mind she would not only
come up to his expectations, she would exceed them. She is working night
and day to do this.

But between times, Mary comes to. To herself, the real, little, lonely
girl. She. of all the acting women I have known — and she is a woman, with
a woman's mentality, a woman's sanity, and the physical aspect of young
girlhood — has two selves — one, for her work; the other, for herself.

She had a white house on upper Fifth Avenue while she was working in
New York. She had attendants, personal and domestic, galore. She had a
million-dollar contract, which brought her the blue car, and the jewels, and
the dresses. Yet, none of these were really hers. Her mother signed her
contract, and holds it. Her mother draws her salary. She has no car of
her own. And all this is because she wishes it to be so. Of her own voli-
tion, she turns over to Mrs. Shelby her earnings; of her own volition, she
has nothing of her own beyond a few essentials.

She dresses, except on rare occasions, in the simplest possible fashion.
Her tastes are luxurious; so she permit < herself only the simplest things.

Like Mary Pickford, Mary

Miles Minter was a stage

child. Even then she was

gifted with poise.

Her success seemed to come

so easily that the professional

^vorld unconsciously cherishes

a resentment.

She deliberately denies herself; subjects herself to rigorous campaigns of
spartanism. Understand, she has the longings and the inclinations of all
young girls, for other youth and youths, and a good time. She loves pretty
things — she loves them too much, she says. She is a virginal youngster
with a woman's understanding. But she does not believe in revealing herself;
therefore, she is unpopular.

If you would take an inventory, she would find how few people in her
profession. — pictures — know her. They have heard about her; she is a sub-
ject for speculation. Prejudiced against her beforehand, the young women
of that somewhat exclusive "younger set"' of the film world pass her up
Mary is super-sensitive. She would never set out to win anyone's regard
if she thought they mightn't like her. She does not share the activities and
the gayeties of the Hollywood colony; she keeps to herself and earns the
reputation, only half-just, of being "particular" and "a little snob." She
isn't. But she knows they say that, and the knowledge hurts her.

Within her is the spark that means success. She could be happier per-
haps in some other profession. It is quite within the realm of possibility
that she might marry before she is thirty, and settle down to raise babies.
She loves babies. She was intensely interested in making baby-clothes for
her namesake, Juliet Whitney, wee daughter of her secretary. Mrs. Charlotte
Whitney. Mary is a domestic little soul; she actually loves to sew and does
make very nice things — for other girls' babies.

She would have made a good school teacher, too. But from her first
thinking moment, she has been of the theater. She was a real stage-child.
She loves it, and she could never do anything else.

She has never dreamed, either, of ever being anything but a star. It is
(Continued on page iig)

Teddy, the Great Dane, is pretty dis-
gusted with his job. A movie hero at
$100 a week, and what does he get out
of it? One bone — out of one hundred!
And John Henry, Jr., heartily vi'ishes
the whole thing over with too. Hed
stacks rather be playin' with th' fellers.
Gee, if he were only growed up like
the directors, so s he wouldn't
have anything to do but stand
around and smoke and

IVitb apologies

to
Clare Briggs.

Oh dear, but it's a thank-
less job for Madge, catch-
ing the same rat day in
and day out and then
only getting a saucer of
insipid milk. ^Vhy, do
you know, she's only a
cat s paw for those di-
rectors. That rat must
be about as sick of it as
she is. She could end
his worries in a flash, but
every time she even licks
her chops somebody
throws her a ■wicked
look. Just imagine nine
lives of this!

Wonder
What
They
Think

About?

No wonder Mack
Sennett's Pet Menag-
erie gets the wrong
slant on life.

>Vhew ! It s a gay life if you don t weaken,
opines Frederick Willum. Stardom may have
its fine points, but so have that cat s teeth,
^^hy, the poor little fellow s hide is all
calouses now. He doesn t quite know what
to make of that cat. -She s nice and playful
and he s getting used to it now ; in fact
he s acquiring a sort of an affection for her,
but somehow he can t get over that feeling
of distrust. Someday — oh, suppose those
teeth should slip ! No, Frederick Willum
can t help smelling a rat.

Now. this is more like it, thinks John Henry.
Jr. Playing -with Carrie Nation's not so bad.
but then Carrie doesn't like it -worth a cackle.
She doesn't know^ what to make of it. Such
nonsense, this continual bustle, being shooed
all around when she should be off tending to
her household duties and laying her eggs. She
just loves babies, but what chance has she: If
they don't dra\v the line at this movie busi-
ness some place, it's going to drive the country
to race suicide, you mind what she clucks!

The Gold

By
O. R. GEYER

In the dusk of tlie
the Sailor, now flash
the equally wonder.

The industry has grown to such amazing proportions as to
spread far beyond the confining walls of American business.

HAVING successfully passed through the various stages
of infancy, the American motion picture industry to-
day stands on the threshold of a new epoch, which
promises to make an even greater contribution to
industrial romance than its mushroom growth of the last dec-
ade. During the period of twenty years since its birth, the
motion picture has completed its conquest of America, with
15,000 theaters catering to the millions who depend upon the
screen for their entertainment.

But, unlike Alexander, the industry does not have to waste
time in sighing for other conquests. The other worlds are
here, ready to be conquered. And the period of conquest
already is well begun. Unless all signs fail, the next twenty
years will witness a repetition, on a much larger scale, of the

sensational rise to prosperity that carried the motion pic-
ture into the billion-dollar class of American industries.

Just as the old international boundary lines and racial
prejudices and alignments were cast aside some six years
ago, so has the motion picture cast aside its swaddling clothes
and prepared itself for a world existence. The World
League of Movies came into being on April 6, 1917. the
day America tossed its hat into the ring of the World War.
And before the war was half over the screen had won its
international spurs, having become universally recognized
as the most powerful medium of molding public opinion in
the world. For the first time in the history of wars, the
great nations of the earth attempted to visualize for their
peoples their national and international aims and the reasons
for the war. Before they were aware of it, the chancellories
of the Allied nations had opened wide the door for the
development of a universal, living language — the movies.

The manner in which the American-made motion picture
acquitted itself in the face of tremendous responsibilities,
made it impossible for the country's motion picture art to
retire within its own borders and to resume its former
position of world aloofness. In fact, almost before the
industry's leaders were aware of it, the industry had em-
barked upon a period of world expansion and development
that promises to more than eclipse the wonderful romance
of the rise of the motion picture industry to a position as
the nation's fifth greatest enterprise.

In the days before the World War the exportation of
film was a business of more or less puny proportions. Ex-
cept for those portions of the globe most intimately related
to America, the fans in foreign countries enjoyed but a
meager acquaintance with the high grade American motion
picture. Until three years ago, the South American public
was being asked to find entertainment for itself in American
pictures worn with age and with the marks of incompetent
operators. With very few exceptions the class of Amer-
ican pictures shown in Rio de Janeiro, BaJiia, Buenos Aires,
Montevideo, Santiago, Valparaiso and other large cities
might be classed as junk. Many of those pictures were
four or five years old, and had been withdrawn from the
American market for several years.

The war quickly and unexpectedly opened the door of
opportunity for the exporter, and before it was half com-
pleted, this business had grown to enormous proportions.
In 1919, the foreign business of one of the largest compa-
nies had grown to $5,000,000, a 300 per cent increase in
three years, which is remarkable when one
recalls the hazards of commercial shipments
in the days when the submarines were mak-
ing the world unsafe for commerce, and when
~~* governmental requirements were making ship-

ping space unobtainable except under the
greatest difficulties. This one company shipped
more than 50,000,000 feet of film abroad during the war, and
not one single foot failed to reach its destination.

Italian, French and English producers and exporters were
forced by the exigencies of war to suspend business. Four
years ago, the South American film market was dominated by
the European film interests. This was due to the fact that
the South American, because of blood and temperamental ties,
preferred to do business with Europe and for the reason that
the French and Italian films, in particular, were looked upon
as the latest and best visualization of fashions and social usages,
matters in which the average South American is keenly inter-
ested. Thus the Old World producers were able to get a
strangle-hold on the market which it seemed impossible to
break.

en Age of the Pictures

Arabian Nights, whence came Haroun - al - Rashid and Sinbad
in brilliant light and shado^v the new American Nights, with
ful adventures of Charlie Chaplin and Douglas Fairbanks.

TODAY this state of affairs has been reversed. More than
two years ago, American exporters entered the South
American field in earnest and gave the Latin-Americans their
first taste of up-to-date motion pictures. The effect was magi-
cal. Almost overnight the far-sighted business men became
convinced that the Americans were not so awfully busy chas-
ing dollars that they were not able to keep abreast of the times
insofar as fashions and other matters were concerned. And
from that time on, the American photoplay has reigned su-
preme in the South American field.

When the war ended, the European producers found them-
selves at the bottom of the ladder, in exactly the same posi-
tion occupied by the Americans for so many years. And al-
though months ' have passed they have failed to make any
inroads upon American prestige, for the South American is no
longer satisfied with the exotic brand of film produced in
France and Italy. Instead of murderous rage, buckets of
emotion and tragedy, he had come to demand the delightful
intrigues and graceful romance of the so-called high society
picture, with its happy ending. Swiftly moving, clean
comedy, he discoverecl, was much preferable to highly
colored, stodgy Old World stories. The result is that
the South American exhibitor
is no more willing to return to
the old business ties than he
was willing to hearken to the
American missiona-
ries. Prominent ex-
hibitors have de- ;
dared they could
not return to the oK
days without losing
their patrons.

The vampire and
over-sexed type of
American picture,
which was among
the first to be shown
in South America,
has long since waned
in popularity. To
satisfy and please
the exacting Latin-
American in the
larger cities, photo-
plays must have a
preponderance o f

cleanliness, and they must be up-to-date.
The fans quickly detect an out-of-date
picture and manifest their displeasure
by leaving the theater.

THE old type of exhibitor has not
surrendered to the new order with-
out a struggle. Shortly
after the war closed, a for-
mer exhibitor of prominence
in Buenos Aires opened a new
house in which he advertised
that he would show European
pictures exclusively. He made
a great fuss in the papers
(Continued on page iij)

The American photoplay has establish-
ed itself firmly among the minaretted
mosques of the Broad^vay of Bagdad.

Who Is Houdini?

The only thing secret about him
is his friendship with handcuffs.

By
FRED LOCKLEY

A FEW days ago I sat in the patio of the
Mission Inn at Riverside at din
ner. Above the splash of the
fountain, I heard a man at
an adjoining table say: "I won my
bet. He thought it was a tem-
ple bell; as a matter of fact
it's a swallowing bell. I
doubt if there is another, ex-
cept the one I have, out-
side of China. The knowl-
edge of how to make
these bells is the secret
possession of a family
of famous Chinese acro-
bats and jugglers, who
pass the knowledge
down from generation
to generation. These
are bells within bells.
The jugglers swallow
ihem, then they allow
people from the audi-
ence to hit them on the
stomachs, making the
bells tinkle."

The speaker was Harry
Houdini, handcuff king
and film player. Through
certain connections I was
introduced to him.

"Sure, I'll give you an in-
terview," said Mr. Houdini. "I
used to be a newspaper reporter

These are the
kind of stunts
that make him
famous among
the thrill-
lovers. At the
left — a scene
from his Para-
mount -A r t -
craft picture,
"The Grim
Game."

"The locksmith business tired of me. and
soon after I got a job as a trapeze per-
"ormer with a circus. There was where
I laid the foundation for my feats of
strength. After a few years I
threw up m}- jolj with the circus,
and took a job with a medicine
show which traveled from city
to city. I would let any one
from the crowd lie me se-
curely and then offer to
forfeit twenty-five dol-'
lars if I couldn't release
myself.

"One evening a dep-
uty sheriff at Coffey-
Nille, Kansas, watched
me for a while, and
said, 'Will you give me
twenty-five dollars if I
can fix you so you
can't get loose?' I
couldn't afford to let
him get away with it,
so I told him to come
on up. There flashed
into my memory the way
in which I had unlocked
the handcuffs from the
banker's son, the time I
was working for the lock-
smith. The deputy sheriff
took care to see that the hand-
uffs were on iight. Two min-

myself. I was born in Appleton, Wisconsin I ran away to
Milwaukee when I was nine years old. For a while I was a
newsboy, then I carried a route; later, I broke into the game
as a cub reporter. I used to run a magazine, called the 'Con-
jurers Magazine,' and I have written several books which have
had a fair sale.

"At one time I apprenticed myself to a locksmith. One day
the son of a prominent banker came in with several of his
friends, to have a pair of handcuffs removed. For a joke, they
had slipped the handcuffs on him, but were unable to release
him, as they had no key. I found that they had broken off a
bit of wire in the keyhole. By the merest accident I discovered
a way in which I could unlock the handcuffs without a key.
I took them off and thought nothing more about it.

utes later I handed them back to him.

"One day I was hired to give an exhibition at a children's
party in Brooklyn. At the close a little girl, about sixteen,
said to me, very bashfully, 'I think you are awfully clever.'
and then with a blush, 'I like you.' 'How much do you like
me?' I said, 'enough to marry me?' We had never seen each
other before. She nodded. And so, after talking the matter
over, we were married.

"Shortly after our marriage, hard times struck us good and
plenty. A great many actors were out of work. Now luck is
coming our way — Mr. Lasky is making motion pictures very
worth while for me.

"My father is a Rabbi. I have four brothers and one si.ster.
^ly sister is editor of a magazine for the blind."

The

Sheriff W ill iam Henry
Harrison Hoover — more
familiarly kno'wn as"Slim.

I Round-Up

A tale of love and adven-
ture in the Southwest, nar-
rated by permission from
Edmund Day's play.

By GENE SHERIDAN

DICK LANE stood over the em-
bers of his campfire as the low
gleaming rays of the setting
sun illumined the cathedral
peaks of the Ghost Range, spreading
purple-black shadows across the desert
and wind-sculptured badlands.

He was nearing the last lone bivouac of the long
-trail home and back to God's country up there
across the American border. And such a home-
coming as it would be, he pictured — a homecoming
to Echo Allen, the fairest daughter of all sunlit
Pinal County.

Close by the prospector's fire were his packs and
their precious burden of good, yellow gold, hard
won and gleaned as the fruits of Lane's long quest
in the wilds of the Mexican mountains. He had
come at last to the pot of gold at the end of the rain-
bow. Now he was going back to make that gold
prove its worth in dividends of happiness.

Lane smiled under his matted beard as he recalled that day
so many months ago when he bid farewell to the folks at the
Bar-i Ranch. He saw them again standing before the ranch-
house — Uncle Jim Allen and his wife Josephine watching with
eager sympathy his parting with their daughter Echo —
and his brother Bud, young, ardent and impetuous — and Polly
Hope, Echo's orphaned cousin— and Jack — yes, his good pal
Jack Payson. The yellow gold over in the packs made Dick
Lane feel especially glad for his life-long friend Jack, who had
put a mortgage on the Sweetwater ranch to grubstake the pros-
pecting expedition.

Lane's saddle horse, abandoning the society of the pack
mules, came nosing up to the fire, seeking companionship and
attention.

"Come here, Pete." Lane reached out and patted the horse
on his friendly neck. "Only three days more, Pete, and then
we'll see her. We'll pay old Jack back his three thousand —
and then I suspect we'll be taking a leadin' part in a first class
wedding."

And there was good luck in his homecoming for Bud and
Polly, too. Lane reflected with a glow of generous happiness.
For he had promised that if he made a strike Bud should have
a stake to buy a business and marry Polly.

While the lone prospector was busy with his anticipations
and making camp for the night, a few rough mountain miles
to the south, desperate and hard-pressed by the Rurales polic-
ing the border country, rode Buck McKee, half-white, half-
red, a renegade, at the head of his band of Apache outlaws.
They were riding hard to make the temporary safety of the
American border.

Abruptly McKee pulled up his galloping mustang to a sharp
stop and leaped to the ground to examine the trail. His red-
skin comrades pulled up beside him. He squatted over the
hoof marks left by the passage of the last traveler over that
lonely defile, studying each imprint intently. Then he arose,
holding out one finger to indicate to his band that it was the
trail of one man, and pointed off up the gorge in the direction
he had taken. There were a few sharp clucking words in
Apache, an apprehensive look back for sign of the pursuing
Rurales, and the redskin horsemen with McKee at their head
were off again, following the trail as wolves follow the deer.

A snort from Pete, browsing nearby, awakened the atten-
tion of Dick Lane, busy making camp. He looked off in the
direction that held the curious attention of the horse and made
out the tiny spot of desert dust in the distance which spelled
the approach of galloping horsemen.

He kicked apart the remains of his fire and stamped them
out, hurried to drive his pack mules into the cover of an ar-
royo, hid his gold-laden packs and stood by to await any pos-
sible attack.

McKee and his band came clattering up the trail under the
keen-eyed observation of Dick Lane, hidden, rifle beside him,
behind a sheltering rock. The prospector gasped as he recog-
nized the outlaw. His decision was swift and inevitable.
There was only one way to deal with Buck McKee.

Lane rested his rifle in a notch of the rock and fired.

One of the Indians stiffened up in the saddle and plunged off,
rolling down the slope like a spinning log.

With a cry, the Apaches dismounted and scattered to cover.
There was a tense silence as they advanced, creeping as si-

Photoplay Magazine

"You must bring him back to me.
Echo drew back from her husband.

lently as the desert rattler moves over the sand.

An Apache yell rose from a dozen directions at once and
Dick ducked as bullets rained about him and spattered on the
rock.

In a flash he rose and fired.

A rifle barked behind him and he felt the sting of a bullet
in his arm. As he felt the rush of warm blood under his sleeve
he knew it was a losing fight. He moved around the rock
to the spot where he had tied down Pete, his faithful horse.
Painfully reaching around with his good arm. Lane pulled out
his si.x-shooter, then pressed the muzzle close to Pete's head.

"So long. Old Timer — it's all up with us — and you're too
good a horse for any damned Apache to abuse. I'll be fol-
lowing you right close.''

Dick Lane shut his eyes and pulled the trigger. Pete was
safe from the hideous, torturing Apaches — but not his master.

'T'HE Apaches rushed. Lane threw aside precaution and
* stood up, firing point blank into them as they came — one
--^wo — three — four cartridges. Then Dick turned the gun to
his own forehead.

Before he could pull the trigger an Apache dropped on him
frorn the rock and bore him to the ground. In a moment the
Indians had him tied and their leader came to stand over him,
grinning.

"I might have expected this from you, Buck!" Lane,
twisting with the pain of his bonds, looked his scorn at McKee.

The half-breed toyed with his beaded vest and grinned wider.

"Well — you and your honored sheriff of Pinal County made
it hot for me." McKee was deliberate and confident. "So
you see I had to come to Mexico for my health — to that you
owe the pleasure of this meeting." The white half of McKee
could speak excellent English.

But while the half-breed stood taunting his victim, far back
down the trail- the Rurales.were examining the tracks where
the Apaches had come upon Dick Lane's trail. The marks in
the desert dust told their own story to these vigilantes of
Mexico and swiftly they continued up the course taken by
McKee's renegade band. McKee seemed to have half-for-
gotten his flight, so intent was he on hectoring his prisoner.

"Before I kill you, I'd admire to know where you've
hidden your dust — Mr. Lane." He was mockingly polite.
"I'll die before I tell you — you dirty half-breed!"
"So?" McKee leered at him. "I'll make you talk
—glad to talk."

At a motion from their leader, the Apaches tied Lane
up to a sahuaro cactus and brought up a smoldering
brand from his expiring campfire. They pulled off
Lane's boots and McKee placed the fire under the pros-
pector's naked feet.

Lane cursed and writhed in pain.
"We are waiting for you to say something — some-
thing pleasant — where did you say the gold was?" Mc-
Kee beckoned to one of his redskins to bring more wood.
The flames were licking at Lane's tortured feet. He
could stand no more.

"In God's name! Stop! The dust is under that flat
rock yonder."

Lane fell limp against the rawhide ropes that held
him, fainting. An Indian kicked aside the firebrands
and McKee ran to the stone and uncovered Dick's
cache of gold dust.

The half-breed was covetously hefting the weight of
the bags when a half dozen rifles cracked at once about
him. He flattened out on the earth and rolled for cover.
In a flash the Indians were in pitched battle with the
Rurales.

McKee and his bucks worked their way around a
protecting wall of the mountain, leaped aboard their
ponies and fled as the Rurales closed in.

The Rurales were in time to rescue Lane and bring
him back to consciousness, but Buck McKee and his
red outlaws were free and on the open trail again. With
Lane's gold in his possession, and leaving Lane, he was
sure, as good as dead, McKee conceived a daring
plan.

When Lane came back to consciousness he found him-
self in a Mexican hospital in Chihuahua. He was
fighting himself back to life, but not back to reason and
sanity. The Apache ordeal had taken heavy toll of
his resources.
Back in Pinal County, up in the States, the folks Dick Lane
had told good-by a year before were becoming increasingly
anxious about him.

Dick was overdue and the reports that filtered in out of the
Indian country were disquieting.

Echo Allen spent hours on the veranda of the Bar-i ranch-
house looking down the road. Bud Lane went daily to Flor-
ence, the budding capital of Pinal County, hoping for news.
There he met Echo, with Polly Hope.
"Any word from Dick?''

"No." Bud shook his head gloomily. "I'm getting worried.
They say Geronimo is on the warpath again, too. If Dick don't
show up in another week I'm going looking for him."
Polly's face filled with alarm.

"I won't let you go. Bud. Why, you might get killed!"
Polly stood with downcast eyes, embarrassed at her own dis-
play of feeling.

Jack Payson, approaching, overheard and joined the group.
"It's no more than right that Bud should go," he observed
quietly. "I'll go with you. Bud."

Echo, in turn startled, started to speak, then bit her lips
in suppression of her newly discovered emotion. Why should
she care if Jack went? Echo was questioning herself. The
silent inner answer was disconcerting. Filled with anxiety and
loyalty for Dick Lane, she suspected herself in love with Jack
Payson, his pal.

It was the morning that Bud and Jack, outfitted and ready to
start in quest of Dick Lane, were bidding farewell at the
Bar-i ranch, that Buck McKee, the half-breed outlaw, rode
through the Bar-i gate.

Tack Payson intercepted McKee as he approached.
"What's your business here, Buck McKee?" Jack's voice
rang out crisp and sharp.

"Keep your shirt on, Mr. Payson.'' The half-breed was
smiling and self-possessed. "I am here to fulfill the last request
of Dick Lane."

McKee strode by Jack, who stood astonished, and approached
Echo with a deep bow.

"I was with Mr. Lane at the last, ma'am, and he wanted I
should bring this to you as a little keepsake." McKee dropped

Photoplay Magazine

his head as one in sadness, then held out Lane's watch to
Echo.

Echo slowly reached out for the watch, awe-stricken and
wide-eyed. Jack was still suspicious.

"We are waitin' to hear the details, Buck McKee."'

McKee replied to Jack with a faint smile, then launched
into a graphic story of falling in with Dick Lane in the moun-
tains, of standing shoulder to shoulder with the prospector
in a fight against the Apaches, and how Dick fell at last, shot
through and through.

"And that's the way it was. Miss. I done my best by him,
but the odds was too heavy."' Buck McKee ended his story
with a heavy sigh.

The outlaw's dramatic recital won his audience. Bud was
the first to speak. He crossed over to McKee and held out
his hand.

"You put up a game light to save my brother. Buck— sand
from now on I'm going to stand by you — even if the whole
world is against you."

"Now, you come off your .high horse, Mr. Hall-breed, or
you'll be leaving for Mexico again, right away," Sheriff Slim
warned. And be it said Slim's word was known to be backed
by a stout heart and the most .remarkable ability with the
instrument known as Colonel Colt's patent ventilator. The
sheriff could sign his nr.me in bullet patterns on a shed at fifty
paces.

The anemone was blooming in the uplands when Echo and
Jack Payson rode in at the Bar-i and announced their engage-
ment to her parents. Uncle Jim and Josephine. The weddin;;
date was set for June, "the month when the swell folks back
East do their hitchin' up."

When Jack rode back to the Sweetwater ranch that cveninc
he found a pile of newly arrived mail on his desk. He fumbled
it over, with his thoughts still awhirl with his coming marriagi .
He came across an envelope addressed to him in a familiar
handwriting and postmarked "Chihuahua, Mexico.''

Trembling and assailed with a flood of misgivings, he tore
the letter open and read it feverishly. It closed:

WHILE this scene was being enacted at the Bar-i ranch in
Pinal County, far to the south and over the border Buck
McKee's victim, Dick Lane, lay staring at the ceiling in the
Chihuahua hospital, wondering who he was.

But soon the snows of winter passed from the banks of the
Sweetwater and in the joys of the spring old sorrows faded.
The love of Echo and Jack Payson bloomed with the coming
of the spring and the dimming of the memory of the Dick Lane
that was. And meanwhile Buck IMcKee and Bud Lane were
fast becoming comrades with results that promised ill for Bud.
Much too otten they were together at the bar in Florence and
more than once William Henry Harrison Hoover, more famil-
iarly known as "Slim"' because of his three hundred genial
pounds, acting in the capacity and office

of sheriff of Pinal County, had to start ]„ ^ fia^j, siim covered the half-

them on their road home, incurring as breed with a revolver and swept

often the resentment of McKee. the mob with its mate.

' — Buck !McKee and his gang of Apaches. But am better
now and as soon as I can arrange to sell one of my claims, will
be home. Please break it gently to Echo and give her the letter
I enclose. Your old bunkie,

"Dick Lane."

Jack Payson stood long at his window staring out across the
Sweetwater acres with dazed eyes. A terrific inward battle
was raging. He was confronted with the necessity of choosing
between the happiness of himself and the woman he loved,
or that of his best friend. The selfish cause won. Slowly
Payson tore the two letters into tiny bits.

Out in the ranch yard Jack caught sight of Bud Lane, stag-
gering in from his latest debauch with
Buck McKee. Recalling with a mingling
of blazing hate and burning remorse what
Lane had written him of Buck McKee.

Photoplay Magazine

Jack swiftly determined that Bud's friendship with the half-
breed should be broken off at once. He called Bud to h.m.

"I tell you now for fair you've got to shake Buck McKee
I've got it straight that he's been with Geronimo, torturing
and robbing lone prospectors."

"That's a damn lie! " Bud blazed back. "It was Buck Mc-
Kee that stood fighting off the Apaches trying to save Dick.
Vou were glad enough to take his story when it left you a
full swing to court Dick's girl."

Jack llared with anger at this.

"Either you give up Buck McKee or you leave Sweetwater
ranch — now."

"To hell with your job — I'm through with you." And with
that Bud left. Soon after, Bud, with
Buck McKee, was telling and drown-
ing his troubles over the bar at Flor-
ence.

Jack Payson felt many misgivings.
He sought out Echo in the garden at
the Bar-i.

"Echo, tell me that you love me —
that you will always love me — no
matter what happens — and that you
never loved until you loved me."'

The girl stared at him. puzzled,
sympathetic, then smiled.

"Just what do you mean. Jack?"

"I mean Dick Lane — I am jealous
ot him — even of his memory."

A look of hurt flashed into Echo's
eyes. She was perilously near to an-
ger, but her new love triumphed.

"I know now I only loved poor
Dick as a brother. I really love only
you. Jack."

"If Dick had come back would you ha\'e kept
your promise to him? "

"Yes."

Jack stood in crestfallen silence at her answer.
Echo came quickly to the rescue of his mood.

"Don't be a silly goose. Dick is dead. There
is no need of this argument.''

"Then why wait until June to be married?" Jack
urged, speaking with a renewed fervor and cheer
in his voice. "Let's be married right away."

"No — there's my trousseau. Jack — but I'll hurry.
I'll marry you in a month."

'T'HE day of the wedding arrived with magic
■■• speed and mighty were the preparations out
at the Bar-i, and many were the comings and go-
ings at Florence. Sheriff Slim Hoover met both the
daily trains at the depot seeking the arrival of a
"store-built" suit to wear to the wedding, and at last snatched
his parcel without at ail waiting for the routine attentions of
Old Man Terrill, the express agent.

Buck McKee and Bud. now inseparable comrades, sat idling
on a baggage truck as Terrill busied himself about the station.
McKee observed with narrowing eyes that a money box had
been deposited from the train. He watched Terrill carry the
heavy package into the station.

Ensconced in the back room of the village saloon, Buck began
warily to unfold a plan to Bud.

"What do you say to picking up & little extra change? It's
easy. 'Member that box Terrill took off the train? Every-
body will be busy getting leady for the wedding. 'We can stick
him up and get away with that money easy as pie."

Bud shook his head. Buck replied by pouring the lad another
drink.

"All you need to do is hold the horses and keep an eye
peeled, so I can make a clean getaway — and I'll give you half."
The half-breed's voice was low and persuasive. Bud. nerved
with another drink, nodded assent.

Out at the Sweetwater ranch the cowboys, including the
picturesque Sage Brush Charlie, Fresno and Parenthesis, were
groomed in the best and most flashy attire, mounted and wait-
ing to ride to the wedding with their employer. Jack Payson.
Jack emerged, much preoccupied.

"You boys go ahead. I have to stop at the express office.
I'll see you pretty soon at the Bar-i."

When Buck McKee stealthily approached the depot, with

The Round Up

NARRATED, by permission, from
the photoplay produced by Para-
mount Artcraft. Scenario by Tom For-
man from the play by Edmund Day.
Directed by George Melford, with the
following cast :

Slim Hoover, the Sheriff . Roscoe Arbuckle

Echo Allen Mabel Julienne Scott

Jack Payson Tom Forman

Dick Lane Irving Cummings

Bud Lane -Edward Sutherland

Polly Hope Jane Acker

Uncle Jim Guy Oliver

Aunt Josephine Jane Wolfe

Parenthesis, a cowboy .hucKn Littlefield

"Nobody loves a fat man

IJud waiting with the horses in the ravine below, he saw Jack
Payson inquiring of Terrill. As Buck watched through the
window, Payson opened the package and proudly displayed a
locket to Terrill. It was Jack's wedding present to Echo. As
Jack rode away Buck slipped into the depot, unseen from with-
out. He sauntered to the express window and engaged Terrill
m conversation. Then suddenly covered the express agent with
his gun.

"I'll trouble you to open that express box, pronto!"
Terrill swung and clinched with McKee across the window
counter.

There was a shot and Terrill fell, done for.
A hundred yards away at his shack Sheriff Slim was fighting

his way into the store clothes that
he was to wear to the wedding. He
paused with an expression of mild
interest at the sound of the shot,
leisurely finished dressing, emerged
to look about, then headed for the
depot.

When Slim entered the depot he
found Terrill's body on the floor and
the express safe rifled.

Buck and Bud rode pell me'.l down
the ravine and into the shallows of
the river, covering their tracks. Well
up the river they paused. Buck took
his roll of looted money from h's
shirt and divided it into two parcels,
handing a half to Bud.

"I won't take it. You promised
there'd be no killin'." Bud was
plainly stricken with remorse and
terror.
"It was him or me.'' Buck was sneering and
cold. "You take your share or I'll blow it into
you." The half-breed touched his six-shooter sig-
nificantly. Bud pocketed the money.

"That's better."' The half-breed grinned. "Now
we'll double back on our trail and go to the wed-
ding. That's our best alibi."

.At the depot Sheriff Slim stood puzzling over the
situation. Robbery and murder. Outside he fol-
lowed tracks to the river, then decided to return
for a posse.

Affairs at the Bar-i with its merry preparation
for the wedding were in gala swing when Slim ar-
rived.

"Sorry I must break up your fun, boys, but I've
come for a posse. Somebody has killed and robbed
01' Man Terrill."

"Now sheriff — we kin have killin's any time, but
weddin's is scarce here — let"s wait," Sagebrush
pleaded as spokesman.

"After the wedding we'll all go with you," spoke up Uncle
Jim Allen. So Slim had to assent. Also the day was fading.
Bud and Buck McKee, heavy with drink, rode in. Jack
Payson intercepted McKee at the door.

"You were not invited to this wedding and you're not
wanted."

There was a clash and Jack 'threw the half-breed into the
yard. He re-entered the house and Sagebrush took up watch
at the door to keep the uninvited guest outside. The minister
arrived and the ranch-house was made bright with lights.

RIDING out of the sunset hills of Sweetwater valley came
Dick Lane, homebound at last, to claim his own. There
was a great joy in his face as he rode up the familiar lane
to the Bar-i ranch-house. Here was to be his reward for all
his suffering, perils and privation.

Dick took note of the many horses in the ranch yard as he
dismounted and stood looking at the brightly lighted house.

"Must be some sort of party going on." he decided. "Won't
do to take Echo too much by surprise. I'd better see Jack
first."

Dick approached the door and was not recognized by Sage-
brush, on guard.

"I'm a friend of Mr. Payson's," Dick explained.

But Dick declined Sagebrush's cordial invitation to enter.

"No, please tell him an old friend from Mexico wants to
see him." (Continued on page 114)

/^ .■

•1 t '

Alice in Wonderland

Theda Bara and one of her "victims" in "The Blue Flame," her first stage production.

The Confessions of Theda Bara

And all the time she didn't

believe her own

press agent.

By AGNES SMITH

HERE is the answer to the riddle of the Sphynx. Here
is also the answer to the question propounded by
Delight Evans several months ago in Photoplay
Magazine.

Theda Bara did not believe her press agent.

The story of Theda Bara, as told me by herself, the story
of her success in motion pictures, her strange notoriety, is the
weirdest — and funniest — tale I have ever heard. It beats
Barnum and Doctor Cook.

Frankly, I was afraid to meet Theda Bara. Delight Evan"s
story weighed on my mind. I had heard of other interviewers
who had found her a woman smothered in incense and black
velvet, who prattled orientalism and hocus pocus, who main-
tained a remarkable and ridiculous pose and who defied any
sort of human understanding. I remembered all the Theda
Bara legends about the strange woman who had been born
within the shadow of the Sphyn.x. I didn't believe them, but
I was afraid Miss Bara still did.

Then, too, the day set for the interview was only a few
days after the opening of "The Blue Flame" in New York.
The audience that had assembled to greet Theda Bara was
divided into two factions, — her friends and those who had
come in the same spirit that sends people to bull fights. It
was a terrible opening and a terrible play. It was considerably
worse than anything Theda Bara attempted in motion pictures.
It looked like a stage burlesque of one of her films.

"You know how it is," said The New York Times, the day
after the play opened, "when you have visitors from out of
town who are possessed to go on a perfectly delightful slum-
ming party down on the Bowery
or somewhere to see one of those
killing melodramas — Oh, come
on, w^on't it be fun?— and you
take them, and, after all, the
melodrama is not bad enough to
be funny and you come home
disappointed. Well, 'The Blue
Flame' is the kind of play you
always expect the cheap theaters
to show, and they never do."

In the face of all that I won-
dered if Theda would still burn
incense.

She didn't. About her apart-
ment were the floral tributes of
the opening night. The windows
were up and open. There was
no incense.

Miss Bara lives up on West
End Avenue where she shares
an apartment with her father,
mother and sister. It reminded
me of a chapter in "Jurgen.''-
A nice, respectable girl has the
serious misfortune to die. On
her way to the cemetery a black
cat jumps over her coffin. That,
of course, makes her a vampire.
So she goes to Hell, venturing
forth to practice her sinister
calling. But she has no real
taste for her work, so she fits up
a little corner in Hell to look

What the New York Dramatic

Critics Said about "The

Blue Flame."

.\t the end of the tliird act Miss Bara said tliat
God had been very kind to her. Probably she re-
ferred to the fact that at no time during the
evening did the earth open and swallow up the
authors, the star and all the company. However,
it has often been remarked that the patience of
Heaven is infinite. Still, as we remember it.
Jonah was eaten by a whale for much less.

— Hevwood Brown. New \'ork Tribune.

Miss Theda played her part of it seriously and
with average conipetence. But despite all 'an\
body could" do, "The Blue Flame" ivas plainly
edged with yellow.

— -Burns Mantle. New York Evening Mail.

"Did you bring the cocaine?" demanded ]\Iiss
Theda R'ara. as the heroine of "The Blue Flatne,"
in the Shuhert Theater, last night.

It w-as such a determined, bold-faced intention
of being an immediate and unmistakable vampire
that the audience fairly shouted in gleeful recog-
nition that the vampire of vampires on the screen
^^as going to be just as devilish on the boards in
tlie spoken drama.

— New York Evening Telegram.

"The tiling is not indecent, it is only offensive
in its silliness.

"The most encouraging feature of the evening's
exhibition was that it was received with derisive
laughter by the curious audience which packed
every corner of the large theater,"

— New York Evening Post.

Perhaps "The Blue Flame" is not a perfect
title for Miss Bara's play, ^Vhy not: "Tenting
on the Old \'amp Ground"?

— F. P. A.. New York Tribune.

like her old home. When she isn't vamping, she enjoys the
comforts of respectable home surroundings.

Theda Bara has fitted up her corner. It isn't luxurious and
no interior decorator had a hand in it. Most of the furniture
belonged to father and mother. The only traces of Theda's
fame are a statue of Buddha on the table and large pictures of
Theda on the walls. However, the record on the phonograph
is John McCormick singing "I hear you calling me."

Miss Bara herself cam.e in. She was wearing the sort of
frock that social workers recommend to working girls — plain,
serviceable and neat. She looks younger off the screen than
on. She wears her hair becomingly. She has a charming
voice and speaks with an accent that has just a touch of the
middle west about it. I was embarrassed. Only a few nights
before I had heard her pronounce in a hideously strained voice
these immortal — and immoral — lines: "Let's get married.
All I need is a legal pretext and then I will show you how cold
I am. Kiss Me, dearie."

And here was a pleasant young person who had just ordered
tea, who had a dog named Petey — "known as a bull terrier
because he is part bull"— and who wished she had time to
go out and buy herself some new clothes.

WHO made her a vampire? It wasn't Miss Bara's own
doing. It wasn't William Fox. It wasn't even the press
agent. It was the public — or rather it was the public's imagina-
tion. A vampire is a national superstition. Miss Bara capita-
lized the superstition.

"Of course, there is no such thing as a vampire," she told

me. "No women are like that..
That is why you can't get good
stories for vampire pictures.
They aren't real. As for 'The
Blue Flame.' it is only meant to
be a melodrama. I chose it be-
cause it ga\e me an opportun't\'
to play the sort of part the pub-
lic wants to see me play."

It was with shrewdness and
humor — yes. she has humor — ■
that Theda Bara traced the
story of her five years in motion
pictures. She talked about it
casually. She had no particu'nr
motive in making up stories
about herself. There wasn't a
press agent in the apartment.
She spoke as an impersonal and
disinterested spectator of her
own career.

The best authorities give
Theda Bara's birthplace as Cin-
cinnati. Ohio, and her name as
Theodosia Goodman. She came
to New York about seven or
eight years ago because she be-
lieved she could act. She played
small parts on the stage as
Theodosia de Coppet. Her
parents had some money and so
they allowed Theda to try her
lucic at finding fame and for-
tune.

5«

rhotoplay Magazine

"To be good is to be forgotten. Iin going to be so bad I 11 always be remembered. "

Like thousands of other young girls, Theda Bara camped in
the offices of agents and managers. And Hke thousands of
other young girls, she went to the motion picture studio to
make a little extra money in the dull season. There, in the
studio, like the girl in "Jurgen." the cat jumped over her and
she became a vampire.

She was discovered. The picture was "A Fool There Was."
At a time when most pictures were pretty crude, it wasn't
conspicuously bad. And it was conspicuously successful. A
few weeks after its release, Thedabaraism was causing con-
siderable havoc among the young and impressionable.

According to Miss Bara. it was the original intention of the
company to star William Shea, but when the picture was com-
pleted it was obviously Miss Bara's picture.

Miss Bara was properly excited because she had landed so
quickly and so completely in the golden realm of the movies.
In those days, she confesses, she felt a httle "set up.'' Conse-
quently she was a bit irritated when she was told that she
wasn't to star in her next picture. Instead she was given a
part in Nance CNeil's film, "The Kreutzer Sonata." She
protested, but. being still a newcomer and having no particular
influence, it didn't do her any good. So she played in "The
Kreutzer Sonata.' She repeated her iirst success. The com-
pany didn't star her. but the exhibitors did.

Then the press clippings began to come in. Theda Bara
learned a lot of things about herself that she didn't know be-
fore. She had been born in Egypt. She had a long line of
ancestors. She had played at the Theatre Antoine in Paris.
She was "that strange, wild woman," as the side-show barkers
say. She worshipped slant-eyed gods.

She used to read her clippings at breakfast, over her coffee
and sausages. She says she loves sausages. She and her sister
would laugh over the 'stories of her life." When the clippings
denounced her as a terrible influence on the youth of the
country and when the critics waxed vicious, she didn't laugh.
She wondered then, as she does now. why people who do not
know her could hate her so.

When she was offered a contract, she had to make her
choice. This was the choice:

On one side she might have money and notoriety; she might
have all the chances she wanted to act; she might have the
position of star and the deference that comes to a celebrity.
In return for this she must allow herself to be exploited as the
strangest sort of freak.

On the other hand, if she gave up the opportunity to take
advantage of her first success, she would be obliged to go back
into oblivion, to go back to looking for parts, to go back to
living on the bounty of her parents.

As they say in sub-titles, a soul hung in the balance, Theda
Bara took the contract and lived up to it for five years. She
stirred up considerable excitement. She started a school of
acting. Every company looked for a rival vamp. She got her-
self thoroughly denounced. At times it seemed as if there would
have to be another amendment in the constitution to check
vamping.

All that time Theda Bara "lived her own life." She went
on eating sausages for breakfast, instead of live snakes. She
had the option of reading her own press stories before they
went out, but she says that sometimes she got around to them
too late.

"Anyway," she told me, "some of them were so wild that
we didn't think they would be printed or that, if they were
printed, they wouldn't be believed. But they were printed, all
right, and they were believed, too, I suppose. The wildest
press stories are the most successful ones. A lot of young ex-
newspaper men wrote them. I think for a while I kept a whole
publicity staff working nights.

"And then the interviews. They were staged. It took me
hours to get ready for them. I had a special dress made that
1 never wore at other times. I remember one inter\'iew out in
Chicago. My dress was black velvet and was made high at the
throat. It was a terribly hot day and all the windows were
down. When the interview was over, I tore off that dress and
my sister and I sat down and laughed about it."

LAUGHTER was what made those vamping years fairly
pleasant ones. For instance, there was an interview out
in Kansas. A young reporter came down to the train to meet
Theda Bara and was admitted to her stateroom.

"Naturally, I held out my hand, but he refused to shake
hands with me — dropped my hand as though it had been a
snake. After he had gone I made a little bet with the press
agent. 'That reporter,' I said, 'thought I was going to kiss
him.' I was right. When the interview came out, the man
told how I had put out my hand. 'But I didn't take it,' the
story went on. 'Because when I met Anna Hel'd, she kissed me.
And if Anna Held kissed me, what would Theda Bara do?' "
(Continued on page no)

IT may sound funny to call Charlep Ray a sort of male Maude Adams of movies,
bitt it's "true. His popularity proceeds untroubled in the midst of fly-by-night
reputations. Ray's new one is Cohan's "Forty-Five Minutes From Broadway."

Above: Constance Talmadge caught at her favorite indoor
sport: bobbing. She practiced on Norma, then she bobbed
Natalie, her younger sister, shown here, and Dorothy Glsh
Is In dally terror for fear Constance will creep up on her
and cut her locks with one fell swoop of the scissors.

The young lady In the
circle above is strangely
averse to having her picture
taken. You would think
that with H. B. Warner for
a father, and Klta Stan-
wood for a mother, she
would take to it like ii
veteran. But Joan Warner
will probably go in for liter-
ature, or interior decoration,
or some really exciting pro-
fession.

If it were not for the rest
of the center picture, on the
opposite page, you might
think we had snapped
Marion Davies out for a
little motor ride. But she
is working, poor child— for
beside her is her leading
man, Carlyle Blackwell, and
across the page is director
Kobert Leonard, with his
camera.

Sonny Washburn is very
proud of the newest mem-
ber of his family: Dwlght
Ludlow. In fact. Sonny is
a self-appointed guardian of
tile latest arrival, and pre-
sents Top with dally re-
ports of his progress.
Bryant, Sr., and Mabel For-
rest Washburn complete
this group.

p»

Above: Photoplay offers its lirst Pftzzle Picture. Madge Keiiuedy
assures us that this is a genuine likeness of one of the members of
lier menagerie. It loolis like a tiger-cub with a false nose; Mrs.
Kennedy, Madge's mother, says it's a Caola bear, one of Australia's
native sons. And=— yes, you're right: an admirer of Madge K. Bolster
sent it to her, all the vi'ay from Melbourne to Culver City.

At the right : Elizabeth France, a seventeen- i
year-old discovered by Goldwyn. Elizal)eth \
gained entrance as an extra, and has been work-
ing ever since. Will she sliow her stellar tem-
perament by refusing to make anything but
chocolate fudge in the future?

Conrad Nagle and Mrs. Nagle, who used to be
Ruth Helms. When she went out to the Lasky
studio with her young husband, Mrs. Nagle had
no intention of becoming an actress. But di-
rector Maigue gave her a part in "The Fighting
Chance," much to the surprise of friend husband.

INTRODUCING Norma Talmadge in her latest role— as Fashion Editor for
A Photoplay. Miss Talmadge's good taste in clothes is always evident. The first of
her discussions of the whys and wherefores of attractive and practical dressing follows.

CLOSE-UPS

odiiorial Expression and Timely Comment

Draining the Old The movie museum of
Hokum Bucket. anthropoid freaks in

eluding the sis
preacher, the fur-whiskered doctor with his
bag of screw-drivers, the big business man who
can't eat a home dinner without his Tuxedo,
and the cowboys who never work — this anthro-
pological collection, we started to say, is about
to welcome a new member: the conventional
picture college man.

The fraternities are after him, the Greek
letters are going to get him, whether he watches
out or not. Pi Delta Epsilon, for one, raises
its classic arms in defense of the outraged un-
dergraduate. Philip C. Pack, Pi Delta Epsilon's
former national secretary, says:

"Despite the fact that now and then a college
man kicks over the traces and lands in the
newspapers, he is, on the whole, a pretty sober,
earnest sort of chap. But the picture producer
exhibits him on the screen as a sartorial night-
mare, a cross between Lothario and Beelzebub,
strangled in fire-risk cravats, suspended in
high- water trousers, hiding behind an enor-
mous letter on an enormous sweater, living in
a den of pipes and pennants, and dividing his
time equally between scrapes and scandals,
touches on the old folks at home, and snake-
dances at 2 A. M. The college man of today
is not a drunkard; he is not a ruffian; he is
not a loose spend'thrift; he is not an irrespon-
sible animal. On the contrary, the college
man of today, with few exceptions, is a tem-
perate, gentlemanly, conservative young fellow
with a real ambition in life."

Slowly, but surely, the old hokum bucket is
being drained- May it never be refilled!

The Towel-Throwers A Chinaman, they

of the Orient. ^^y- ^^H.buy a

rosary or rice or a
clean collar — but he won't pay real money for
something he cannot see. So: he never buys a
ticket upon entering one of his native cinema-
theatres. He goes in, takes a seat, and watches
the picture up to a certain point. If he is, as
we say in our vulgar Occidental fashion, "sold"
on the proposition, he purchases his ticket and
stays to see the rest of the performance. If it
happens to be hot in the theatre, during the
course of the entertainment ushers will pass
through the aisles with wet towels. They fling
these towels into the audience when a spectator
signifies a desire for temporary relief from the
heat; and, as this towel-throwing contest natu-

rally interferes with a vision of the screen, the
picture is stopped at regular intervals to allow
for it! But if these customs are or seem to be
clumsy, consider the up-to-date higher-class
houses, where a Chinese lady of good standing
may meet her escort in the lobby and dine in
the supper'room, which is a feature of all the
best cinemas.

Mile-Stone.

The most important thing

about a play is . the play.

Or, to modernize Shakespeare's
immortal remark, the author.

The author is far more important, as far as
a novel is concerned, than the man who illu'
strates it, the editor who prints it serially, or
the publisher who issues it as a book.

Yet, it took nerve to do what the Goldwyn
picture publishing house did on the title frame
of "Partners of the Night" — give entire and
supreme prominence to author Le Roy Scott,
to the exclusion of the entire scenarioizing,
consulting, assisting, photographing, developing,
printing, cutting, releasing, exploiting and adver-
tising regiment who usually come in for croix-
de-guerre honors in type.

It wasn't a very great picture. It wasn't by
any means the best of Le Roy Scott's stories.
But in authorial credit it rose up and slapped
old tradition right in the face.

Trusting to Two worthy He-

T • T, T 1 T) 1, „ brew gentlemen,
Irish Luck-Perhaps, ^j^^ f^ ^^^ ^j^

business in Hollywood, had vastly expanded a
modest stake hardly and honestly earned in
New York suits and clothing, acquired a snappy
motor-car as a joint possession.

They also acquired a snappy Irish Chauffeur,
who took them, as a try-out, for an exceed-
ingly snappy ride.

As the car went faster and faster, tearing over
busy crossings without as much as a hesitation,
missing passing fenders by microscopic fractions
of an inch and taking curves on two wheels,
Aaron began, naturally enough, to get timorous.

"He'll kill us both!" he shrieked to his part-
ner.

" Nonsense ! " answered David. "Ain't he got

his own life to look out for as well as ours ? "

"But," protested Aaron, "what does an

Irishman care for his life if he can kill a coupla

Jewish fellers ? "

The leading designers of New York and Paris today admit the
movies are creating the styles — not merely following them.

Redingote derivation
from a Worth model

Every discerning woman knows she can draw on any period of style to enhance her good looks."'

What "Fashion" Really Means

The first of a series of articles by the
screen's acknowledged leader of fashions.

By NORMA TALMADGE

WHEN I was a very small girl I used to shut myself
up with my dollies on a rainy day and discuss clothes
with them. Very gravely the dolls and I would go
over the subject of new clothes — with me as the
active spokesman — or, maybe I should say spokeswoman.

If we weren't interrupted we generally got the winter or sum-
mer wardrobe fairly settled before it was time for me to set
the table for supper.

After settling what we should wear it was up to me to get
into mother's good graces for the necessary materials. Many
a sinkful of dishes have I washed for the sake of a coveted
bit of lace or scrap of silk that meant a party frock for Ara-
bella.

The opportunity to make my first appearance in pictures
came just about the time I was through playing with dolls, and
for quite some time the only chance I have had to talk clothes
has been in regard to my own wardrobe or the gowns of Mother
or Constance or Natalie.

And then the editor of Photoplay asked me one day if I
didn't want to be his fashion editor, and talk once a month to
all you people about clothes and style, and why one wears a
certain gown for certain occasions and what fashion really
means.

Would I?

I should say so!

I'm awfully grateful to Mr. Quirk for asking me, for, be-
tween you and me, I have lots of ideas about fashions that
aren't usually put into print, and every time the editor isn't
looking I'm going to tell you some of them.

In the first place I think it might be a good idea if we look
at this word "fashion" and think what it really means. You
say it is the "fashion to wear embroidered dresses" just as
our grandmothers used to say it was "the fashion to wear
bustles."

But why are certain things "the fashion" at one period?

Why do styles recur at certain intervals?

Where do fashion influences have their origin?

If you want to be a well-dressed woman — and every normal
woman does — you should learn the answers to these ques-
tions.

I had to find out the answers for myself when I was study-
ing style from the standpoint of the screen.

The history of this suit may be traced back to
the ruffles~and-lace days of King Louis XIV.

Photoplay Magazine

Now, this matter is not of much importance to
the woman who can afford to engage the services
of a great stylist to dress her. But most of you
girls can't do this — I certainly couldn't during
the first years I was in motion picture work. A
great number of my dresses during that period I
made myself. And even today, when I am in a
position to spend quite a bit of money on my
wardrobe, I frequently design my own gowns,
and then find someone who can grasp my ideas
and translate them into clothes.

Do you mind if I say a very serious word
right here? A word meant for you girls who
"can't sew a stitch." Sometimes you seem to
be proud of it. I wonder why? I had just
as soon be proud of a cross eye or any other
infirmity.

Do you know, you girls who can't — or won't
— sew, that this helplessness leaves you at the
mercy of the shopkeeper or the dressmaker? You have to
take what they give you, not what you want. A pretty little
party frock costs you from $30 to $40 and up— mostly up.
You could make the same thing yourself for $10 or $15. More
than that, you would have the joy of creating something —
and you'd find your hands were good for something besides
doing up your hair.

Every time I hear someone adding up the great natural
resources of this country I wish with all my heart we could
include women in the list. Of course we could add some
women, but not the big majority, and that worries me.

And I wish the people who make up the qualification list
on marriage licenses would add "Can you cook and sew?" to
the questions the girl has to answer — and not issue a license
until she could prove her claim. My stars! Think of all
the bachelors who would be rushing girls to the altar if they
had any reasonable hope of obtaining an asset instead of a lia-
bility.

But, as I was say-
ing—

About this matter
of fashions! Today
is above all others
the day of the indi-
vidual, the time
when every discern-

ing woman knows that she can
draw on any period of style to en-
hance her good looks — that her
individuality but needs the proper
medium of dress to give it ex-
pression.

For fashion is the fruit of his-
tory, the fruit of romance.

Today a costume artist may
take an idea for a blouse from
an ancient portrait, and
the drape of a skirt from
an Indian sarong. He
may portray a Span-
ish cavalier in a wrap
that has its fulness

thrown jauntily
over one shoul-
der, or he may
embroider a dress
in Chinese patterns.

Why is it that we
today are breaking
away from uniformity
in style and seeking to
take the best from his-
tory and tradition that we
may apply it to modern
uses?

The World War is one
reason. Most of tfife na-
tions that were fighting
with the Allies sent rep-
resentatives to France.
And the French style
creators borrowed inspiration from the na-
tional dress of the peoples who fought
shoulder to shoulder with their own men.

Jean Patou, great soldier as he is great stylist, came back to
Paris from the trenches last year and brought with him the
Algerian inspiration. The bright colored embroideries of this
season, the deep sashes and "harem" skirts we are seeing every-
where today, are the result of Patou's genius.

The cavalry inspired Agnes to feature the redingote dress.
Now, redingote means "riding coat" and was popular about
1800. In its modern development the silhouette is buttoned
from throat to hem and shows an underskirt of one material
worn under a long coat of a contrasting fabric.

Some of the other Paris creators studied the portraits of
Velasquez last year, and today we have the basque as a result.
Remember this when you see one of those quaint little taffeta
dresses with the long tight basque and full skirt. If you have
clever fingers you can make one for yourself this summer.
They are reproductions of the costumes worn by the Spanish
Infanta when Velasquez painted her.

In suits the French creators went back this year to the
(Cofitinued on page 112)

Shad

e
ow

Reg. U. S. Pat. Off.

A Review of the new pictures

b); Burns Mantle and Photoplay

Magazine Editors

"The beauteous Clarine Seymour dances tula hulas and otter-
wise conducts herself -with Richard Barthelmess in fiery South
Sea fashion as "The Idol Dancer."

I HAVE a friend, a wise little friend, who insists that
John Barrymore's "Dr. Jeckyll and Mr. Hyde" will be
numbered with the classic productions of the screen and,
years and years from now, be regularly taken from its tin
boxes to be run before the astonished eyes of students of the
pictured drama as a perfect sample, not only of what once
was accomplished by a great actor before the camera, but of
what all actors of even that advanced time should strive to
achieve. That is one popular opinion.

I have another friend, not so little ^
and it may be not so wise, who insists
as strenuously that "Dr. Jeckyll and
Mr. Hyde" gave her a most terrific
attack of the movie blues, from which -'
she has not yet recovered, nor expects
ever fully to recover. Its very excel-
lences as an acted horror, says she,
have set her advising all the mothers
she knows to keep their children away
from it and to guard themselves ac-
cordingly as their condition and belief
in pre-natal influences may suggest.

My own reaction to this cinemato-
graphic tour de force strikes somewhere
between these two. I left the picture
cold, not to say clammy, but eager to
sing the praises of J. Barrymore and
his sincere and quite amazing per- '

formance in this famous dual role, by
which he reaches the peak of his screen
achievements. Eager also to declare it

to be the finest bit of directing John Stewart Robertson has ever
done, and a job that places him with the first half dozen in-
telligent directors in the field.

But I felt a lot like the friend who would keep her children
away from it and suffer nary a pang of disappointment if I
were told I should never look upon its like again. Frankly I
do not care for horrors, either on screen or stage. If they
possess a soul-purging virtue that does us good it must work
subconsciously in my case, for never a satisfying thrill do I

l<i

C i HIS department
■*■ designed as a real
service to Photoplay
readers. Let it be your
guide in picture entertain
ment. It will save youi
time and money by giving
you the real worth of cur
y t '

By Burns Mantle

get from them, nor more than a fleeting suggestion of enter-
tainment. Invariably I am so very conscious of the actor's
acting that I become much more interested in the facility with
which he achieves effects than in the effects themselves. Or
in the spiritual significance involved.

A physician once told me that medical men never see a per-
son as ordinary people see him; as a good looking, or homely,
or thin, or fat, or short, or tall human being, but always as a
physical specimen; as one whose
features are perfectly assembled or
I slightly scattered; whose shoulders are
evenly squared or curiously twisted;
p whose legs are sympathetically aligned
^ or humorous'y mismated.

In somewhat the same way I see
actors nfayihg abnormal humans. Some-
times they succeed in stirring my imagi-
nation, \oft«i they hold my interest,
but usuaHy to analyze these emotions
is to discover that they are inspired by
something commonplace, something
plausible, something suggestive of a
reasonable human action in the story
they are illustrating rather than in the
perfect pictures of abnormality they
are creating.

So much for "Dr. Jeckyll and Mr.

Hyde." It will easily become the most

talked of picture of the time. A door

and two windows were broken by the

crowds that tried to see it on its first

showing in New York. It may tour the country to the tune

of similar crashes. Unquestionably it has lifted young Mr.

Barrymore to the leadership of his contemporaries of the

screen, as his "Richard III." had put him in the forefront of

the advancing actors. The curiosity to see it will be great.

But as to its continuing popularity I have my doubts.

The story of the good Dr. Jeckyll who, be'ieving that the
way to be rid of a temptation was to yield to it, and who
succeeded in concocting a drug by means of which he could

Photoplay Magazine

transform himself into the brutal and loathsome Mr. Hyde, in
which state he was free to revel in all manner of bestial excesses,
is too well known to bear repetition. The screen version takes
a few more liberties with the Stevenson original than did the
Mansfield acting version, but does not overstep cinema license.
Hyde is a little more brutal than he was on the stage, Jeckyll
far more handsome and soulful (pictorially) than any other
actor of our time could make him. The cast is chosen with
rare good judgment and includes Martha Mansfield.

"IN SEARCH OF A SINNER"— First National

THE trick of being sanely extravagant in producing comedy
is shared by John Emerson and Anita Loos. No one, for
instance, will take seriously the premise of their newest Con-
stance Talmadge picture, "In Search of a Sinner." Georgiana
Chadbourne's determination to ensnare a styleplus caveman
for her second mate, after having lived unhappily for several
years with her unco guid first husband, (a geologist who never
knew whether she was wearing shadow hose or alpaca bloom-
ers), is palpably overdone. And yet it is so entertaining in
its extravagances, and so soundly based in human nature, that
even those w^-J^ust a wee bit sense of humor are happily
entertained bjr it. J[\ is also a use, rather a free use at times, of
what the gentleman of the trade know as "sex stuff" legitimate-
ly employed. Georgiana's desires may be suggestively exagger-
ated, but they are never offensively dragged in for the sake
of the sensation they may create. Which marks the difference
between the- sex theme handled by a normally clean-minded
director and one made by a dirt hound. Some day I'm goins
a-gunning for dirt hounds. Miss Talmadge is gorgeously amus-
ing as this exhibit from her collection of virtuous vamps. A
good actress, a good comedienne and a nifty dresser, this young
woman.

"THE IDOL DANCER"— Griffith— First National

DAVID WARK GRIFFITH still has his whip in "The Idol
Dancer," but he uses it sparingly and only on a slave
person who probably was used to it. Many of my confreres
report this a disappointing picture, but I suspect if anyone else
had made it they would have considered it very good. You
can't help expecting a lot from D. G. Merely because he is
D. G. I quarrel with him as frequently as any gent whose
business it is to comment upon the work he does, but between
ourselves the quarreling is largely inspired by the hope that
it may make him so doggone mad some day he will take it
seriously and double back to the time when he was at once
the leader and the promise of the screen. He went all the
way to the Bahamas for the local color needed for "The Idol
Dancer" and brought precious little back that he cou'd not have
ordered in his Westchester studio, or found in Florida. Un-
less it be the native canoe in which the men of the threatened
village paddle umteen miles in umteen minutes to save
Clarine Seymour and Richard Bartheimess and the other worth-
saving persons of the cast from manhandling, arson and sudden
death. However, better a real background that seems a waste
of money than an imitation that could be recognized.

The only really disappointing feature of "The Idol Dancer"
to me is the commonplace and familiar story — familiar in the
sense that it is the old complication of the lost s'nner and the
hopeful saint with their horns locked in a battle for the girl.
It has a little new color in this instance because one boy is a
beach-comber, an atheistical youth who is willing to let the
faithful worship what god they will so long as they leave him
his gin and room on the sand to sleep off his excesses, and the
other a New Englander with weak lungs who comes suddenly
upon the beauteous Seymour dancing the hula-hu'.a and
straightway wants to live. For which neither you nor I could
blame him. The Seymour herself is a native girl adopted by
an old English salt, to excuse her speaking English tit es, and
renamed Mary. She wears not so very much in front and a
little less than 'alf of that be'ind, as the gifted Rudyard
phrased it, and she is a beauty bright from the bells on her
toes to the permanent wave in her hair (a wave she never
learned to do in the South Sea Islands.) Moreover she not
only negotiates the hula with considerable grace, but she plays
the dramatic scenes with enough fire and sincerity almost to
convince you that she is what she pretends to be, a dusky island
belle. Richard Bartheimess is the heavy-eyed beach comber,
a youngish youth to carry his philosophy of life, but hand-
some and a good screen actor, with personal appeal plus.

Jack Barrymore by his sincere and amazing performance in the

dual role of "Dr. Jeckyll and Mr. Hyde," reaches the peak of

his screen achievements.

Seeing "Dangerous Days" is to he thrilled again by those

stirring events that gripped us during war times a couple of

years ago.

When you've seen Constance Binney in "The Stolen Kiss."

maybe you'll go home and have a good cry over the ^vay her

beauty and talent are wasted.

Photoplay Magazine

"DANGEROUS DAYS"— Goldwyn

THE thrills in Mary Roberts Rinehart's "Dangerous Days"
have been reduced to pleasantly reminiscent titillations by
the element of time. Seeing the picture is a little hke picking
up a war-time copy of Philadelphia's favorite weekly and re-
reading the introduction to a story we recall as having stirred us
profoundly a long time ago. But I, for one, find myself still
interested in stories of the late war, if they are good stories,
and I am quite convinced that there are certain things in con-
nection therewith, certain passions and certain ideals at that
time aroused, that no American, now made or being remade,
should be permitted to forget, even if it is his confessed desire
to forget them. Therefore I in-
dorse "Dangerous Days" as mem-
ory-stirring propaganda. It quite
frankly recalls the plottings of the
enemies within in its pictured blow-
ing up of an American steel mill
when the war first broke, but more
importantly it presents the in-
fluences that were brought to bear
upon the youth of the country to
weaken their patriotic and manly
impulses, and glorifies their strength
in overcoming them. Hokum to
some, but to me a needful and
worthy inspiration that cannot too
frequently be given an opportunity
to register. "Dangerous Days" is
splendidly acted and sanely
screened. Lawson Butt, than whom
there are few more intelligent lead-
ing men of middle years in our
cinema lists, plays the leading role,
and he is ably assisted, particularly
by little Ann Forrest.

«A CHILD FOR SALE"—
Ivan Abramson

IVAN ABRAMSON'S idea of how
* the rich — the oppressively rich —
live, move and acquire their fright-
fully biased opinions respecting the
sufferings of the struggling poor,
are rather extravagantly set forth
in a melodramatic opus called "A
Child for Sale." Also Ivan Abram-
Bon's idea of what constitutes a
coherent and convincing dramatic
story, taking this picture as a
sample, offers many opportunities
for the raucous hoot and the mirth-
ful snort. But Ivan Abramson's
belief in himself as a propagandist,
and the honest impulse that in-
spired his attempt to expose the
worst of the profiteers and the
most shallow of philanthropists
protects him from the stabs of this
particular pen. His picture is an
inartistic jumble of unrelated inci-
dents to me, but to Mr. Abramson
it represents the sincere protest of

one who would take a hand in setting the world straight by
proving, among other things, that striking laborers as well as
profiteering capitalists, are responsible for much of the prev-
alent misery. And I admire his courage.

"THE FAMILY HONOR"— Vidor-First National

KING VIDOR could profitably have given a little more
thought to what the experts speak of as the "motivation"
of "The Family Honor." Did he wish to emphasize the
recovery of that sacred trust by the sweet Southern heroine?
Or the fall, and ultimate rise, of her brother, who became a
gambler and a waster at college, returned home too proud to
work and didn't care a hoot for family honor or anything else?
Or the benign influence of a trusting child who, walking blithely
into a courtroom at the crisis of a murder trial, immediately so

IF you HAVE ANY
COMPLAI/Vr6" OR
SUGGESTIONS^"
K/NDLV SPEA^K.
TO THE MANAGER

Complaints and Suggestions

O MANAGER, dear manager, I pray you
lend an ear;

I wish to spill a thought or two before I
go from here.

Now, while I'm in the playhouse, I thought-
fully suggest

Your million dollar organ may have a little
rest.

I'm strong for "Annie Laurie," but it some-
how seems to me,

It's better not to play it for a slapstick
jamboree;

And Handel, who has often brought the.
teardrops to my eyes.

Is never quite so poignant when they're
hurling custard pies.

I'm not a noisy person but I'll give a rous-
ing cheer
If you'll page this tall guy just ahead, and

park him in the rear.
Why is it only those giraffes who have the

biggest feet
Insist on stepping on me as they stumble

by my seat?
And why do all the folks ahead, who wait

the picture through.
Exactly at the climax get up and block my

view?
You're welcome to these ideas, and when

you've chewed them o'er,
If still you crave suggestions I can give a

dozen more.

influences everyone concerned that perjured witnesses insist
upon reversing their testimony, guilty men are inspired to re-
form, villainy is completely unmasked and the sun shines in
glorious benediction over all? Using all these themes, he
rather scatters his best material and just another prettily
pictured but plainly manufactured screen story is the result.

"MARY ELLEN COMES TO TOWN"— Paramount-

Artcraft

ELMER CLIFTON, who put Dorothy Gish through her star's
paces in "Mary Ellen Comes to Town," was forced to work
with considerable cinema chaff to get five reels out of his sub-
ject. The unsophisticated maid who, clerking in a country store,

dreams of the big city and is simply
dying to go on the stage, is not one
to lift a director to his toes with
enthusiasm. Bdt, thanks to Dorothy,
who certainly lias a way w^th her,
"Mary Ellen" fills in quite satis-
factorily in the feature position on
the bill. A pleasant trifle, well
done. Dorothy's personality and
smile are attra<:tive. Ra'ph Graves
is a clean-lodking good boy, Charles
Gerrard an\ excellent wease'. The
Cabaret is familiar, the raid ditto,
but a majorfty-^f the scenes are
well posed.

"EXCUSE MY DUST"—
Paramount' Artcraft

I LIKED Wallace Reid's "Ex-
1 cuse My Dust," first, because it
is a good short story, attractively
screened, and second, because its
creators have not tried to make it
anything more than that. One of
the eleven or fourteen things we all
find to object to in pictures is the
obvious effort of scenarioist and
director, the one usually abetting
the other, to build a mansion out
of the material laid down for a
bungalow. When the thing is
finished the foundation is fairly
solid, but the superstructure is so
very wabbly and thin you can plain
ly see through it.

"Excuse My Dust" relates a
plausible and interesting incident in
the life^ "Toodles" Wa'den, erst-
whil^demon driver of the good old
Darc'e^bus t'hat won the Los Ange-
les-San Francisco road race in
"Speed Up."

No sex stuff here, and no suave
young villain. Just a good, interest-
ing, at times exciting, and always
well told short story. The ingrati-
ating Reid is as cheering a screen
hero as usual, Theodore Rober s is
excellent as the blustering; "J. D.,"
and Ann Little is a lovable wife.

"OLD LADY 31'— Metro

1 DON'T suppose the president of a motion picture concern
could reasonably bring suit against one 0' his own directors
for having failed4o extract full value from the picture material
given him to wrk with — a jury of picture fans to render the
verdict. \

But if Richard'l^i. Rowland of Metro ever wants to sue
Supervising Director Karger and Working Director John E.
Ince for having missed a fine chance in their screening of "Old
Lady 31" I'll serve as a witness for the prosecution. To my
way of thinking, there has not been less intelligence, not to say
less plain common sense, shown in the adapting of any other
picture I have seen this month.

(Continued on page ps)

Photoplay Magazine — Advektising Section

Your hands express your real

self — Be sure you manicure

them the right way

^\}{ow i/ou can
have hands

as wdi groomed as these

THE consciousness of unbe-
coming or unattractive clothes
may hurt — but it cannot strike
deep down as can the fear that you
are judged wanting in real refinement.
That you are judged unmistakably
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How uncomfortable this fear can
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fied any shortcoming which may
cause it becomes in your own eyes!

Of all the indications of personal
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manicure is the care of the cuticle.
You must never cut it, for cutring
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Cutex fuick/y and harmlessly soft-
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to persona! cleanliness, is well-kept
nails. To many, ill-kept nails in-
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indicate actual vulgarity.

A few minutes of the right kind of
care, once or twice a week, will keep
your nails and cuticle always exqui-
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Apply a little Cutex Nail IVhite direct-
ly from the tube underneath each nail

way you can always have perfect
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Wrap a little cotton around the
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and work around the base of the
nails. Then wash the hands, pushing
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If you like snowy white nail tips
apply a little Cutex Nail White under-
neath the nail. Finish your manicure
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If your cuticle has a tendency to
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Give yourself a Cutex manicure
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Cutex is on sale at all drug and
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Six manicures for 20 cents

Mail this coupon below with 20c and
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When you write to advertisers please mention PHOTOPLAY MAGAZINE.

■-^

\Vlien friendship turned to love. Mary and Doug doing their bit in
the Liberty Loan Drive that brought them into close companionship.

The Pickford-Fairbanks Wooing

The story of filmdom's greatest real
life romance with a moonlight fade-out.

By
BILLY BATES

"Mrs. Charlotte Smith announces the wedding of her
daughter, Mary, to Mr. Douglas Fairbanks at the home
of Rev. F. Whitcomb Brougher. The bride wore white
satin and tulle with a touch of apple green. The groom
was garbed in conventional black. Mr. and Mrs. Fair-
hanks will be at home following a honeymoon trip to
Niagara Falls and other points of interest in the Fast."

THAT'S the way they would have liked to see it in the
papers. Just a quiet little ceremony, with the bride
smiling — and perhaps weeping a little, as brides do —
and the groom blushing and clumsy and nervous, as any
plumber might be, facing the future and the installment plan
collector with a high heart, a steady job and the woman of
his choice.

Instead of that, astonishing newspaper headlines shrieked
out the story in giant type. Telegraph and cable wires ticked
the details across the world. In every home mothers, fathers,
sisters and brothers chatted over the precious news. Cynical,
worried old Wall street, harassed by an upset world and a
humpty-dumpty market, smiled its cynical, worried smile over
the event. It was not hard to imagine President Wilson paus-
ing in the midst of his breakfast egg and remarking to the first
lady of the land:

"Think of that, Mary Pickford and Douglas Fairbanks are
married."

After all, it was the only thing to expect. The wooing and
wedding of the two great motion picture stars was a romance
that the most hectic scribbler of scenarios might have hesi-
tated to tap off on his wheezy typewriter.

It is one of the great love stories of all time.

Well may the two of them— Mary and Doug — long for the
pure rays of the moon to silver their romance. It is the moon-
light they will seek when they go far away from everything —
just the two of them, alone. And it is high time the film of
their narrative is tinted with the sentimental blue of eventide
that so long has been lacking.

Instead of that they have been forced to their love-making
in the glare of the mid-day sun of publicity. To them it has
been as if their most intimate and personal moments were lived
under the harsh light of noon with the relentless eye of the
camera recording their slightest gesture and a case-hardened
director criticising their action. To say nothing of the world
and his wife, brimming with gossip, waiting for the screening
of the scene.

There has been much talk already of the final fadeout.
There are those skeptics who are whispering their expectation
of still another reel, done once more in the blinding sun. The
sad fact remains that this too wise world of ours is rather sus-
picious of moonlight.

It has reached the age where it loves to whisper during the
emotional scene that the tears of the leading woman are
achieved by glycerine and that the pair who seem such fond
lovers on the screen do not speak to each other once the cam-
era man ceases to mark his magic circles in the air.

But despite the cynic world and despite its wagging tongue,
there is a great love story behind this famous wedding. Far
above the sly eye-winking and the rib-poking of the scandal
(Continued on page 73)

Photopi.ay Magazine — Advertising Section

SILKS-SATINS-LACE

Kept dainty and new through the longest vacationing

MADAME has given instructions to pack only the
finest, the filmiest. The silk anc valenciennes
underthings and the sheerest of the stockings.
The georgette frocks with their extravagantly simple
air. Two favorite negligees and the loveliest of the
blouses.

Always Madame refuses to be bothered with the great
number of her possessions — only the most adored. For
with Lux these few can b«. kept so fresh, so exquisite.

At the first speck of dinginess in filet collar or cuff,
Marie tosses the beloved one into a big bowlful of Lux
suds. The foamy bubbles cover it. The rich lather
presses through and through it. Every tiny thread is
searched out and cleansed snowy white.

How to launder silks

Whisk a tablespoonful of Lux into a thick
lather in half a boitilful of "very hot water.
Add cold water till lukewarm. Dip the
garment up and do-wn in the rich lather
Squeeze the suds through it — do not rub-
Rinse in three tukeiuarm "Waters. Roll in
a towel. When nearly dry press with a
inarm iron. Jersey silk and georgette
crepe should be gently pulled into shape as
they <^0'' ''"'^ should also be shaped as you
iron.

In half an hour the pretty thing will be bright and
sweet and summery again, looking as calmly new as if
it had just come out of the specialty shop's tissue
wrappings !

The old way of washing was so heartless. Many a
fragile blouse has Madame wept over in the old days —
actually scrubbed to death! But the Lux way is so
different. It is so gentle, so careful with her fine things.

There's never a bit of pasty cake soap to stick to the
silk thread and be ironed into it! Never a thought of
a cruel rub! The pure suds just whisk the dirt away
and leave the fabric whole and new, the color clear.
The grocer, druggist or department store has Lux always
ready for Madame. Lever Bros. Co., Cambridge, Mass.

#■'•■

When you write to advertLsera please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

PARIS VIVAUDOU

NEW YORK

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Photoplay Magazine

(Continued from page "jo)

monger and the rumor-peddler, is the love
of a woman — a love that has come after
great sorrow; a love that would willingly
sacrifice the fame that came before it ; a
love that brings with it the promise, at last,
of the errant moonbeam's soothing luster.

When Mary Pickford stood before the
minister she stood there as any woman
might stand, radiant vvith love for the man
at her side, a bit tearful perhaps for the
tender memories left behind, but with smil-
ing hope for the future. Except for the
sensation-hungry world waiting just outside
the door she might have been the plumber's
bride looking forward to the honeymoon
trip to Niagara Falls.

If the wily world will not believe this
maybe it would consider the viewpoint of
the film folk on the lot. Usually the moving
picture lot is a place for gossip and careless
chatter. Under ordinary circumstances,
such a wedding would have the vampire
snickering in the camera man's ear, the
leading juvenile saying things confidentially
to the electrician, and the director smilingly
whispering to the animal trainer.

The film folk know all the story. And
film folk, from property boy to producer,
are hoping that Mary Pickford and Douglas
Fairbanks have found lasting happiness.

For all the fame and fortune that has
come to her, "America's Sweetheart" has
lived a life tinged with poignant sadness.
There has come stalking on the trail of
success an unhappiness that sometimes is
reflected in her pictures in a way no coach-
ing director could invent. There has been
always a heartache and sorrow that might
have broken a woman of less capacity.

It is not necessary to dip deeply into the
girlhood of the actress. That story has
been told and re-told. Just enough, then,
to recall when she was only five her widowed
mother was forced to go on the stage to
support the family — Mary, Lottie and Jack.
It was shortly after this that Mary first
appeared on the stage as the child in
"Bootle's Baby."

Players in the Princess theater in To-
ronto, Ont., speak today of their memory
of her big, sorrowful eyes. Young as she
was, she seemed to share her mother's worry
over straitened family circumstances. To

The "little gray home in the ^Vest'" of which
Mary Pickford Fairbanks becomes mistress.

At once, real fame began to form for the
young actress and it seemed that an end of
the worrying, sad days was at hand. Ail
over the country she became known as "the
Biograph blonde." That was in the day
when the names of film actors and
actresses were not featured. But the Pick-
ford charm and ability rose above such
anonymity.

On the Biograph lot with her was Owen
Moore. He acted as her leading man. Their
love on the screen soon became the love of
their life. It was while in Havana with
the Biograph company that Moore proposed
and was accepted. When she accepted
Moore, Miss Pickford accepted the Catholic
church.

Film folk saw in the union a perfect
mating. They returned to their work before

the camera. Day by day the fame of
help her mother, she threw herself into her Owen Moore's talented young wife grew,
work with the fervor of a finished actress. But the folk on the lot saw that the true

The effort was rewarded when she was en-
gaged by Belasco in "The Warrens of Vir-
ginia." But the big struggle still was ahead.
Then came the chance in motion pictures.

measure of happiness was not yet to be
Mary's. Ugly rumors and malicious stories
began to circulate.

It soon became known that what had

One of the spacious bed-chambers of the
Fairbanks home at Beverly Hills, California.

started out as glittering romance was ending
in bickerings and quarrels. Mrs. Pickford
remained always close to her daughter.
There can be small doubt that she was
jealous of the little girl she had guarded
since the days of "Bootle's Baby." That's
the way film folk looked at it. One story
went the rounds that, during a visit to
New York, Moore had engaged a suite of
rooms at the Biltmore. Mrs. Pickford and
Mary followed him. Mrs. Pickford, the
story runs, surveyed the suite and said:

"Very fine, Owen ; you take that room in
there and Mary and I will sleep in here."

Similar stories came on the heels of this.
The full force of the sun began to beat on
the two. Moore had no word of complaint,
even to his intimates. During this time, he
arranged the terms of the first big Pickford
contract. But the final reckoning was not
far off. Sadly, Mary Pickford surveyed the
wreck oi her high hopes. Mournfully, she
saw the coming of the end. She was a
disappointed woman. The glory that had
come to her through the living camera made
her matrimonial failure the more ironic.

About this time another star began to
glitter brilliantly on the moving picture
horizon. The bounding personality of
Douglas Fairbanks began to win the athletic
young actor his place in the history of the
silver screen. His career had been of the
dashing sort. He had married Beth Sully,
daughter of "Cotton King Sully," and had
left the stage. Reversals in the "Cotton
King's" fortunes had caused his return to
the footlights and finally a venture in "the
movies."

Under his bubbling optimism and limit-
less vigor there wis a hint of sadness, too.
Some spoke of domestic difficulties.

Mary Pickford and Douglas Fairbanks
first saw each other while they were work-
ing on the Lasky lot. He bounded on to
the lot and saw her in a character in which
she is familiar to millions. She looked up
and saw him.

Thus the romance may have had its start
• — under the full glare of the sun — although
the two saw little of each other until the
Liberty Loan drive, in the interest of which
Mary and Doug and Charlie Chaplin toured
the country. At least, the budding of senti-
ment began with the whole world looking
on. Mary Pickford, the saddest and the
greatest motion picture actress, had found

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The Pickford — Fairbanks Wooing

(Continued)
a true companionship. And once more she Fairbanks obtained a divorce from Douglas.

saw the hope of a ray of moonlight in her
lile.

One day there was an accident on the
Lasky lot. Miss Pickford was suspended
high in the air at a rope's end. It began to
spin and twist. There was grave danger
that she would be injured. Fairbanks, act-
ing on instinct, climbed to her rescue. He
carried her to safety and her arms went
about his neck.

The story of the rescue and the tableau
that finished it was made public. The eager
tongue of the gossip began to wag. The
friendship of Mary Pickford and Douglas
Fairbanks was given a sinister significance.
That the gossip might be downed, it seemed
wiser that their friendship be abandoned.
But it had been too strong. Both were too
hungry for the comradeship and sympathy
they found in each other.

Then there came a supper party at the
Algonquin in New York, By this time
mutual business had drawn the two closer
together. Miss Pickford gave a party for
Fairbanks. That capped the climax as far
as the gossips were concerned.

Stories flew about that Moore had vowed
to challenge Fairbanks to a duel. It was
reported he had armed himself and was
looking for Fairbanks. Moore is known as
a very handy man in a rough-and-tumble
affray. Fairbanks, the athlete, was not
reckoned as averse to this test of strength
with the love of the film star as its inspira-
tion.

Half a dozen times friends intervened and
stopped a desp>erate meeting between the
husband and the man he looked upon as
his greatest enemy. These stories, of course,
went to Miss Pickford. Each time she was
put to the torture of suspense and fear. The
moonlight she had hoped for seemed a vain
promise.

The strain began to tell on her. Fair-
banks became worried. It was at this time
that the world came close to losing its
chosen stars. That their love might unfold
its wings, Fairbanks and Miss Pickford had
almost decided to leave the world behind,
abandon their careers, disappear from the
screen and begin life anew in the Orient.

About this time there spread the story
that Fairbanks and Moore had met in a
hotel lobby and that Moore had drawn a
gun on his rival. In the struggle, the story
said, Fairbanks was shot in the hand. One
of the first versions was that Fairbanks had
been killed.

The tragic course of her romance almost
caused Mary's complete collapse. She went
nowhere unless she was heavily veiled. She
chose for her companion Margery Daw.

At the time she made bitter accusations
against "a certain woman." The name was
not mentioned in the newspapers, but the
gossips looked after that. By this time
Mary Pickford had stopped weeping. She
could only call upon her love of her art to
rescue her from her melancholy. At other
times they would find her sitting in her
room, staring blindly with unseeing eyes.

Mary Pickford was fighting her greatest
battle — with herself.

She was facing the whole troubled situa-
tion once and for all. She was nerving tier-
self for the final ordeal — the move upon
which she staked her future, her fame and
her fortune.

The world learned of her decision on the
day she obtained her divorce from Owen
Moore in Nevada, and the world smiled a
bit when it read that Miss Pickford appeared
in somber clothes and heavily veiled. They
saw in this an affectation and a pose, but
it wasn't either. The black of Miss Pick-
ford's garments matched the black sorrow
in her heart. Not even the cynical world,
had it seen within her heart, would have
suspected glycerine in the film favorite's
tears.

The gossips were not through with her
yet. She was hounded and harassed. If
she appeared on the same lot with Fair-
banks, which her work required her to do,
there was a fresh outburst of rumors.

Into the situation came another distressing
point. That was her relation to the church
whose faith she had professed when she
married Moore. What her plans were at
the time of her divorce from Moore cannot
be flatly stated. It may be recalled that
shortly afterward a story circulated that
she would be excommunicated if she mar-
ried again.

"Then I shall never be excommunicated,"
said Miss Pickford. "Only today I received
a beautiful letter from the priest who knows
me best. In the eyes of the church my
divorce is not illegal. It sanctions such an
act but would not sanction my second mar-
riage, although recognizes my legal separa-
tion from Mr. Moore."

She was asked if she intended to marry
Fairljanks.

"liiat rumor is absurd," she declared.
"My divorce does not signify that. I just
wanted to be free — free as I have wanted
to be for years."

As has been stated, it is impossible to
judge whether she meant what she said.
But there can be no doubt that she was
aware of what her move meant on the day
she consented to marry Fairbanks. There
can be no doubt that she realized she must

Margery was usually with her when Mary consider herself no longer a communicant of

met Fairbanks during discussions made the church.

necessary by their business affiliation. It meant something more, too. Among

"The Big Four" of the motion picture her millions of admirers are many of the

world — Griffith, Pickford, Fairbanks and Catholic faith. In leaving the church, Miss

Chaplin — had been formed. It is moving Pickford realized that she might be risking

picture history that on the night that com- their friendship and their support.

bination was discussed, friends prevailed
upon Fairbanks to leave the dining room of
the hotel in which he was stopping to avoid
a scene with Moore.

But there never has been a clash. Owen
Moore still cared for his wife and did noth-
ing to cause her added trouble. Fairbanks,
on his side, did his best to avoid an un-
pleasant encounter that might bring more
pitiless publicity and add to Mary's burden.

She knew, too, that her second marriage
in any event would start the tongues wag-
ging again. She would be made a symbol
of the popular version of faithlessness on the
stage.

All these things must have been placed
in the balance agiinst the yearning of her
woman's heart — the longing for the lijht
of the moon. But Mary made her choice.

That is why it was written in the be-

"My whole life is ruined," Mary told ginning of this narrative that there is a real
Miss Daw, shortly afterward. "Just at a love story behind the most famous wedding
time when I should be at the height of my of the century.

career I am surrounded by misery and sor-
row. I can't stand the worry and strain
much longer."

From an unexpected quarter there came
a new promise of the moonlight. Mrs.

From the studios comes word that Mary
P'ckford already is a changed woman, in-
fecting everyone on the lot with her buoy-
ancy. At Bp»'°rtv Fills they are busily
(Continued on page T13)

Evtiry advertisement in rnOTOPLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advektising Section

^m/nmidck

Arflier

I'e

A great welcome for
Brunswick Records

Mui'ic lovers overwhelm us with orders. Tremendous
eagerness shown for this latest Brunsiuick Triumph

HARDLY had Brunswick records been an-
nounced than orders came in from all parts
of the country — an avalanche of orders.

We had planned and made preparations for what
we considered a very large production.

But the instant approval and the enormous de-
mand compelled us to greatly increase our production
facilities.

This reception of Brunswick Records has created a
sensation in the phonograph world. No welcome
could be more sincere — nothing could prove more
certainly the place of the House of Brirnswick in the
hearts of the people.

Something different in records

JUST as we brought ad-
vancements in phono-
graphs when we introduced
The Brunswick several years
ago, so do we again con-
tribute to better music
through improvements in
recording.

We come with Brunswick
Records at a time when re-
production seems to have
reached perfection. But you
will quickly appreciate the
betterments. We felt 'midst
all the wonderful advance
of modern recording, that
there was still a final develop-
ment, one that would bring
complete synchronization.

The outcome is remark-
able. It brings hidden
beauty, magnetic personality.
It brings life into phono-
graphic music that might
otherwise be mechanical.

Pictured here are some of
our great artists — famous the
world over. Their selections
on Brunswick Records set
new standards. Hitherto hid-
den qualities are now brought
out sympathetically.

Each Brunswick Record is
interpreted by a noted director
or an accomplished artist
technically trained in the art
of recording.

Thus we bring that rare
charm into Brunswick ren-
ditions which you will
recognize instantly.

We invite you to join the
thousands of critical music
lovers now judging Bruns-
wick Records. Hear them.
Make comparisons. Note
their superiority.
° We're sure you'll want to
add many Brunswick selec-
tions to your collection of
records.

Elias Bree8kiii I [

Violinist i\

Remember, Brunstvick recitrds can he played
on anil phonograph with steel or fibre needle.

IHE BRUNSWICK-BALKE-COLLENDER COMPANY
General Offices: 623-633 S. Wabash Ave., Chicago

Branch Houses in Principal Cities of United Slates, Mexico and Canada
Canadian Distributors: Musical Merchandise Sales Co., S19Yonge St., Toronto

When you write to adreitiscrs please mention PHOTOPLAY MAGAZINE.

^fiy -'Do^fieii

Go - ^t

Title Ren. U. S. Pat. Oft

'THIS is YOUR Department. Jump right in with your contribution.
■*■ JVhat have you seen, in the past month, that was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of absurdities in pictures you have seen.
Your observation will be listed among the indictments of carelessness on
the part of the actor, author or director.

Let Her Be Diffe'-ert

CONSTANCE TALMADGE, when she and her employer go
to a cabaret, is the only one that has a hat on.

J. B. M., New Orleans.

"Yo Ho Ho—"

IN "Piccadilly Jim," we see Owen Moore and his leadmg
lady standing well forward on the starboard side of an ocean
liner. The weather, we are told, is keeping most of the
passengers below. There is a strong wind blowing from the
starboard quarter, whipping the lady's veil, into Jim's face.
Such a wind would make even the Aquitania not only pitch,
but roll; but you couldn't
even make a match roll on
that deck, it was so level !
Dorothy C. Dodd,
Chicago, 111.

Sears-Roebuck Mountaineer-
ing
IN "Heart of the Hills,"
i Mary Pickford's charming
picture, Steve smooths his
oiled hair down with a silver-
backed brush. Neither he
nor his cabin fit in with that
brush, somehow.
M. V. P., Maiden, Mass.

We'd Like to Know, Too
IN "Checkers," a fe'low
*■ named "Push" buys shoes,
suit, and straw hat for $5.00.
Where?

D. G., Media, Pa.

A Question of Time

ANTONIO MORENO, in
"The Invisible Hand"
has been thrown into an
underground tank and is
swimming around for prob-
ably twenty minutes and
then is let out into a sewer
by Pauline Cur'.ey. He swims

to liberty through that sewer and as soon as he gets out of
the water he pulls his watch out of the vest pocket and says,
"I have just five minutes to catch the train the bandit is on."
I'd like to have a watch like that. J. A., Slidell, La.

A71 Improved Model

IN "Double Speed" Wanda Hawley is seen jumping into
Wallace Reid's car in a very becoming little hat and coat
to match; at the end of the ride she has an automobi'e bonnet,
street suit, and large cape fur. That car must have been a
wonder. Mrs. H. F. E., Salt Lake City, Utah.

A Thrifty Hostess

IN Norma Talmadge's picture, "She Loves and Lies" Conway
Tearle and Norma, dressed as an elderly lady, have tea
together. Norma pours— but strange to say she doesn't offer
her guest any cream or sugar. Lots of us noticed this.

Edith W., Corona, L. I.

'S All Right; The Shew Didn't Do It

SPEAKING of movie reporters, in Dorothy Dalton's "L" Apache" about
t'wenty French newspaper men scribble excitedly during the trial
of the star on a murder charge. When a policeman rushes into the
courtroom with the news that a dying man has confessed to the crime,
do the reporters beat it for the nearest telephone or hike for the office
with the "big story ?" Gosh no — they yawn and polish their finger
nails.

No Wonder They Were Seasick

f NOTICED, in watching the Charlie Chaplin picture, "A
•I Day's Pleasure," that not only the boat rocked, in the ex-
cursion scenes, but also the entire ocean and horizon!

A. T. Shearer, Sierra Madre, Cal.

"It Was Back In—"

1SAW "Beyond the Law," with Emmett Dalton. The scenes
and plot date back to the Eighties. In the scene on the
ranch, on an old cabin (in which the boys are roughing it)
appears in big blazing numbers the year "igiS."

R. J. C, New Mexico.

What Kind of a Houdini is
O'Briett?

EUGENE O'BRIEN, in
"Sealed Hearts," goes
upstairs to see his dad
(Robert Edeson). He wasn't
wearing a vest when he
started up the stairs, but
when he got to the top, he
had one on, and all buttoned,
too.

E. M. J., Los Angelas.

Even the Walls Quivered
T KNOW that the scene
* where Lionel Barrymore
rests his hand on the wall
while looking at the mask of
Lincoln, in "The Copper-
head," was a fine emotional
one, but why should an ordi-
nary wall "give?" Why
didn't they cut those few feet
of film where the wall shook
instead of allowing it to creep
into such a good picture?
A. D., Denver.

Dick Harrison, Saskatoon, SasK

This Sounds Siispicious
IN "The Lost Princess" I
■I read in the sub-tit'e that
the hero'ne said she had
"Suite 16." On her door I plainly saw "Suite 23."

Donald Fisher, Crawfordsville, Ind.

There Is Something New

BILL FARNUM rescues a box of rifles from a rocky pinnacle
and floats them to shore in "The Wings of the Morn'ng."

F. G. Mc, Iowa City, la.

Correspondence School Art

WE see Sessue Hayakawa painting in "The Dragon Painter."
He smashes his first through the picture and casts it aside.
A few moments later his bride runs in, in grief, and picks up
the picture. It seems to be in perfectly good shape.

And in "The Broken Melody" Eugene O'Brien takes a can-
vas painting on which he had just been working and tucks it
under his arm to convey it to another room. His colors must
have possessed some magic drying quality which all artists
would like to know about. C. H. S., Oklahoma City.

Photoplay JVIagazink — Advkhiising Skction

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When you write to ai'.nertisers please mention PHOTOPLAY MAGAZINE.

What the Motion Pictures Mean to Me

Winners of First Photoplay
Magazine Letter Contest.

How Would You Run a
Motion Picture Theater ?

This is the subject for Photoplay
Magazine's Third Letter Contest

WHAT sort of a motion
picture theater?" you
will ask, no doubt, when you
read this question.

And you
ing it.

are justified in ask-

F a person thinks of suicide and first goes to a motion
picture, he changes his mind. And I ought to know — I've
tried it."
That is the gist of one among the thousands of letters
received in response to our question: "What Moving Pictures
Mean to Me." They came from Alaska, from Mexico, from
California, from Newfoundland; but whether the writer was
from "a drab little

Western town of less :

than 6,000," or the
largest city, the one
dominant note sound-
ing above the chorus of
these thousands of film
devotees is — lone.iness.
It eats into the heart
of the man in the back-
woods of Kentucky as
it wears down the spirit
of the young waitress
who retires to her hall
bedroom only "to look
out upon a dirty alley
where garbage cans
stand in the muddy
yards of tumble-down
shacks."

But those who "feel
the world is about to
crumble about you,
and everything is blue-
blue-blue" are not the
only ones to whom the
pictures mean more
than they are capable
of expressing in words.
There are the patients
in the tubercular sani-
toriums, in the deaf
asylums and in the
hospitals for the hope-
lessly crippled to whom
a picture, shown once
a week, is all the plea-
sure and connection
with the outside world
they have. One pa-
tient from a tube'-cu-
lar sanitorium writes :
"Once a week the pa-
tients gather in the as-
sembly hall and are
treated to a moving
picture. A sufferer is
natura'ly downcast and
glum, but these weekly
pictures give him a
new lease on life and
before sleep comes to
give him peace, he
thinks: 'If the hero on the screen can make such a fight and
win out — why can't I?'"

Thousands of women are le^t alone for weeks while their
husbands are touring the country and to them the evenings are
long and lonesome. Theaters are prohibitive in price for the
average mother of a family, but the motion picture saves her
day and gives her the company and courage to wait through
the long months. To the young and lonelv worker who comes
to the larger cities friendless and, figuratively sneaking, home-
less, there is only the photoplay to fill these two great wants.

Dreams become realities and the happy face of the Prince of
Wales nods from the screen and gives the impression that he
is glad to know you.

Sometimes friends fail and you "feel yourself slipping down,
down, down — to you don't care where, and you go into a mov-
ing picture theater mostly because it is dark and the dark is in
tune with your spirits," then — presto! — the happy smile of

Charlie Chaplin is di-
rected straight at you
and good-by blues; be-
fore your eyes is a
friend who has not
failed you, one who has
entered your heart and
to whom you can al-
ways turn and be sure
that he'll be waiting
for you with the same
humorously pathetic an-
tics and the same old
smile, which, even
across the span of
years, knows no loca-
tion or longitude. Oh,
it is almost worth be-
ing downhearted and
lonesome to find "the
best friend you ever
had, except your
mother."

There are so many sorts of pic-
ture theaters —

The magnificent down-town pal-
ace with its gorgeous stage
effects, its symphony orchestra;

The less pretentious, more friend-
ly neighborhood house;

The small town "show" which
is open, perhaps, two or three
times a week.

Each type of picture theater
fills a distinct need. There is an
ideal way in which each one of
them may be conducted.

Run over in your mind the pic-
ture theaters you have known.

Some of them have been small,
almost shabby, perhaps — and
yet, and yet. What was it about
them that made them the choice
of every one who lived near?

Others have been fitted out with
every known success-making de-
vice that money could buy —
and yet they have been unsuc-
cessful.

Every one who enjoys motion
pictures has said, no doubt, at
some time or other, "I should
like to run a motion picture
theater."

What sort of a motion picture
theater would you like to man-
age, and what would you do
with one if you had it on your
hands?

PHOTOPLAY WILL PAY FOR YOUR IDEAS of the most
attractive, useful and effective way of running a picture theater:
$25 for the best letter, ,$15 for the second best letter; and $10 for
the three next best letters of not over 300 words telling how you
would play manager. All letters, addressed to Letter Contest Editor
Photoplay Macvzine, 25 West 4Sth Street, New York, must be in by
July I, 1020.

From an "Old Maid"
Who Loves Mankind

First Prize

I COULD never in the
allotted three hun-
dred words give full
justice to "What the
Motion Pictures Mean
to Me," but I can give
a few very concrete
facts.

I am an old maid, as
you might say, full of
experiences and posses-
sor of a flood of tender
memories, associated
with a college, sur-
rounded by the acme
of literature and ideals,
leader of a group of
adolescents — in full
bloom of life, friend
to the good and the
wicked, and a fa'thful
_ devotee of the motion
' pictures. And in every
branch of my life, the
motion pictures are my most advising and understanding he'per.
In the first place, they help me to forget my age (not so
easy a thing to do) by letting me live the yesterdays over
again; in my college association they intensify my capacity,
for human sympathy and understanding; in my world of litera-
ture, they reveal many hidden truths, and they strengthen my
ideals; in my leadership of the young they give me power, and
stimulate my love of youth and romance.

Besides this, motion pictures are a tonic for keeping afire
(Continued on page 100)

nUd b'f R. K. Ryland for Standard Ktd Manufacturxiig Cw.

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It is these qualities of Vode Kid which are responsible
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Vode Kid is found in all fashionable styles, from the
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Jik for shoes of J'ode Kid to be sure of
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in bottles or at fountains

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StndJ'orfrteboiiL/'Thf^tory of t_^ittc{/e~<-'iu.sh*'

Inlays
and

7>/o

aysTS

Real ne>vs and inter-
esting comment about
motion pictures and
motion picture people.

By CAL. YORK

'ILL ROGERS has an encQess supply of
two things — ropes and stories. He
was explaining the other day why he had
30 many ropes.

"You never can tell when vou may be un-
able to get any more rope," he said. "Of
course it wouldn't seem anybody would
prohibit rope, hut they might — some folks
just love to prohibit, you know. Don't
make much difference what it is, so long a?
.^omebody else wants it.

"Anyway, once I couldn't buy any rope.
I went into a store in a part of a town
where a lot of Bohemians and Poles and
Lithuanians and other folks like that lived.
They were noted for being a gloomy bunch
and about the only way any of 'em ever
seemed to die, was by suicide. Well I asked
the man for some rope and he looked at
me hard and said: ■

" 'You don't get one inch of rope in this
store without a doctor's prescription. See?"

"Since then I never mis^ a chance tc
buy a little rope."

'ANDA HAWLEY is to be starred.
There would seem to be no reason
why this up-and-doing young blonde has
not attained stellar prominence before this.
Realart, an arm of the Zukor octopus,
reached out and grabbed Wanda off the
DeMille tree, where she lyis been doing
faithful leading business foi- Wallace Rcid
ind Bryant Wajhburn, and whe^e she ccl'u-
toided J. Hartley Manners' y'Peg o' My
Heart" which, by the vvayVwe hope will
50on free itself oPiitigatiopx^nd be released.
Miss or Mrs.^^=l-rawley's first in-
dividual vehicle will be "Miss Hobbs," a
screen translation of Jerome K. Jerome's
play.

THE little daughJers-Aand almost-grown-
up nieces of ttfe girlli who used to wor-
5hip at the shaclbw-throhe of Francis X.
Bushman, may hkve a nfcw idol in Ralph
Bushman, husky Wi ai>4 heir of the ex-
Essanay king. RaTphr a Christie leading
man, isn't exactly handsome, but he seems
an athletic and personable enough boy.

THE Harold Lloyd company was on "lo-
cation" in a small Southern California
hamlet on the San Gabriel river. All work

was stopped for a few minutes to watch an
old fashioned colored baptismal service.
Producer Hal E. Roach, Harold Lloyd and
Harry "Snub" Pollard moved up close thit
they might see and hear all that was taking
place.

One by one the candidates waded waist
deep into the water for the solemn cere-
mony. Finally all had been baptized but
one lone mammy. She moved cautiously
down to the river's edge, touched her hands
in the cold stream and then started walking
away.

"What's matter. Martha?" shouted the
deacon, "Yo' hasn't got cold feet is yo'?"

"No, sah," she answered, "An' that ain't
all; ah ain't gonna have."

GERALDINE FARRAR has put an end
to her Goldwyn activities. According
lo her present plans, she and Lou TcUegen
will go abroafj' sometime this sum.mer. As
to her future film plans: a persistent rumor
has it that she is going' with the company
that Theda IBara made famous. Farrar
made one of the greater successes of a career
studded with V^ersQil&l triumphs when she
created the roleoT "Zaza" in the operatic
version of this drama in the Metropolitan
opera season of 'lo-co.

THE frisky heroine of "Parlor, Bedroom,
and Bath" and "Breakfast in Bed"—
Miss Florence Moore — soon will make her
flicker debut with Metro.

YIJP. you're right — Lillian Gish will be
"Anna Moore" in Griffith's production
of "Way Down East." The heroine of
Lottie Blair Parker's famous old melodrama
is the real original, we might say, of all
those persecuted girls Lillian has been play-
ing in her screen career. Richard Barthel-
mcss will have the leading juvenile lead op-
posite Miss Gish. Robert Harron, whom
many thought the logical hero of the rural
piece, is a candidate for individual stardom.

IF everybody on Broadway, New York,
doesn't see "The Virgin of Stamboul" it
won't be the fault of Universal's publicity
department. The astute gentleman com-
prising it — by name Mr. Harry Reichen-
bach — recently concocted one of the best

campaigns ever "pulled" in Manhattan. An
Arabian Shiek, seeking Sari, a virgin of
Stamboul, descended upon a surprised and
flattered metropolis, registering at one of
the better hotels with a retinue of servants
and all sorts of mysterious-looking luggage.
Sari, you see, was reported to be the missing
heiress to several millions of Arabian dollars,
and the fiancee of some Amir, or something,
of Persia. Almost all the newspapers fell
for it.

BRYANT WASHBURN is round telling
all his friends the latest cute remark of
his well -advertised heir, Bryant Washburn
IV., generally known as "Sonny."

"Sonny" was to speak a piece at an en-
tertainment. His mother toiled long and
hard in an effort to teach him his lines, but
in all his rehearsals he stumbled over them
boldly.

The night of the entertainment, however,
the five-year-old youngster's inborn histri-
onic talent came to the surface and he con-
ducted himself like a little hero.

When the Father Washburn returned from
his studio, his wife told him of the lad's
success. But Wa.^hburn wanted to hear the
story from his son's lips.

"How did you get along, son?" he asked.

"Oh." the little fellow answered. "The
act went over bis! They called me back!"

AN interesting phase of photoplay de-
velopment is the recent purchasing of
old plays first produced some years ago
on the screen, for reproduction by dif-
ferent companies.

Paramount bought "The Witching Hours"
and other Frohman plays from Frohman
Amusement Corporation, or Wm. Shcrrill.
Christie bought "A Texas Steer," "A Bunch
of Keys," "The Milk White Flag" and other
old Hoyt comedies from Selig. \ll of thesr
will be given new and much more elaborate
presentations.

Paramount will make over "Snobs," "The
Travelling Salesman" and "Brewster's Mil-
lions" for Roscoe Arbuckle, and has already
revived "The Sea Wolf." Universal will do
"Jewel" again. The new "Jewel" of Clara
Louise Burnham's book is Edith Robert*;
the first one was Ella Hall.

ARMAND

COMPLEXION POWDER

ln9kLnfLE PINK C WHflt BOXES

ARMAND Complexion Pow-
■ der speaks for itself. One
trial will prove to you how
wonderful it really is !

Buy a box of Armand at any
of the better shops. Armand
Bouquet is a fairly dense pow-
der, at 50c, and Armand Cold
Cream Powder, very dense
and clinging, is $1.

Photoplay Magazine — Advertising Section

Plays and Players

(Continued from page Si. }

Or send us 15c and your
dealer's name for samples of
Powder and Rouge. Address

ARMAND, Des Moines

Canadian Address
ARMAND. St. Thomas, Ont

"Gold Medal"

Folding Furniture

is known the world over
for its neat appearance,
comfort, convenience
and strength. It's the
ideal Folding Furniture.

"Gold Medal"— "The
Cot of Many Uses" —
for emergencies, porch,
camp and summer home,
there's nothing better.
Light, compact when
folded, quickly set up.

Sold by Furniture, Hardware,
Sporting Goods Dealers — and
Tent - Makers — everywhere.

Write for complete catalog.

Cold Medal Camp Furniture Mfg. Co.
1733 Packard Ave.. Racine. Wis.

A comfortabTe
porch or camp
chair. Weighs
only 14 Jo lbs.
and folds to
4"x2l"x2J".

For wasTiing and
aressin? the baby
—a conven.cnt
strong dress ne
tabte Has pock-
ets for powder,
brushes, napkins,
etc. Weighs only
S'4 lbs., folds to
3'2"x2"x4".

Somebody our in Oklahoma City wrote and asked for a photograph of Bull Mon-
tana, holder of the ^vorld s handsomest cauliflower ear — since Bat Nelson had nis
fixed up, so here s Bull. Bull was a truck driver when Douglas Fairbanks "found"
him. Now he's a very important member of a Universal cast. The marcelled
young lady is Claire Anderson.

CpL.b Medal

Furniture For Home and Camp

Ask your exhibitor when he is

going to show the Photoplay

Magazine Screen Supplement

— Glimpses of the Players

in Real Life.

REMEMBERING her "Cherry Melnotte"
of Rex Beach's ''The Spoilers," we're
j'lad to hear that Kathlyn '^\^illiams, the
emotional blonde, is to be a feature in the
B. B. Hampton productions of well-known
American novels. She will only play parts
which particularly appeal to her.

IT must be gratifying to an actor to be
cast for the star part in a picture called
"Determination." But Richard Travers has
a strong chin and a rugged disposition ; he
was in the Army for thirty-two months, so
we suppose he can stand it.

HE has his Captain working for him
now" is true of Joseph Henaberry.
Henaberry is directing Major Robert War-
wick at the Lasky studios in Hol'ywood.
While Henaberry was in the army, Warwick
was a Captain. And Joe is the sixth
director "Bob" has had since the war.

HOW old is— not Ann, but Mary? Tlus
eternal question of the movies has beeri
revived again, in the Federal Court this time,
when Mary Miles Minter will swear that
the America/! Film Company owes her ^4,125
in back p4y and cxp,enses. Ihe contract
with "Flying A" wasifriade by Mrs. Shelby,
mother of ^^ry^jrifd gives Miss Minter's
age as seventeCTTyears. The attorney for
the defendant was mean enough to say that
Miss Minter is more than twenty-six yean
old!

THE Presbyterian Church and the Metho-
dist are planning the publication of a
"white list" of pictures, which they wil
recommend to picture patrons. Church offi-
cials of both denominations say they have
ho wish to make a wild crusade against the
films; rather they hope to discover sufficient
wholesome plays to enable them to give a
real guide. (Continued on hage S6.)

Every advertisement la PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Adneutising Section

B«»0»»«fl««*««»M«»»0«««««»»»»»

I::

1 1 1 : 1 ; I [ !■ ! 1 1 m 1 1 1 1 1 1 Trrn^

Ho\^moustHo^eJtars
Seep their Hairjeautiful

■■■mill"'! I 'I I'

NORMA TALMADGE

"You may use my testimonial

to the value of Watkins Mulsi-

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iliU.U.I..I.l„(.U.,l,l.l,l,lllllll IIIMI

ALICE BRADY

"I consider Wat-
kins MCISIFIED
COCOANOT oa
SHAMPOO an
ideal shampoo.
It can be used
with such little
effort and keeps
my hair in won-
derful condition."

'.'.-'..'.! -',.'■■■■1 --.LI

I I iMiiHinii I I II I 11 I I I I n 1 I I in I I I I III I I n iiiiii ittttt

PROPER
hair

SHAMPOOING is what makes your
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fresh and luxuriant.

Your hair simply needs frequent and regular
washing to keep it beautiful, but it cannot stand
the harsh effect of ordinary soap. The free alkali,
in ordinary soaps, soon dries the scalp, makes the
hair brittle and ruins it. This is why the leading
motion picture stars, theatrical people, and dis-
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WATKINS

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fOCOANUTOiti!

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sfe.

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Two or three teaspoonfuls will cleanse the hair
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with water and rub it in. It makes an abundance
of rich, creamy lather, which rinses out easily,
removing every particle of dust, dirt, dandruff and
excess oil. The hair dries quickly and evenly, and
has the appearance of being much thicker and
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the hair fine and silky, bright, fresh-lol)king and
fluffy, wavy, and easy to manage.

You can get Watkins Mulsified Cocoanut Oil
Shampoo at any drug store. A 4-ounce bottle
should last for months.

Splendid for Children

THE R. L. WATKINS CO.
Cleveland, O.

I Ml 1 1 1 I r

fill II I I

MABEL
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Vn-r

PAULINE
FREDERICK
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^M M I m I I I I I rri tti i i m i i i i in

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If if hasn't t^e Signature, if isnfMULSIFlED
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ETHEL CLAYTON
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I I 1,1,1,11,11 I LI 11 I I II I

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When you write to advertisers please raenticn PHOTOPL.VY MAGAZINE.

Photoplay Magazine — Advertising Section

rHE SILVERTONE Phonograph was designed and built to meet the
demand for a good phonograph at a reasonable price. That it suc-
ceeded in fulfilling these requirements is proved by the fact that
over two hundred and fifty thousand satisfied owners are unanimous
n their praise of the SILVERTONE.

No effort or expense has been spared to make the SILVERTONE the
lest phonograph we could build. Experts in acoustics and mechanics
lave been kept constantly at work developing and perfecting new and
letter phonograph devices and mechanisms for use in the SILVERTONE.
Ikilled furniture designers have created cabinets worthy of SILVER-
rONE quality — artistic, harmonious and dignified. None but the finest
if woods and other materials enter into SILVERTONE Phonograph con-

struction, and they are fitted and finished with ejcquisite care and per-
I'ection. SILVERTONE quality is supreme.

And we have kept the price of SILVERTONE Phonographs within the
reach of all. Building phonographs in enormous quantities, as we have to
do to meet the requirements of our six million customers, has enabled
us to reduce the manufacturing cost per phonograph to the very minimum.
And selling them direct from factory to customer makes it possible for
us to offer SILVERTONE Phonographs at prices which are much lov^er
than those of any other instrument of the same high quality.

We believe that when you see the SILVERTONE and hear it play,
you will be convinced of the truth of our claims for it. That is why we
are making this liberal trial offer. We want you to try a SILVERTONE
in your home for two weeks witliont the payment of one cent, and with-
out obligating you in any way. Here is the offer:

No Money Down-Two Weeks' Trial

Select any SILVERTONE Plionograph shown
n this page, fill in the order blank at the bot-
om of this page, and mail it to Sears, Roebuck
nd Co., Chicago. 111. Send no money with it!
Ve ship SILVERTONE Phonographs on two
iieeks' trial. This trial will not cost you one
ent, nor obligate you in any way. All we ask
ou to do is to give the phonograph a thorough
rial. Examine its meclianical features, cabinet
vork and finish. Try it with any records you
Icsire and note its beauty of tone, how faithfully
nd accurately it restores every delicate shading
if tone quality, every minute variation of vol-
ime, every sound vibration. Give it every test
lecessary to prove tlie truth of our claims for
t. And then compare the price of the SILVER-

811111111 iiiniiiii iiiirMiiHi iiiiiiii
ears.

TONE with that of any other phonograph of the
same size, quality and musical excellence. If at
the end of this two weeks' trial you are not
fully satisfied with the phonograph, if you do
not believe that mechanically, musically and in
w_orkmanship, material and. finish it is the equal
of any other phonograph on the market selling
at from 25 per cent to SO per cent higher in price,
simply notify us and we will take away tlie pho-
nograph at our own expense, and will return any
transportation or cartage charges you have paid.

Small Monthly Payments

If, at the end of two weeks' trial, you are fully
satisfied with the SILVERTONE and desire to

keep it, send us the price of the phonograph yoa
have selected in equal monthly payments until
the total is paid. The amount of the monthly
payment is shown under the illustrations of the
various models. There is no interest or extras
of any kind to pay.

Fill out the order blank today, before this
paper gets out of your hands, and let us send
you one of these beautiful 1920 SILVERTONE
models for two weeks' trial in your home, with-
out having to pay a cent down on the phono-
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You are to be the sole judge of the quality and
value of the SILVERTONE.

Kveiy aaverUsemmt in PHOTOPLAY MAGAZINE Is guaranteed.

Photoplay Magazine — Advertising Section

«S

The Reproducer.

fet

Tone quality is dependeut upon tho
reproducer, tone arm and anipHfyinB
chamber. Kach must lip designt'd and
liarmuuized in its rehdiori to thf other
two in order to profiuco a swept, nlfas-
intc tone. Tlie SIbVERT(»NK repro-
ducer restores every yoiirid vibration.
Designed so tliat all M'rat<?hing and
niecliaiiical noises are reduced to tlie
minimum.

Amplifying Chamber.

Tlie suuiiUa canicd from the re-
producer lliiough the tone arui are
given volume and resonance In a
scientifically designed amplifying
chamher or horn. This chHnibi i is
built of carefully seasoned wood ojid.
lilce the sounding boards of a fine
violin, imparm to the reclaimed sound
vibrations sweetness and resonance.

Plays All Disc Records.

Tho SIIAKRTtJNE converUl.le tone
arm p(rinits ttio playing uf any rna)<o
of disc record. A universal joint in
the tone arm maltes it possible t» ad-
just t!ie reproducer at will so (liat it
will play eitluT vertical or lateral cut
records. It is almost as easy tf) adju.'-t
tho reproducer for differerit typct* of
records as it Is tu oinuigo iieedk*s.

Tone Control.

Tlie tone modulator with which each
SILV'KHTONE is equipped Kiv<it com-
plete cdiitrul over the volume of souuri.
You may set the modulator at aii> df^-
sired point, tliua giviriK a uniform
\olumc of sound, or tlie mfniulalur
m:!> he manipulated while a .selectiim
is beirifi played, thus enabling you to
impart your ovpn int^rpictation to the
mui<ic.

Powerful, Silent Motor.

Every part of the SILVKKTOiVB
mtUir is made and fitted with care
and [irecision, and gears icesh silently.
I'owerful springs fnmLsh an abun-
dance of power, and a perfectly de-
signed governor keeiis tlie turntable
speed absolutely uruform. Tlie motor
is equipped with a silent mndinu
device and cranlss with very little
effort.

Heppelwhite

I Period Design.

Mahogany, Fumed

or Golden Oak.

Model IX Price, $100.00

Dimensiung over all- . « _^

46% inches h i g.h. . _20 Jj; ^ gQ

inches wide and 22 inches
deep. Net weight, ready
to play. 69 pounds in
mahogany and 74 pounds A Month
in eitlier fumed or golden
oak. Metal parts are heavily nicliel
" plated and polished. An as-

sortment of needles
included.

Fumed Oak.
Model VIII Price, $80.00

Dimeusiuiis over all, 42%
inches liigli. 19% inches wide
and 22 in. deep. Net weight,
ready to plav. T6'l pounds.
All visilde metal parf^: are A Month
heavily niciiel plated and pol-
ished. An assortment of neetlles included.

Queen Anne
Period Design.

Mahogany.

Model VH Price, $57.00

Dimensions over all.
14% inches lugh, 19^4
inches wide and 23%
inches deep. Net weiglit,
ready to play. 39',4 lbs.
All rislMe metal parts
are heavily nickel plated.
Assortment of needles included.

A Month

Model VI

I>inieiiaioii3 over all. 14^i(
inches high. 18Vs inches wide
aiid 2;iVg inches deep. Net
weight, read.v ta play, 42^4
lbs. All visible metal jjarts
are heavily nicl^ol plated. As-
sortment of ueedlea tududed.

i2=

(q^

Period Design Cabinets.

SILVERTONE Cabinets
are the finest product of
the skilled cabinetmakers'
art. Made in the most popu-
lar period designs, every one
is a handsome piece of furni-
ture—dignified, graceful and
artistic in appearance. Only
the finest selected woods are
used in their construction and
they are finished and fitted
with that exquisite care and
perfection which mark the
work of the painstaking
artisan.

USE THIS ORDER BLANK— CUP ALONG DOTTED LINES.

■ Order Blank

SHIP BY Freight Q Express D

Date_

.19_

.Sears. Eoebuck and Co., Chicago,

You may ship me tlie SUA'EETONK PliOnograph which I have marlted
with an [X] for two weeks' trial.

If, after two uecUs" trial. I decide to keep and use the instrument. I will
send you the first payment for ttie phonograph, and pay the same amount
each month, tnilil paid in full; then the .SILVERTONT; becomes my property.

Should I deride, after tno weeks' trial, that the SILVF.KTOKE is not
satisfactoiy, I will notify you. and you are to uive ine instructions so that I
may send it back at your expense. You are also to return to me any trans-
poitation and cartage cliarges I have paid.

I have alwa.ys been faithful in paying my obligations and am making tills
statement for the purpose of inducing .vou to grant me these terms, and I
give you my pledge that you may feel safe in trusting me to pay as agreed.

Sign
Here

(.Sign your name here plainly and cirefidlv. If mider age. some meuibor
of your family wlio is of age and respoosiWe should sign this order with >"U )

K. F. D.

No.

Box

-No. _

Street
, and Ko.

PostoiT'ce.

.^tai:e__

.Shipping Point

I have been located in
this town since

State _

If less tlian 5 years.
■ give former address .

A[y business, occupation
profession is .

Please give name of iiead of liouschoid to prevent
mistakes and simplify tlie keeping of our records.

Name of head of household .

(Please give names of TWO references.)

REFERENCES:

SSI'S"

Name

Addresi

Businets or
Occup.itio'i

Model VI Golden Oak.

I'rice. $48.00 SS.OOaTMonth.

Model VII Mahogany.
Price. $57.00 $3.50alIuntU

Model VIII Fumed Oak.
Price. $80.00 $4.00a Month.

Model IX Mahogany.
Price, $100.00 $4.SOaM mlL

Model IX Golden Oak.
Price. $100.00 54. SO a Month.

Model IX Fumed Oak.
Price. $100.00 $4. SO a Mouth.

Model XI Mahogany.
Price. $145.00 J5.00 a IMotith.

Model XI Walnut.
Price. $145.00 SS.OOaMoDth.

n
a
n

Model XI Fumed Oak.
Price. $145.00 SS-OOa Month.

Model XV Mahogany.
Price. $175.00 SS.SOaMonth.

Model XV Walnut.
Price, $175.00 $S.50j ^t.mtli.

Model XVI Mahogany.
Price. $195.00 $6.00a.Al .oth.

Model XVI Walnut.
Price, $195.00 Je.OOaMontli.

When you write to adyertisers please mention PH'>T<iP[,aT MAGAZINB.

5 Photoplay Magazine — Advertising Section

Lift off Corns ' ^^^y' ^^"^ ^^^y^^'

(Continued from page 82)

with Fingers

Doesn't hurt a bit and "Freezone'*
costs only a few cents

You can lift off any hard corn, soft
!om. or com between the toes, and the
lard skin calluses from bottom of feet.

Apply a few drops of "Freezone" upon
;he com or callus. Instantly it stops
lurting, then shortly you lift that
)othersome corn or callus right off, root
ind all, without one bit of pain or sore-
less. Truly! No humbug!

Tiny bottle of "Freezone" costs
few cents at any dru£ store

ICARMEN

Cor

PoMfder

Fear no criticism— be sure of admi
ration— if you use Carmen. It stays on.

White, Pinkt Flesh, Creamand the Neiv
CARMEN-BRUNETTE
Shade,

50c Everywhere
Trial Of fer— Send 12c tocover
postage and packingfor purse
size box witli 3 weeks' sup-
plv— state shade preferred.

TAFFORD-miERCO. St. Louis,

ipiexion

Cultivate
iTour Beauty

76 a youthful {ippear-ance, clear com-
xion. Tnat,'netic pjp9. pretty pvebrows
I lashes, graceful iie^'k and cliin, Inxii-
nt hair, attractive haiulfl. comfortnblo

. Ilfmovi- wrinkles. linea, pimples. l>IaL*)<)iea<]s,
nirthen sageincr farial milBflea— all thrnut^b fol-
nK niir simple direcliorn. Thoiisands have clone
No ilruira- no bi(? expense and quick results . Send
lati'St catalocr and many Beauty Hints— all free.

GRACE MILDRED CULTURE COURSE
1. 17, 624 So. Michigan Ave., Chicago, Illinois

Is your grandmother a good sport? Bebe Daniels" came to the studio to watch
her enact some scenes in a picture opposite Wally Reid and when Grandma saw
Bebe dressed as Eve she never even batted an eyelash. Bebe says tbat s the kind

of grandmother to have.

A SLIGHT reversal of the usual pro-
cedure occurred recently when a local
church of Brownsville, a thriving town in
Oregon, selected a picture it wanted pro-
jected in a local picture-theater, and the
manager of the picture-theater, after viewing
the selected subject, branded it as "un-
wholesome, unworthy of a place on the
theater program, and neither clean nor en-
tertaining!"

THE three Barrymores appeared together
in a benefit performance given for the *
.S. Rankin Drew Post of the American
Lej?ion, in April. S. Rankin Drew was a
brilliant young director who met his death
in the air, in France; the son of Sidney and
the nephew of John. The Post is composed
of ex-service men who are affiliated with
the theater or the screen.

DESPITE the fact that help is scarce on
the western coast, the companies are
flocking there in droves. From all that we
have heard, the warm weather came east
just in time to prevent D. W. Griffith from
leaving New York forever.

MARION SWAYNE must have had a
good laugh all to herself at Mr. Golden
when she heard him call her a "kid." And
anotiier one when she read Mr. Wolfe's
column. Five years ago we remember we
had an interview with Miss Swayne when
she was playing in pictures made by the
Gaumont company. At that time she was
a grown-up lady, though we must admit
she didn't look grown-up, and she had a
husband Joseph Levering, who played with
her.

THOUGH he does not say so, there was
strategy in the move that Rev. J. E.
Price, of the L^^niversalist Church in Auburn.
N. Y., made a few Sunday nights ago. He
announced for the topic of his evening
.service, "The Storm.'' But he kept to him-
se'f the secret that "The Storm" was a mo-
tion picture. If he had let it be known
before hand that he intended showing pic-
tures in his church, very likely some of the
dear sisters would have made it so unpleas-
ant that he would have had to give up hL=
plans.

(Continued on page 88)

y advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

Photoplay Magazine — AuviinjisiNo Seciion

^Miai I ll.ivc (Xiilic.iitl

' ''''^v oil-, i„ ,.„.

"YOUR ARTICLES ARE UNFAIR

TO YOUR SEX!

^•>

Criticism and commendation, abuse and applause, poured m on Ruth Miller after
the publication of these stories. Did you read them? What do you think?

HEN I started these discus-
sions I knew I would have to
tread carefully in addressing
on ' such a delicate personal

women
subject.

I have received an immense amount
of both commendation and condemna-
tion.

But what has surprised me has been
the attitude taken by those women who
resented my remarks.

The burden of nearly ail such fetters
has been : Get after the men. They,
not women, are the real offenders in
this matter.

One New York vvoman, for instance,
writes: "Your articles are an insult
to your sex. What kind of women are
you addressing, pray? Not a single
woman whom I know intimately fails
to guard herself as you recommend,
against even the chance of offending in
this matter. But men — there are the
real offenders. Address your remarks
to them and you will do your sex a
very great favor indeed."

I replied: "I know, my dear, liow
you feel about men. But I can only
hope to reach them through the stand-
ards set for them by women. .\nd I
know, of course, that many, many
women do maintain this standard.
Where they do not it is.simply because
they are unconscious of the facts about
perspiration, and it is to such women I
am trying to bring home the truth
about themselves."

An old fault — common to most of us

Arnold Bennett says :

'Discord exists between the sexes.
It always has existed ai\d it always
will. . . . The sex discord may be the
most exasperating thing in existence,
butit isby generalagreemcnithemost
delightful and the most interesting'

the chemicals of the body do cause
noticeable odor, more apparent under
the arms than in any other place.

The underarms are under very sensi-
tive nervous control. Sudden excite-
ment, embarrassment even, serves as a
nervous stimulus sufficient to make per-
spiration there even more active. The
curve of the arm prevents the rapid
evaporation of odor or moisture — and
the result is that others become aware
of this subtle odor at times when we
least suspect it.

How well-groomed men and women
are meeting the situation

Well-groomed men and women every-
where are meeting this trying situation
with methods that are simple and
direct. They have learned that it
cannot be neglected any more than any
other essential of personal cleanliness.
They give it the regular attention that
they give to their hair, teeth, or hands.
They use Odorono, a toilet lotion spe-
cially prepared to correct both perspi-
ration moisture and odor.

Odorono was formulated by a physi-
cian who knew that perspiration,
because of its peculiar qualities, is
beyond the reach of ordinary methods
of cleanliness — excessive moisture of
the armpits is due to a local weakness.

Odorono is an antiseptic, perfectly
harmless. Its regular use gives that

absolute assurance of perfect dainti-
ness that women are demanding — that
consciousness of perfect grooming so
satisfying to men. It really corrects
the cause of both the moisture and
odor of perspiration.

Make it a regular habit !

Use Odorono regularly, just two or
three times a week. Kx. night before
retiring, put it on the underarms.
Allow it to dry, and then dust on a
little talcum. The next morning, bathe
the parts with clear water. The under-
arms will remain sveet and dry and
odorless in anj' weather, in any cir-
cumstances! Daily baths do not lessen
Its effect.

Women who find that their gowns
are spoiled by perspiration stain and
an odor which dry cleaning will not
remove, will find in Odorono complete
relief from this distressing and often
expensive aimoyance. If you are
troubled in anj- unusual way, or have
had any difficulty in finding relief, let
us help you solve your problem. Write
today for our free booklet. You'll find
some very interesting information in it
about all perspiration troubles!

Address Ruth Miller. The Odorono
Co., 512 Blair xAvenue, Cincinnati,
Ohio. At all toilet counters in the
United States and Canada, 35c, 60c
and $1.00. By mail, postpaid, if your
dealer hasn't it.

Men will be interested in reading
our booklet, ''The Assurance of Per-
fect Grooming. '

Address niail orders or request .is toUov.-s ; For Canada
to The Arthur Sales Co.. 61 Adelaide St., E.-.st. Toronto,
Ont. For France to The Affencie Americaine. ?8 Avenue
de I "Opera, Paris. For Switzerland to The A^cncie
Americaine, 17 Boulevard Helvettque, Geneve. For Eng-
land to The American Dni(» Supply Co., 6 Northumber-
land Ave., London, U". C. 1. For Mexico to H, E. Cer-
ber \- Cia.. 2a Gante. 1«. Mevico City. For U. S. A. to

The Odorono Company

512 Blair Avenue, Cincinnati, Ohio

When Tou ?.^ite v> acliertfers pleage mentun PHOTOPLAY ilAGAZlNB.

Photoplay Magazine — Advertising Section

Plays and Players

(Continued front page 86)

would have been
prevented if

Absorbine Jr.
had been applied
when this " little accident" hap-
pened and the wound would
have healed promptly.

tefMi'STH Isanti ■SEPTliGSiii n i m entkyW;

It cools and soothes, takes out the pain
and soreness and helps the injured
tissues to heal. And being a positive
germicide it makes any infection quite
impossible.

Absorbine Jr. is especially good for all the
little hurts the children are constantly getting,
being made from herbs and essential oils and
therefore perfectly safe.

$1.25 a bottle at your druggist or
postpaid. A Liberal Trial Bottle
sent for 10 cents in stamps.

W. F. YOUNG, Inc.

1 8 Temple Street Springfield, Mass.

•:U//idt Vo m&y Use

t6 have that beautiful, soft, silvery-white baby-
skin and those

"Pretty Little White Noses"

The\' use Pure and Evauisite

A wonderful pi eparation. 7^c and $1.2^
sizes at dealers or direct by mail.

ANSEHL PHARMACAL CO.
1 7 Preston Place. St. Louis. Mo.

S-'mi ^ <iu>u-':f<u- a M(ui,itu>;- IV'^^fdin;,- Day Beaufy
Box containing Jurr-cw It-'onders for Beauty,

Kill The liair Root

Mill In"! i« th'' oFiIy wny t.i iirfvcut tlio hair from m'<nv-
:af;ai n. I'lasy. painle.-^H, harm IrHs. No8i-arR. TJoolvlct free.
it<- today, enclo^inf^ ;i statu i)^i. w.' tca''li H.-aiiiy riiMnrc.
I. MAHLER, t96-X Mahrer Park, Providence, R. I.

BESSIE McCOY DAVIS is going with
Fox. And thereby hangs a tale. A
certain theatrical man managed to purchase
a goodly number of the stories of the late
Richard Harding Davis for a small sum.
It was known he could not make use of
them himself. He couldn't — but he could
sell them to William Fox — and he did. The
widow of the popular novelist complained
that the sale was made without the knowl-
edge or consent of herself or her small
daughter Hope Davis; and she might have
taken legal steps —
so the story goes —
if William Fox had
not approached her
with an offer for
her film services. A
test was made of
the Yama-Yama
dancer, and it was
declared most satis-
factory. So watch
out for her on the
screen, as the
heroine of her hus-
band's stories.

ETHEL BARRY-
MORE is tak-
ing another flier in
films. She has
agreed to make a
picture for a new
concern headed by
Joseph Byron Tot-
ten, an actor and
author who was
once affiliated with
Essanay. Miss

Barrymore's camera
work will not inter-
fere with her .per-
formances in "De-
classe," her most .
popular play i n
years.

INASMUCH as
1 many ■ ministers
have been doing it,
the announcement
that the Reverend
C. C. McLean will
show pictures as a
supplement to his
religious services is
not of extraordi-
nary interest — ex-
cept for the fact
that this pastor ofi
the Lincoln Road
M. E. Church in
Washington, D. C,
is the father of
Douglas McLean.
McLean, Sr., says
he will show Mack
Sennett films in future, as well as offering of
the O. Henry and Mrs. Drew type. As yet
he has not exhibited any of his son's cellu-
loid efforts. If he shows Sennetts, what's the
matter with "Mary's Ankle?''

THE films had another Eternal Triangle
— this time an executive rather than a
dramatic triangle. But it was broken when
P. A. Powers, treasurer of the Universal
Company, sold his holdings in the concern to
Carl Laemmle and R. H. Cochran, president
and vice-president respectively. Powers, it
is said, has other interests that claim his
attention. The position of Universal in the
world of film companies is a unique one;
and its rise to prominence is worthy of a
passing word. The Cochran brothers — for

R. H. has a brother who is associated with
him — once conducted an advertising agency
in Chicago. Among their accounts was a
department store in Oshkosh, Wisconsin.
Carl Laemmle was one of the officials of
the store. Having amassed a goodly sum,
he thought he would like to go into business
for himself. He consulted his friends, the
Cochrans; and together the three of them
entered a brand-new field — the moving pic-
ture. With Vitagraph and Biograph, Uni-
versal shares the distinction of having been
among the first in
the field. Laemmle,
with his Imp com-
pany, joined a com-
bine of independent
producers to fight
the Patents Com-
pany, which was
then striving to
monopolize the in-
dustry. The inde-
pendents made a
stiff fight, and won ;
the rest is. picture
history. Universal
today is not only a
producing organiza-
tion ; it distributes
as well. Its slogan
has been : "The
Play's the thing."
And it believes
firmly that adver-
tising— in large let-
ters— pays.

ISN'T there an ap-
palling waste of

One of the winners in PHOTOPLAYS
first, and last. Beauty and Brains contest
four years ago, was Claire Lois Butltr
Lee. Now ]ust Lois Lee, she provides
piquant support to some of our best
known te-stars, notably Bill Russell.

beauty and talent
right now in film
production? We
can call to mind
three young women
of promise: not
mere promise o f
beauty, they have
that in abundance;
but, one of them,
with more than the
usual amount of
acting intelligence ;
another, with a de-
cided fund of
humor with which
proper coaching
might develop her
into a fine come-
dienne ; a third,
with a power of
pathos rare indeed
in dramatic circles.
And yet: the
youngest of these
young women is
forced to do mean-
inHess "Pollyanna"
imitations in which she registers abounding
love for everything and at which the spec-
tator registers proportionate disgust. The
potential comedienne is sadly directed, her
sense of humor gone astray. While the
dramatic actre.'^s is so loaded down with
good-looking gowns, duly advertised, and
mediocre vehicles that she hasn't a chance.
What's the matter? Their producers have
only one object in view, apparently: to
make money. Why, then, do they not
realize that to make money they first must
make capital of the appealing points of the
three young stars?

ONRAD NAGLE evidently made a good
impression in "The Fighting Chance."
He has the opposite lead to Sylvia Breamer
(Continued on page go)

V^ 1

Every advertisement in FHOTOPLAT MAGAZINE is guaranteed .

Photoplay Magazine — Advertising Secition

ilVe Took in $5970o
' In One Month

That's the statement of a drug store in Cleveland. We quote from their letter to us.

"We were very much surprised at the amount of business our Butter-Kist

Machine did from the very outset And business has steadily increased.

In one month we did a business of $597.00." (Written to us by drug store located
in Cleveland, Ohio. Name fi;ladly given on request.)

I / -s

■moQiioMfiM^rf'r^miM^isitt^^

The Butter-Kist Pop Corn and Peanut Machine brings new profits
and new trade to stores and theatres

We keep records on what storekeepers
and theatre owners are making with the
Butter-Kist Machine. And we have the
actual figures to prove that the return in
net profits is from $600 to $3,120 a year.
This means an extra $600 to $3,120 in clear
cash profits! And all from the use of a
space 26 in. by 32 in., that has been going
to waste.

Pays Four Ways

1 — Motion makes people stop and look.
2 — Coaxing fragrance makes them buy.
3 — Toasty flavor brings trade for blocks.
4 — Stimulates all store sales or theatre
attendance.

But that is not all you can count on
making with the Butter-Kist Machine.
It draws trade. It multiplies all j'our
other sales. It vi^ill amaze you to see the
full possibilities. Let us tell you all that
this wonderful machine means to you.
We'll send you proof of profits, photos of
stores with the machine, etc. — all free and
postpaid.

IPOFCOllN AND
FEAMUT MACHINE

You know how fond every one is of pop corn and
peanuts. The Butter-Kist Machine makes these
goodies doubly inviting. You only have to aver-
age 90 nickel bags of Butter-Kist a day to i

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LetUsSendYouLetters

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MAIL THE COUPON

49.015 Sales

"Made 49,015 sales of But-
ter-Ki.st Pop Corn the first
year," writes W. O. Hopkins,
a storekeeper in Evansville,
Ind., "also my niajfazine sales
increased 97 per cent through
now patrons brought in."
Over $1200 Profits in One Year
"Profits in 12 months bousrht
ni«- a $1201) motor car and also
paid for machine." writes
owner in Electra, Texas.
(Population 640.)

Holcomb & Hoke Mfg. Co.

568 Van Buren Street
INDIANAPOLIS, INDIANA

Full particulars sent free to
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/ Without obligation, send me

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Mail This Coupon for Free Book SP^

^^e sell the Butter-Kist Pop Corn and Peanut Machine on easy payments. A small amount down
puts the machine in your store. You can pay the balance a little at a time out of your profits, 'Write us
today for all information and prices. No obligation. Mail the coupon — NOW!

HOLCOMB & HOKE MFG. COMPANY, 568 Van Buren St., Indianapolis, Ind. ,{

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Bui^me-i-^

Addre:^^'

When you nrite to advertisers please raention PHdTOPLAT MAG.4/INE.

Photoplay Maoazine — Advertising Section

B1920

A Corn?

Why, a touch will end it!

A corn today is needless, and millions of people
know it.

Years ago nearly every woman had them. Now
women who know Blue-jay never suffer corns.

Ask your own friends.

Blue-jay comes in liquid form or plaster. One applies
it in a jiffy — by a touch.

The pain stops. In a little time the whole corn
loosens and comes out.

The proof is everywhere. Tens of millions of corns
have been ended in this simple, easy way.

This is the scientific method — the modern way of
dealing with a corn. It was created by this world-famed
laboratory, which every physician respects.

One test will solve all your corn problems. Make it
tonight. Buy Blue-jay from your druggist.

>^^§fA Biue=jay

'^y^^\^ Plaster or Liquid
The Scientific Corn Ender

BAUER & BLACK Chicago New York Toronto

Makers oi Stefile Surgical Dressings and Allied Products

Perfect hearing is now being re-
stored in every condition of deaf,
ness or defective hearing from
causes such as Catarrhal Deaf-
ness, Relaxed or Sunken Drums,
Thickened Drums, Roaring and
Hissing Sounds, Perforated,
Wholly or Partially Destroyed
. Drums.Discharge from Ears, etc,

Wilson Common-Sense Ear Drums

WILSON EAR DRUM CO., IncorporRted
827 Inter-Southern Bldg. LOUISVILLE. KK

DON'T BUY

Without This Book

It's fillc'i with solid facts about the
values of high grade Uiamonds, Watches and Jewelry
that will double the purchasing power of your purse

Write for the Royal Catalog

A wholesale jewelry house in a nutshell ; ,'
iiciods at prices minus mi'Idlemen's pro- ^
fits. Ge! a copy NOW; it is FREE; learn how to
open a charge acron f>! w^A pay monlhly or weekly,
it you like, liberty Bonds atcepled. Ask for edition 142

Plays and Players

(Continued jroin page 88)

WHAT are the hairs of Napoleon com-
pared to the locks of Pearl White?
A few weeks ago, according to "The Comoe-
dia," a small lock of the Emperor's hair
brought at an auction in London the miserly
price of one hundred dollars while a blonde
curl of Pearl White, which it was claimed
she had sold for a benefit, brought eight
hundred dollars. The other locks brought
the standard after-war prices and one sees
that the H. C. L. has entered into the field
of souvenir collecting. A lovely ringlet of
the late Gaby Deslys brought two hundred
dollars but one of Adelina Patti went at two
hundred and fifty.

The Astor family seem to be the largest
collectors of these strange souvenirs and
it is said their collection catalogued and
under glass, represents most all of the fa-
mous personages of the day and is valued
at half a million dollars.

MARSHALL NEILAN will take his com-
pany and cross the ocean in July to
make at least two productions in England
and on the continent. Margery Daw is the
only player so far named to go. While he
is abroad, Mr. Neilan will maintain a com-
pany in his Hollywood studio.

MADAME PETROVA'S vaudeville con-
tract is about at an end and Madame
and her very svelte figure are to be seen
again in pictures. It is more than likely
that she will make her own pictures.

AFTER being out of producing touch
with the films for some time, William
A. Brady is returning to the fold. His
company plans to produce Mr. Brady's stage
successes. Travers Vale will be director
general.

A COMEDY without any subtitles has.
been completed by Ward Lascelle in
T/Os Angeles. It is called "Uneasy Feet."
There has been a great deal of discussion
recently about the importance of subtitles
anyway.

WHAT do you think about Wallace
Reid's return to the stage? He re-
ceived $1,000 weekly for appearing as the
chauffeur in "The Rotters" for a three weeks'
run in a west-coast theater. It's been a
long time since Wally has heard applause.

RENNOLD WOLFE, theatrical columnist
on the New York Morning Telegraph,
writes this:

"John Golden, the theatrical producer, in
company with Wallace Munro, who im-'.
agines things for him, dropped in one eve-'
ning at the Broadway Theatre, where The
Deemster was being shown on the screen.
Golden, admiring the v/ork of the young
girl in the picture, remarked to Munro,
Where do these picture people find these
wonderful kids? That girl would be great
as the ingenue in 'Howdy, Folks.' "

"Howdy Folks" has since been put on
in Chicago.

"A voice came out of the dark nearby
muttering : 'I'd like to have a chance at
that. I'm getting a little tired of being shot,
and wouldn't mind letting the public know
I am not a mute.'

" 'Who are you,' stammered Golden.

" 'Hawkshaw, the dctec — ,' the voice stam-
mered. 'I mean I'm Marion Swayne the
kid you seem to like.'

"Golden a moment later had the girl out
in the lobby, and there he jotted down
with a pencil a memorandum of a contract
of two years with the youngster."

Of course, Marion is in the leading role.

Every advertisement in PHOTOPLAY MAGAZINE; is ^aranteed.

Photoplay Magazine

The World Shortage of
Theaters

By O. R. Geyer

AnNKivrisiNG Section

UE to two causes — the cessation of
all theater building operations for
six years in the leading countries of
the world and the enormous increase
in the number of fans — the world motion pic-
ture industry today finds itself confronted
with a shortage of high-grade motion picture
theaters numbering from 10,000 to 15,000.

This is the second year of peace, but as
yet little or no progress has been made to-
wards a reduction of the shortage of mo-
tion picture theaters. The nations more or
less directly affected by the war have had to
turn all of their building resources to the
construction of such necessary buildings as
homes for workers and factories and office
buildings for the industries.

Great Britain, according to conservative
estimates, has urgent need of at least 1,000
motion picture palaces of the type now more
or less common in the large cities of the
United States. France needs an equal num-
ber, as many of its cities of from 10,000 to
50,000 are practically movieless.

Germany and Central Europe, also, are
movie hungry. In Berlin, more than 600
new theaters have been improvised from
store rooms and other buildings, and in
Frankfort there is a movie theater for prac-
tically every street. Central Europe, includ-
ing Germany, Poland, Hungary, Austria,
Czecho-Slovakia and the Balkan nations,
could make good use of several thousand
iiew theaters.

Spain, Italy, Switzerland and other small
European nations have either been too busy
fighting or trying to keep neutral to bui'd
high-class motion picture theaters, and today
find themselves from six to ten years be-
hind the times. In the days before the war
Russia was just beginning to turn to the
motion picture for surcease from its sor-
rows and troubles. It is estimated that
when peace and order are restored that
many hundreds of new theaters, seating from
1,000 to 5,000 will be required there to care
for the millions who have become interested
in motion pictures.

China, with its 400,000,000 population, has
about sixty theaters, located principally in
Shanghai and Hong Kong. When interior
transportation is improved, hundreds of new
theaters will be required to stem the tide
of new fans. Already Japanese, American
and European capitalists are casting hun-
gry eyes upon the millions to be made from
entertaining the Chinese with screen plays.

South America did little or no theater
building during the war, and today Argen-
tina, Brazil, Chile and the other republics
could make use of several hundred fine new
theaters.

India, with its huge population, Asia
Minor, as yet undeveloped, but which will
be exploited on a large scale during the
coming year, Africa, Australia, and the other
nations of the world are turning their atten-
tion to the building of houses for the proper
presentation of the best motion pictures of
the day.

Despite the resources now available for
the construction of new theaters, it will be
a matter of many years before the standing
room only signs are abolished from the
larger cities of the world.

The high cost of water

This is one reason why Quaker Oats will often cut break-
fast cost ninety per cent.

Quaker Oats is only 7 per cent
water. It yields 1810 calories of food
per pound. Many costly foods are
largely water. Note this table.

Percentage of water

In Quaker Oat3 . . 7°o

In round steak

60%

In veal cutlets

68%

In fish . .

60°o

In hen's eggs .

65%

In oysters

88%

In tomatoes

94%

In potatoes

62%

The cost of your
breakfasts

Here is what a breakfast serving
costs in some necessary foods at this
writing:

Cost per serving

Dish of Quaker Oats
Serving of meat
Serving of fish
Lamb chop .
Two eggs

12c

10c

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Photoplay Magazine — Advertising Section

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The Stage and the Screen

Albert Parker knows
some things about both.

By BETTY SHANNON

WOULD you be too upset if you
learned that David Wark Griffith
did not make the first "close-up"
after all?

It appears that the "close-up"' and the
'fade-in" and the "fade-out" and the "cut-
back" and those two flighty sisters "iris in"
and "iris out" have not been, and are not
now being, true to the motion pictures by
any means, .^s a matter of fact, most of
them — under other names, or v\'ithout
names at all — were jazzing about with the
stage before they ever met the screen. And
all the while we've been saying, "O yes in-
deed, yes indeed, Griffith invented the
'close-up' and introduced it in 'The Adven-
tures of Dolly" in 1008," we've been wrong.

It may be that the first "close-up" known
to history came into being on the walls of
some vanished Egyptian city. Perhaps some
Cleobara Patra, wanting to give the popu-
lace a treat, permitted herself to be gossiped
about in hieroglyphics, and posed while the
press agent chiseled out the "close-up" in a
good, big likeness.

Albert Parker cannot remember that far
back, but he can tell you about the "great
close-up of 180Q," which appeared nine
years ahead of the adventurous Dolly. Only
it wasn't called a "close-up." That name
had not been invented then.

"It was in 'Sherlock Holmes' with Wil-
liam Gillette," says Mr. Parker, peermg

back into his memory files. Mr. Parker was •
an actor before he became a motion picture
director, and he has always noticed things
like that.

"At the beginning of each act, the curtain
went up in the darkness on an unlighted
stage which gradually brightened. At the
end of each act, the stage lights dimmed
again and the curtain rang down in the
dark. The house remained dark for several
seconds before the lights were turned on
again. What would you call these lighting
effects but 'fade-ins' and 'fade-outs'?

"Then— as the stage lights went out on
the last act, the spot light was left on at its
full intensity. It was directed at the heads
of William Gillette and his leading woman,
framing their faces, which were close to-
gether, in a circle of light, while their bodies
were blotted out in the shadow that gradu-
ally enveloped the stage. Now I ask you,
what was that but a 'close-up'?

"Though the faces of these two people
were not actually enlarged or brought up
closer to the audience, as they would have
been in a screen 'close-up,' nevertheless, by
fading out the background full of objects
to distract the eye, and focusing the light
and attention on their faces, the stage di-
rector gained the same intensifying effect
that the motion picture director seeks in
picture 'close-ups.'

"Playgoers who saw Richard Bennett in

Every .aiirertisement in PHOTOPLAY, M.\.0.\ZINE i5 giuiriinteed.

The Stage and the Screen

(Continued)

Photoplay Magazine — Auvekiising Skction

'For the Defense' during the past season,"
says Mr. Parker, "will recall many 'mo-
tion picture effects' adapted to the stage
in this melodrama by Elmer L. Rice, the
same young man who, under the name of
Elmer L. Reizcnstein, wrote 'On Trial' sev-
eral years ago.

"For instance, the sets were all shallow,
or at least gave the appearance of shallow-
ness, and were set in a plain strip of dark
canvas frame, which looked like the border
to a motion picture theater screen. A flat-
ness of impression was given by the light-
ing, which, in the case of every set but one,
came from the back. Too, as in the case
of 'Sherlock Holmes,' the curtain went up
and down at the opening and closing of
each act in darkness, in the 'fade-in' and
'fade-out' effect that i.~ now quite common
to the stage.

"The chief bit of dramatic construction
that linked the technique of this play with
the technique of the popular motion picture
drama was a 'cut-back' in the last act. In
the judge's chambers, the woman who had
committed the mysterious murder of the
piece commenced to tell her story of the
murder in order to save the woman un-
justly accused of it. As she began, the
stage lights snapped out, the scenery was
hurriedly shifted, and the audience was
transplanted back to the room where the
murder took place, and her story was given
in action. When the mystery was thus
cleared up, there was again a moment of
darkness while the stage hands brought
back the judge's court room set, and the
play ended there.

" 'On Trial' was a much talked of play
for the reason that Mr. Reizenstein 'wrote
it backwards' as critics said. In other
words, he began with the court room scene
which was really the climax, and switched
back to the action which had brought this
trial about.

"Of course this particular trick of dra-
matic novelty is not new. It was a feature
of Israel Zangwill's play, 'The Moment of
Death,' produced in New York in i8gg.
'Romance,' Doris Keene's stage success,
starts out with a clergyman telling the
story of the romance of a beautiful singer
and a young clergyman to his grandson —
and his tale is what makes the chief action
of the play."

"Irene," the musical comedy in which
Edith Day has appeared all season, is very
unique and entertaining because of its "iris"
curtain. This curtain rolls away from the
center in the form of an ever enlarging
diamond — disclosing the fire escape of the
Irish Edith's Ninth Avenue tenement home,
and closes together again. It is decidedly
a steal from the motion pictures.

Mr. Parker himself borrowed and adapted
from the stage in "Tlie Eyes of Youth,"
Clara Kimball Young's recent successful
photodrama, which he directed. He used
"curtains" throughout the picture.

The "curtains" were momentary darken-
ings of the screen after all intensely dramatic
or poignant moments. To many, these
"curtains" might seem just ordinary "fade-
outs." But what made them ''curtains"
was the fact that they gave an end to im-
pressions, they closed the action, for a few
seconds. They were Hke the silences that
follow tense moments on the spoken stage
— or any like situations in real life. They
emphasized and heightened effects. They
gave the spectators a chance to dwell on
an important scene or sub-title for a long
enough time for it to sink in before they
must turn their attention to something new.

One of these ''curtains" was especially
dramatic. It was after the court scene in
\\-\.\ch the heroine was being tried on a

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When you write to adTertisera please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advebtisixg Section

The Stage and the Screen

( Concluded)

framed up charge of her husband. She said,
"If this be justice, then God pity ali
women !" Dramatic silence would follow
these words in the court, or in a courtroom
scene on the stage. The careless or unknow-
ing motion picture director would not have
stopped for the "curtain."' He would have
gone right on without giving the mmd of
the spectator the equivalent of silence, a
moment of blankness from fresh impression.
But we have said that Albert Parker has a
mind for details.

"The stage and screen are becoming more
and more inter-dependent and supplcmen
tary," says Mr. Parker. "Though, of course,
there are still prejudiced motion picture di-
rectors who rail against stage actors, and
who say that they would rather have play-
ers with no experience and train them in
picture technique than to take people trained
for the stage.

"There are stage producers who say the
pictures are going to be the ruination of art
and the stage and everything — but that isn't
true either, I believe. You only have to
look at the prosperity of the theater dur-
ing the past season to mistrust what these
people say. If they give the public what
the public wants, and look to their art, in-
stead of wasting their time decrying pic-
tures, they will get along all right."

Mr. Parker believes the pictures are suf-
fering from a super-abundance of nosey -
ness on the part of the public.

"Would bankers, would manufacturers,
would men in any other line of business
under the sun stand for the poking into it,
and the criticism of it from people who
don't know anything about it, that the mo-
tion picture industry does?" he asks. "It
has been a mistake to let visitors into the
studios wholesale as has been done.

"Oh, isn't the waste in a motion picture
studio terrible?' yowls some choir leader
from Peoria, Texas. "Why, when I was in
California I went to see them make pictures
at the Toogood studio, and they had to sit
around two hours, make up on and all,
while somebody went and got a pistol. 1
think it's a sin. The government ought to
do something about it."

"You do not hear people howling about
the waste on the stage. There is just as
much time lost. The difference is this. A
play rehearses for weeks and weeks. Dur-
ing this ^pell of rehearsing a play can be
rewritten five times, recast again and again,
and fitted out with any number of differ-
ent sets of scenery. Each rehearsal is a
're-take.' The screening of a picture is a
constant dress rehearsal. And when this
dress-rehearsal has been recorded in cellu-
loid it is usually too expensive to take it
over, even if. on looking at the film after
development, the director finds that a re-
take would greatly improve the finished
production."

There is one other thing that ought to
be said about Mr. Parker before we close.
He does not believe that a director has any
right to be temperamental.

"It's a director's business to harmonize,
not upset, and if he gets temperamental
and snappy and peevish how can he expect
to get good work out of people?" he says.
"I remember hovv. when I was a young ac-
tor, I used to get terrified when people
shouted at me, and I have alw-ays tried to
spare people I have since worked with the
embarrassment I suffered at the hands of
thoughtless people."

Mr. Parker started his directing days un-
der Allen Dwan at Triangle. Among others
he has directed Douglas Fairbanks and
Clara Kimball Young.

Every advertisement in PHOTOPLAY MAG.\ZIVE !3 guaranteed.

Photoplay Magazine — AoMiRiisiNCi Skction

The Shadow Stage

(Co7itinued from page 68)

Here is excellent picture material. The
values, sentimental and dramatic, are so
simple that it is difficult to understand how
they could have been missed, or so shabbily
treated when recognized.

Mr. Ince's use of the leads is convention-
ally extravagant. And he had only to be
simple and human and reasonable. It's a
great pity so fine a chance was thrown away
by Metro. Miss Emma Dunn, by the fine
art that is hers, plays beautifully such epi-
sodes as are properly built up for her.

HIS HOUSE IN ORDER—
Paramount' Artcraft

THERE are indications in '"His House in
Order" that Elsie Ferguson was already
tired of the studio and the screen when the
picture was made. She is quite as beautiful
as usual, and as effectively dramatic when
drama is called for, but she is lifeless and
heavy in many of the episodes — notably
those of the fancy dress party in Paris. She
could have attended her father's funeral
with quite as much joy as she puts into this
adventure. Any young woman with the
spirit to go to the party, in defiance of her
husband's orders, would have extracted a
little fun out of it. Like so many of the
later Pinero plays, "His House in Order,"
even as an acted drama, developed a nega-
tive rather than a positive appeal. In the
screen version it is saved by the distinction
with which Mr. Ford has cast and directed
it. The players are ladies and gentlemen
of quality, the settings are in splendid taste
and there is a human note sounding through
the story. Miss Ferguson, as said, seems
tired and lackadaisical. Her scenes with tne
child, however, are well played and he is,
as always, extremelj- decorative.

DUDS— Goldwyn

ANOTHER incidental picture, saved by
the star, is Tom Moore's "Duds,"
made by Goldwyn from an S. E. P. story
by Henry Rowland. An incidental picture,
in the sense that it will inspire neither the
rousing cheer nor the sibilant hiss, but hold
its audience reasonably interested during the
hour of its showing. Thomas is a detective
in this one; a capable soldier back from
the wars with nothing on his mind but his
snappy little officer's cap and the disquieting
thought that soon, he will have to go to
work. Strolling do^^ the street one day
what should Capt. Toha run smack into but
a raid on a gem smuggle^^den. And then
into a pretty girl trying to^escape from the
den. Into a taxi, immediately thereafter,
and away on the trail of Romance and
Adventure. An engagingly self-asserLive
hero is Tom Moore, and Naomi Childers
the alluring type of heroine who justifies a
hero's sticking on the job until she is his'n.

THE VILLAGE SLEUTH—
Paramount' Artcraft

TO an amateur detective, all things are
criminal. In "The Village Sleuth,"
Charles Ray continues his series of the ad-
ventures of a country boy. This time he is a
bucolic Sherlock Holmes and the world just
seethes with clues and crimes. He works
as "hired man" in a sanatorium and uses
all his best disguises in trying to solve a
murder mystery, which is neither murder
nor mystery, but only a practical joke.
Like all the Charles Ray pictures, it is the
best kind of .amusement, although it hasn't
the appealing pathos or the dramatic quality
.if some of his films.

(Contimied on page qq)

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Whether you bake at home or buy
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New-day methods

Culinary experts have spent years
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The beans are grown on certain
rare soils. Each lot is analyzed before
we start to cook.

The boiling water is freed from
minerals, so the skins will not be tough.

The baking is done in sealed con-
tainers, so the liavor can't escape.

We bake by live steam under pres-
sure. Thus we bake the beans for
hours at high heat without bursting
or crisping.

They are baked with a sauce — the
most zestful sauce you ever tasted on
baked beans.

The result is an ideal dish. They
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Tomato Soup

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Van Camp's
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Van Camp's

Evaporated Milk

From high-bred cows in
hve rich dairying districts.

When you write t't a tr vti^prj please ni-tni'Hi PHOTOPLAY MACi/INJ;;.

QUESTIONS

AND

ANSWERS

V^OU do not have to be a subscriber to Photoplay
■*■ Magazine to get questions answered in this Depart-
ment. It is only required that you avoid questions
that would call for unduly long answers, such as
synopses of plays, or casts of more than one play. Do
not ask questions touching religion, scenario writing or
studio employment. Studio addresses will not be
given in this Department, because a complete list of
them is printed elsewhere in the magazine each month.
Write on only one side of the paper. Sign your full
name and address; only initials will be published it
requested. If you desire a personal reply, enclose self-
addressed stamped envelope. Write to Questions and
Answers. Photoolay Magazine, 2'> W. isth St.,
New York Citv.

Pearl Je.\n, McAlester, Ok]..\ho.m.\ — A
Jittle widow is indeed a daunerous thing.
So you expect to be a genius some da>'.
So did I. Ben Wilson was married, the last
I heard. The WUsons have several chil-
dren, too. I don't know how "The Trail
of the Octopus" ends; I don't even know
how it begins.

F. B., Buffalo. — Your rainbow letter re-
ceived. Please wire me when to expect
more. I have ordered a pair of smoked
glasses. It was really too much trouble
for you to hunt up all those variously-
colored stationaries; I don't want to piik
you to so much trouble again. I can't help
it; it's true: Dorothy Gish is not married
to Dick Barthelmess and I don't know what
you or I can do about it. Neither of these
youngsters is married at all. That's flat!

Thirteen, S.'Vndy Creek. — My three
favorite correspondents? Let's see: The
Mystic Rose, and Donalda, and — what did
you say your name was? I may add, if I
care to be truthful, that my favorite corre-
spondent is always the last one. Or the
considerate one who typewrites his letter,
asks a sensible question sans matrimonial con-
jectures, and doesn't call me Old Lady or
Old Man. I shouldn't be surprised if Mary
Pickford really likes little girls; I would
•advise you to hurry with your letter-
addressed to her in Hollywood — because it
is said Mrs. Fairbanks is going abroad soon.

C. S. F., BucKNER, La. — Suppose they will
be abolishing spirit-lamps, next. "That
wonderful" Billie Burke may be reached at
the 56th Street, Manhattan, studios of the
Famous Playcrs-Lasky Company. Still
plaving in pictures: still married to Florence
Follies' Ziegfeld.

B. E. B, Omaha. — In calling me dov.n
for an alleged mistake, you say, "If it
weren't for me, you'd be the biggest liar in
the world." I wonder if you know how
funny that soujids, — ^ad it over. The
5mall son of Pfancis X. an^^everly Bayne
Bushman is mot the one wno"^ appearing
in Christie domedies. That'.sj Ralph Bush-
man, son of\F. X, by his fifst wife. He's
nineteen. Eugene O'Brien hasn't been mar-
ried since the la^lime__yi»u wrote. Sorry
to have to disappoint you.

M. M., Ca-stlewood, S. D. — Mary Pick-
ford and Owen Moore were divorced in
March, 1920. They were married when
Mary was only seventeen and both were
with the old Imp motion picture company.
Moore is with Selznick on the west coast.
His latest is "Stop That Man," by George
Hobart. The other Moore — Tom — was di-

Poor Gish!

By S. KING RUSSELL

Will they stop hounding Gish?
(You know which one I mean,)
La pauvre belle Gish.
Every time that I see
Her perform on the screen
I shudder, and wish
They would treat her kindly;
Will they hark to my plea
And stop hounding Gish?

She's such a weak child —

Such a pitiful prey !

But as soon as she's smiled,

The men all run riot

To chase and to seize her —

She drives villains wild.

They hunger to squeeze her

(It's done on the quiet)

And then steal away.

Now I really wish

They would do this for me,

(Or else it's her fate

For being kow-tish)

It's D. W.'s fault

(He directs her, you see,)

If they don' call a halt

Before it's too late^

And stop hounding Gish.

vorced from Alice Joyce, who is now mar-
ried to James B. Regan, son of the pro-
prietor of one of Manhattan's largest hotels,
the Knickerbocker. She has a daughter,
.\lice Mary Moore. Connie Talmadge isn't
engaged to Harrison Ford. She isn't en-
gaged to anybody.

H. R. F., New Rochelle. — Marcus Loew
pronounces himself and his theaters "Low,"

not "Lowee." What do I know about him?
Well, he is a well-known exhibitor in New
York, his son married Adolph Zukor's
daughter, and he is interested in Metro Pic-
tures, having bought a very large share in
that concern. That's all.

Nellie, Brooklyn. — You women are
wise. I know, you are only flattering me,
but I can't help having the pleasant glow
that comes from fulsome praise. Buster
Keaton is playing in the Metro version of
"The New Henrietta." Now that Arbuckle
is going in for features, wonder what'll be-
come of Buster? He'll probably become
highbrow, too. Ruby Lafayette was with
Universal. So you want pictures of some
of the older players, in other words, char-
acter actors, in our art section. I'll speak
to the editor about it right away.

Bernardine, Wilmington. — You're ab-
surdly litgfai. — ^fminds me of the young
man w}t67 when asked by the girl's father if
he conld keep he^wi clothes, replied that he
wasn'^worrying ; iJb could keep her in gloves
— he'd Oij^' aslj^ for her hand. Thomas
J. Carrigait~tn "Checkers." Charles Mere-
dith was recently married. He's with
Blanche Sweet in "Simple Souls."

Edward E. Jenkins, Philadelphia. — f
have handed your poems to the Gish girls
— that is, to Lillian, who will see that
Dorothy reads the verses you dedicated to
her. You will probably hear from them
So vou adore Theda Bara !

Mrs. G. G., Newport News, Va. — Some
leave tov/n for a rest; some leave to avoid
it. I do not-Jinpw the details of the Nicky
Arnstein ffSse — biit Mrs. Nicky, or Fannie
Brice, haa neverjbeen seen on the screen,
except — if my mefmory serves me — in a brief
flash in thewcajjaret scene of a Norma Tal-
madge picture; Madlaine Traverse is with
Fox, in that company's western studio. She
does drama — very heavy drama; one of her
best was "The Hell Ship." I don't know

J. H. P., Rocky Mount, N. C. — You are
absolutely right. Valeska Suratt is now
touring the varieties in "Scarlet," a playlet
Except for one Lasky picture, "The Immi-
grant," she always appeared for Fox.

^ T

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\^%nTrminiiiiiiniMllHllllll]iinniiiiiiiiiiiiiiiiiiiiiiiiniiiiiii;iiiiiiiiiiiiiiilllllllllllllllli!iiiiiiiiiiiiiHiiiiiiiiH^

THE HARVEST MOON—

Gibralter'Hodkinson

JUST why this very nicely photographed
pliotodrama featuring Doris Kenyon is
called "The Harvest Moon" is difficult to
determine from the picture — unless it is
that Miss Kenyon's silhouette in the arms
01 her young playwright-lover against a very
big and round moon is very satisfying to
look at in the final fade-out. The theme
of Augustus Thomas' play from which this
picture was adapted is the power of mental
suggestion. Miss Kenyon is pretty but
more screen experience would help her.

/ DAREDEVIL JACK— Pathe

MR. JACK DEMPSEY became auto-
matically world famous in about two
minutes in the course of a debate over in
Toledo one afternoon. It looks like he had
become a finished screen actor with about
the same celerity. Considering how Mr.
Dempsey was drafted for the films most
largely because of the ready-made value of
his name, you rhight be Expected to hold [
some large questimis ahoujl his merits as an ;
actor. The prize rmg is^ot classified among ]
the "required courses" m dramatic training
— though it is true that many pugilists are j
coming into pictures. But a screen ex- i
amination of the opening chapters of the
Dempsey serial proves a rather pleasing ex- I
\perience. J/

LOCKED LIPS— Universal

TSURU AOKFS accomplishments as an
actress and her frequent beauty on the
screen call for a dramatic mounting chosen
with peculiar and particular taste. A very
thin line divides intense drama from trashy
improbability and in this picture it is feared
the story has crossed to the wrong side of
the line. The story gives Tsuru Aoki the
role of Lotus Blossom, a mission teacher on
the island of Hilo, who salvages a human
derelict and then through propinquity and
loneliness marries him, with disastrous conse-
quences.

THE TORCHY COMEDIES—
C. C. Burr

INTRODUCING Torchy, the office boy.
He is life-like in every respect except th t
nothing can make red-hair register on the
screen. The Scwell Ford stories make
pleasant additions to the two reel comedy
productions. Johnny Hines plays Torchy.

HAUNTED SPOOKS — Rolin-Pathe

A GOOD many of you people seem to
think Harold Lloyd is just a naturally
funny young maii WUtt Walks out on a stage
and does a lot of tricks. See this latest ex-
position and admit you're wrong. Lloyd has
done it again, this time a little more in-
geniously than ever before. Such bits as
the gentleman olf Hebraic extraction in an
automobile wh'ich Lloyd, in his flivver,
vainly endeavors to pass on the road, mis-
taking their gesticulatory conversation for
signals, are not made up on the spur o.f the
moment. And the rest of t^is scream of a
two-reeler is filled'witholjjcr "gags" just as
funny. Mildred Davis is just as nice as
Bebe ever was; she is increasingly deft and
correspondingly charming. Much of the
credit for this comedy belongs to H. M.
Walker, who wrote the titles. If Harold
Lloyd keeps up this hard and fast work,
there's no limit to his possibilities.

The Shadow Stage

(Continued from page g^)

ALARM-CLOCK ANDY—

Ince Paramount' Artcraft

THIS is the only Charles Ray picture at
the conclusion of which we wouldn't go
riglit out of the theater and stop anyone
on the street and say : "Go in and see it —
you'll like it." And the scenario seems to
be the fault. It is built on an idea that
was much more interestingly illustrated in
"Skinner's Dress-Suit." Agnes Johnston,
when she is older, will probably look back
on this effort with a studied tolerance. For
it is amateurish and Charles Ray does all
he can to make Andy engaging and plausible.

THE STOLEN KISS— Realart

ANY sympathetic person, having seen
this, would go home and have a good
long cry. The picture isn't so bad; it's just
the feeling that's bound to come over one of
the appalling waste of talent and beauty on
such lukewarm stuff. If Constance Binney
isn't pretty and capable, who in^filmdom
is, and why don't they ever let her illustrate?
So much charm going to waste in so much
dull direction and draggy scenario is a real
crime.

THE LOST CITY—

Warner Brothers Serial

HERE is an up-to-date edition of the
"Adventures of Kathlyn." If you like
serials, you're going to love this one. If you
don't like them — and I don't, as a rule, you'll
sit througn seven reels without flinching.
Reasons: Selig, who made it; Mary, the
monk; cosqy sets^'and well-dressed extras;
Juanita Hanseji, and the character of a
happy-go-lucky Irishman who always makes
just the humorous remarks you would make
if you could think of them in time.

POLLY OF THE
STORM COUNTRY— First National

AGAIN "gladness" triumphs over all in
the end. Again the poor and illiterate
heroine of the curls and Pollyanna spirit
marries the rich and cultivated young hero.
This story is supposed to be a slice right out
of Ithaca, New York, life. But you can
count on it that the Ithaca Commercial Club
will not try to tie up an advertising cam-
paign to it. Neither will Cornell University.
As Pollyop, the squatter's "glad" girl, Mil-
dred Harris Chaplin is effective with the sun
sh.ining throuch her hair. She is all right
so long as they do not show her close-up
crying.

MOLLY AND I — Fox

MOLLY AND I" misht have been called
"The Unknown Wife," bedause it con-
cerns a girl who, to help a young novelist
who has lost his eyesight, poses as a rich old
maid and marries him to give him the money
he needs to consult a specialist. The story
is a good sentimental romance. But it has
been produced in slap-dash fashion.

LOVE WITHOUT QUESTION—
Jans

LOVE WITHOUT QUESTION" is a
mystery story. Several murders take
place in a haunted room and naturally the
owners of the house are considerably wor-
ried. The story, which was produced by
B. A. Rolfe. is imnrohahle but it is in-
terestingly told. Olive Tell is an attractive
star and James Morrison is her leading man.

THE EMOTIONAL MISS VAUGHN
— Pathe

IF a susceptible, rotund and slightly bald
married gentleman bcueves he has fallen
in love with you and boies you witti his at-
tentions— oticr lo tlcly conventions, insist on
flying with him to some distant clime and
live with him as his unwedded wife, and see
him edge toward the door. The emotional
Miss Vaughn did so with great success. If
all of Julian btreet's "After Thirty" stories,
which Mrs. Sidney Drew is producing with
John Cumberland in the leading role, are as
filled with the foibles of the middle-aged
male as this, they will indeed prove excellent
entertainment to those who want their
comedy subtler than slap-stick.

SIMPLE SOULS— Pathe

PROVING that satire, unless expertly
handled, cannot "get over" on the
screen. In book form this was an excellent
piece of satirical writing ; in translation by a
too faithful scenarioist, it loses everything it
had of satire and becomes merely a simple
tale of a simple English shop-girl who mar-
ries a simple English Duke and who lives
simply, and we hope happily, ever after.
Blanche Sweet, a thoughtful actress and a
good one, isn't a comedienne, and fails abso-
lutely to make you believe in her shop-girl.

SHORE ACRES — Metro

THE real star of this picturization of
James Heme's stage classic is Edward J.
Connelly. His "Uncle Nat" is a finely drawn
study that no other actor in our collection
could have accomplished as well. The melo-
drama which your mother or grandmother
could tell you about has been carefully, al-
most too painstakingly done by Rex Ingram.
Alice Lake does not equal her fine appear-
ance in "Should A Woman Tell?" All in
all, it's a praiseworthy production.

THE WOMAN GAME — Selznick

MARRIAGE, says the heroine of this pic-
ture, is a woman's game. And all is
fair in love and business. Consequently,
Elaine Hammerstein, to win the love of a
rich man, pretends that she is an old-
fashioned cirl, instead of a sophbticated
young society person, and makes a slight
story interesting.

A MANHATTAN KNIGHT — Fox

THIS George Walsh picture must have
wandered ffw and wide from the original
plot, written /Dy Gelett Burgess. For the
story is just,' about as active as the star.
And the starJs fo active that he makes
you think of nothing so much as a squirrel in
a cage. Mr. Walsh is supported by Virginia
Hammond.

SOONER OR LATER — Selznick

AB.ASHFUL bachelor, who is helping a
careless friend to find a missing wife,
kidnaps the wrong woman by mistake. This
is the principal, and about the only, comedy
situation iVi "Sooner or Later." It is not a
rrerrv comedy and Owen Moore is not par-
ticularly funnv in it. Seena Owen plays the
role of the kidnaped girl.

PARTNERS OF THE NIGHT —
Goldwyn

LE ROY SCOTT'S entertaining stories of
the underworld are the basis of "Part-

(Continued on page ii6)

lOO

Photoplay Magazine — Advertising Section

A New Art is Calling to
People With Story-Ideas

Motion picture producers and stars are
searching the country for new, workable
story-ideas. Never before in the history of
the industry has such a demand for story-
plots confronted them. New writers must be
developed if the industry is to survive.
Learn how you can now write for the screen.

G. Leroi Clarke

After stuciyiriK the
Palmer Plan of
Photoplay Writing
ho sold his first
story for $3,000.
Mr. Clarke was
formerly a minis-
ter.

A Fa

mine

Mrs. Caroline Sayre

Wrote the pliotif-
play "Live Sp-iirks"
for J, Warren Ker-
rigan, one of scores
■uf new writers we
are developing by
correspondenr.e in-
struction..

In Photoplays

5000 New Motion Picture Stories Wanted

Somewhere in America this ye^r, scores
of new motion picture writers will be de-
veloped. (For the motion picture indus-
try must have a continuous supply of
good, new story-ideas if it is
to survive.)

Most of these new photo-
playwrights will be men and
women who never wrote a
line for publication. They
will be people with good
ideas for stories, who are
willing, during spare hours,
to learn how picture direc-
tors want their plots laid
out. Producers will pay
them $100 to $500 each for
clever comedies; $250 to
$2,000 for five-reel dramatic
scripts.

In Two Short Years

It was a little ovex two
years ago when the famine
in story-plots first became
acute. Public taste changed.
Play-goers began to demand
real stories. Plenty of
manuscripts were being sub-
mitted, but most were un-
suitable. For writers did
not know how to adapt their
stories for the screen. Few
could come to Los Angeles
to learn. A plan for home study had to
be devised.

Frederick Palmer (formerly staff writer
of Keystone, Fox, Triangle and Univer-
sal), finally assembled a corps of experts
who built a plan of study which new
writers could master through correspond-
ence.

The Palmer Course and service have
now been indorsed by practically every
big star and producer.

In two short years we have developed
dozens of new writers. We are. proud of
the records they have made, and we pre-
fer to let them speak for us.

A Co-operative Plan —
Not a Tedious Course

Our business is to take people who have
ideas for stories and teach them by cor-
respondence how to construct them in a
way that meets a motion picture producer's
requirements. We furnish you trie Palmer
Handbook, with cross refe.rences to three
stories already successfully produced.

The scenarios come to you exactly as
used by the directors. Also a glossary of
studio terms and phrases, such as "Iris,"
"Lap Dissolve," etc. In short, we bring
the studio to vou.

Our Advisory Service Bureau gives you
personal, constructive criticisms of your
manuscripts — free and unlimited for one
year. Criticisms come only from, men ex-
perienced in studio .'itaff writing.

Special Contributors

Twelve leMding figure,s in the motion
picture industry have contributed special
articles to the Palmer Course. These
printed lectures cover every phase of mo-
tion picture production.

Among others, these special contribu-
tors include: Frank Lloyd and Clarence
Badger, Goldwyn directors; Jeanie Mac-
Pherson, noted Lasky scenario writer; Col.
Jasper Ewing Brady, of Metro's scena-
rio staff; Denison Clift, Fox scenario edi-

Advisory Council

Back of the Palmer
Plan, directing this work
in developing new
writers, is an advisory
council composed of the
biggest figures in the in-
dustry. It includes Cecil
B. De Mille, Director-
General of Famous Play-
ers-Lasky Corporation;
Thomas H. Ince, head
of the Thomas H. Ince
Studios; Lois Weber,
America's greatest
woman producer and di-
rector ; Rob Wagner,
well-known motion pic-
ture writer for the Sat-
urday Evening Post.

tor; George Beban, celebrated actor and
producer; Al E. Christie, president Christie
Film Co. ; Hugh McClung, expert cine-
matographer, etc., etc.

Our Marketing Bureau is
headed by Mrs. Kate Cor-
baley, formerly photoplay-
wright for Mr. and Mrs. Sid-
ney Drew. In constant
touch with the studios, she
knows their needs, so that
when our members so de-
sire, we submit their stories
in person for them. Thus
we not only train you to write ;
we help you to sell your story-
ideas.

$3,000 for One Story Plot

Our members come from
all walks of life — mothers
with children to support,
school teachers, clerks, news-
paper men, ministers, busi-
ness men, successful fiction
writers. In short, we have
proven that anyone with an
average imagination and
story-ideas can write, success-
ful photoplays once he is
trained.

One student, G. Leroi
Clark, formerly a minister, sold his first
photoplay story for $3,000. The recent
success of Douglas Fairbanks, "His Maj-
esty the American," and the play "Live
Sparks," in which J. Warren Kerrigan
lately starred, were both written by Palmer
students. Many students now hold staff
positions, four in one studio .n'one.

We have prepared a booklet, "The Secret
of Successful Photoplay Writing," which
will inform you of the Palmer Course and
service in greater detail. If you desire to
consider the unusual opportunity in this
new field of art seriously — this booklet will
be mailed to you free.

At Least Investigate

For there is one peculiar thing to con-
sider in the Palmer Plan. One single suc-
cessful effort immediately repays you for
your work. Not all our members begin
to sell photoplays at once — naturally. But
most of them do begin to show returns
within a few months. If seriously inter-
ested, mail the coupon.

PALMER PHOTOPLAY CORPORATION.

Department of Education,
536 I. W. Hellman BlJg., Los Angeles, Cat,.

■ ■■■■■■■■■•■■•••

■ Palmer Photoplay Corporation

• Department of Education.

■ 536 I. W. Hellman Building,

■ J-os Angeles, California

■ Pleasefiendrae.withoutobligation, vournew

• book. "The Secret of Successful P'hotophiy
B Writing." Also "Proof Positive," contjiining

• Success Stories of many Palmer members, etc.
•

■ Name

■

S Address

■

! CITT

■

• State

What Motion Pictures
Mean to Me

(Continued from page 78 J

my own wit and sense of humor; they are
a cure for satisfying my ever alarming
wanderlust nature, and spirit of adventure.
And then, motion pictures, in making others
happier, in refreshing and interesting tired
minds, in educating the unfortunate ones,
in helping to ease heartbroken mothers, in
making little tow heads chuckle and old
grey heads shed tears, and in uplifting and
restoring weary souls in general, make me
happier, because — / love Mankind.

Celeste Hunter,
Box ,430, A. C. W., Greensboro, N. Carolina.

A Future of Dreams to a Tired Husband
Second Prize

TO sit in a cozy chair, lie back and with
closed eyes let my thoughts wander
back over the past, with its joys and sor-
rows, just as my forefathers used to do, is
very relaxing after a strenuous day, but it
requires a certain amount of concentration,
and, as a usual thing ends up with "Joe!
go to bed — You are snoring horribly," from
my wife.

To sit in a cozy chair with wide open
eyes, see somebody else's thoughts wander
back and forth over somebody else's actions,
which coincide and dovetail with my own —
all this in vivid li^e-like motion pictures
accompanied by appropriate music from a
good orchestra — what a comparison !

To one of my temperament, inclined to
give my imagination full play at all times,
the motion picture is the elixir of life. It
means the lengthening of life to two or three
times more than its usual span. It requires
no concentration and no effort of the imagi-
nation. I look with wide open eyes, as a
child, and not as the "wise guy" who can
see the photographer turning the handle all
the time, and who knows all about make-
up, lighting effect, and fake scenery. He
does not know enough not to know anything.

The pleasures of anticipation, of realiza-
tion and reflection, are all there. Moving
pictures mean this much to me — that with-
out them I should have to look forward to
a life of empty dreams all with the same
sad ending "joe! go to bed — You are snor-
ing horribly."

Joseph B. Ross,
S Chelsea Bank Apartments, 1315 Atlantic

Avenue, Atlantic City, N. J.

A Mother of Four Finds Courage
at the Movies

Third Prize

DO you ask me what motion pictures
mean to me? Well, then, I shall en-
deavor to answer. But I am afraid words
can't fully express their value.

They mean rest to my tired body and
comfort to my troubled soul. They drive
away cares and renew my hopes.

I am the mother of four children. We are
loo poor to hire help, so I am obliged to
run both the day and night shift of the home.
During the day I am wash-woman, scrub-
woman, cook, dish-washer, seamstress, nurse-
maid and many other things too numerous
to mention. Then nlfht comes and still my
work isn't ended, for a good share of my
time I am giving soothing syrup, greasing
the croup and calming fears. When I think
I have things quieted and I can rest, some
baby's shriek announces the dreamman with
his mad-cows, lions, monkeys and bears. I
have to trot myself out of bed, light the
lamp, and waltz through the house to make
sure the dreamman has gone.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advkrtising Section

What Motion Pictures
Mean to Me

(Continued)

TIRED, TIRED, TIRED, that is I.
Evenings wlien liubby toasts liis feet by the
fire and has his nose in a newspaper, I ask
him for the price of the movies and away I
go to find rest. I am never disappointed,
Through the excitement and thrills that
follow I forget my cares, my body relaxes
and I am rested.

In comparing my troubles with the
troubles of the people on the screen and
seeing how they are conquering and make
good, I find comfort. I take courage again
and new hope is kindled within me. I go
home a dift'crent woman than when I went
to the movies.*

Marguerite Hurst,
Wray, Colorado.

Pictures are Friends to the "Lonely
Sisterhood."
Third Prize

THE shepherd of the plains is held to
be the symbol of utter loneliness.
Until the moving pictures appeared, I con-
sidered myself his rival.

My husband, an employee of a great
corporation, is likely to be transferred with
out warning. I grew up among friends and
relatives who filled my days with sociability.
Then I married, and went a thousand miles
away to a big city. No one ever rang my
telephone. Only the postman ever whistled
up the tube. How I rushed to get that
mail from home ! Wliat voluminous an-
swers I wrote, about nothing!

I walked miles that winter, on sunny
days; when it stormed, more letters, or I
took the long ride down town to the reading
room at the dingy public library, or wan-
dered in the shops. Once we ventured to
church, for back home that was the way
strangers got acquainted, but the chill smug-
ness of the congregation froze our enthu-
siasm; we did not go back.

Spring came, and in the park near our
apartment, I made friends with the young
mothers, airing their babies. But the first
of that long series of messages sent us to
Arizona, and I began all over. Do you
wonder I became a "movie fan" when 1
discovered the first little theater? Think
what it meant to me !

Nowadays, when we land in a strange
place, we hunt for the moving picture direc-
tory, and there are our own friends. Mary's
smile is as sweet in Davenport as Austin;
Fatty just as funny.

This little letter cannot express what a
desolate void these genial folk have filled
in my life, as well as thousands of other
members of the Lonely Sisterhood.

Grace Vandeventer Dyke,
685 Maryland Avenue, Milwaukee, Wis.

He Became an Outcast, the Pictures

Reclaimed Him.

Third Prize

FROM a far eastern part of Canada I
came, some years ago, to this port of
the Far West. My objective point was the
Klondike, but I never gained it. Here I
settled and went to work in a shingle mill
Motion pictures then were young, so was I.
Gambling was an open sport in this "neck
of the woods," also was the free-and-easy
dance hall. My home training had been
strict, this condition of moral looseness was
new to me, I proved susceptible, I fell and
fell far.

Once a week, regular as daylight, came a
loving and scripture-filled letter from

lOI

Teach Them
To Say

Hires'

HIRES is good for all ages — at all times.
Every one of the sixteen Hires ingre-
dients is a product of Nature from the
woods and fields, collected from all parts of
the world.

Nothing goes into Hires but the pure health-
ful juices of roots, barks, herbs, berries — and
pure cane sugar. The quality of Hires is main-
tained in spite of tremendously increased cost
of ingredients. Yet you pay no more for
Hires the genuine than you do for an artificial
imitation.

But be sure you say "Hires" to get Hires.
At fountains, or in bottles, at your dealers.
Keep a case at home and always have Hires
on ice as first aid to parched palates.

THE CHARLES E. HIRES COMPANY, Philadelphia

Hires

Hires contains juices of 16 roots, barks, herbs and berries

When you write to advertisers please ment;on PHOTOPLAY MAGAZINE.

102

Photoplay Magazine — Advertising Section

"Fussy"

Chocolates

FOR FASTIDIOUS FOLKS. An assortment of choco-
lates without cream centers which has helped to build for
Whitman's a nation-wide reputation as makers of good
chocolates — famous since 1842. An aristocratic package in
green and silver, prized for gift-giving but also bought
regularly by those with a special fondness for pure, rich
chocolates with nut and hard centers.

These include Honey "White Nougat, Hard Nougat,
Pecan Nut Caramels, Amaracenes, Almonds, Filberts, Cara-
mels, Double Walnuts, Brazil Nuts, Pecans, Marshmallows,
Molasses Blocks, Nut Brittle, Nut Molasses Chips, etc. The
"Fussy" and other Whitman's packages are sold by selected

agents everywhere — usually leading drug stores.

Every package guaranteed.

STEPHEN F. WHITMAN & SON, Inc., Philadelphia, U. S. A.

Sole mafcers of Whitman's Instantaneous Chocolate, Cocoa and Marshmallow Whip

"Famous FRENCH Depilatoi-y

for removing hair

A delicately perfumed powder; removes
hair; leaves skin smooth, white; for arms,
limbs, face, 50c; also $1.00 size which
includes mixing cup and spatula.

AT DRUG AND DEPARTMENT STORES

Send JOc for Trial Sample and Booklet

HALL & RUCKEL, 112 Waverly Place, New York

vjgE

Ilcyw to

Piitjooiime

lean improve yoarhg -ire
— build up your strength-
fill outyourneck,chest, etc.

I KNOW I can because I
have helped over 40,000 wo-
men gain 10 to 35 pounds.

One pupil writes: "One
year atjo T weighed onbt 100
pounds— now I weigh 126,
and oh I feel so well and SO
rested!' '

I can help you attain your
proper weight. In your room.
Without drugs. By scientific,
natural methods, such as your I
physician approves.

If you only realized how surely,
how easily, how inexpensively your
weight can be increased, I am |
certain you would write me at once.

Tell me your faults of health or '
figure.

I respect your confidence and I will send you my booklet, i
showing you how to stand and walk correctly.

Dept. 35

Susanna Cocroft

624 S. Michigan Blvd.. Chicago

What Motion Pictures
Mean to Me

(Continued)

mother; she warned me in her gentle way.
She cautioned me against bad companions
and strong drink, the only horrors of her
limited knowledge. I smiled at her sim-
plicity. "O! Mother o' mine you never
knew."

The degradation to which I sank event-
ually made me a bum. Yes, that's the word.
I had no job, no home. I was kicked out
of the joints where I had spent all my
money, I hadn't a friend.

One day I dropped into the old Search-
light Theater. The film I saw there put
me to work and cured me of my dilatory
habits.

The story was: Young man comes to
city from farm, honest, clean-cut, meets
bad companions, falls, arrested for stealing,
does time, three months later is released,
old companions endeavor to persuade him to
further crime, he refuses, he swears on the
name of his sainted mother that he will
hereafter follow the straight and narrow
path. Picture shows him back at decent
labor in which he finally rises to a position
of importance.

I left the theater resolved to make a fresh
start. I did. Therefore, the motion pic-
tures mean uplijt to me.

J. A. ?HANKS,

1281 Fairfield Road, Victoria, B. C, Canada,

Making People Want to
Read

IN an effort to entice the people of Amer-
ica to read more books, the America
Library Association is urging the librarians
of the country to co-operate with the mo-
tion picture exhibitors of their towns. Co-
operation has been tried out in many places
during the past few years and has been
found mutually advantageous to the libra-
ries and the pictures.

When such a picture as "The Last Days
of Pompeii," "Huckleberry Finn" or "Treas-
ure Island" Is announced at a local theater,
the librarian puts copies of the novel and
all the material she has about the author or
the subject together on reserved shelves.
Then she posts some such sign as this:
"Last Days of Pompeii Coming to Fairview
Theater. Brush up on your history. Get
Books Here Telling All About Pompeii," or:
"You will want to know Mark Twain's
story of 'Huckleberry Finn.' The picture
is coming to the Fairview Theater."

Certain St. Paul, Minn., librarians co-
operated in this manner with the theaters
running special matinees for children five
years ago.

Miss H. I. Scranton, of Ellwood, In-
diana, discovered several years ago that four
exhibitors in that town of 15,000 were just
as willing to co-operate with her as she with
them. When pictures of especial literary or
historic interest were to be shown, they ran
sUdes saying: "Get books about this picture
at the library."

The librarian at Gary, Indiana, induced
one theater to put on Saturday Morning
Children's entertainments at five cents ad-
mission. The librarian and his assistant
chose the picture, advertised it in the branch
and school libraries, sold tickets and ushered.
All the money went to the theater, but the
librarians felt fully repaid for their efforts by
the increased interest on the part of the
townsfolk in what they had to offer — books

Similar cooperation in other cities has
done wonders both for the libraries and foi
the picture theater.

Every advertisement in PHOTOPLAY MAGAZINE l3 guaranteed.

Photoplay Magazink— Advertising Section

Questions and Answers

(Continued jro7n page g6)

I. S., Georgia.— "The Wildcrsncss Trail"
is a Fox production, and was filmed on the
Coast. Write Dorothy Dalton at the Cen-
tury Theatre, New York City, where she
is at present starring in Aphrodite^a naugh-
ty tale of old Alexandria days.

Miss Billy, Boston. — I am amazed that
you dare refer in such flippant fashion to
those department store duchesses. I am
afraid to approach any of those young
ladies who lean so gracefully upon their
glass counters and stare so scornfully at
the mere male who presumes to ask to
see a selection of choice hairpins or some-
thing equally prosaic. Fortunately — else you
grow suspicious instantly — I don't need hair-
pins. I have never been rich enough to
ask for any of the valuable articles such
as silk stockings mention of which invari-
ably brings a welcome smile to the cold
lips of the salesladies. Jack Mulhall is
married; yes. There is a Jack, Jr., — also a
picture of Jack, Sr., in this issue of the
Magazine. Have not heard from George
Fisher, former American leading man, for
the ?ge of one of the proverbial dark-com-
plexioned gentlemen. Where are you, George?
(Pretty soon I'll be running one of these
"Advice to the Love-Lorn" Columns, I am
becoming so sympathetic.)

103

Frenchy, Hickman, Kentucky. — I am
neither a Graybeard nor a Bluebeard. I
shall threaten to tell all if you girls don't
stop pestering me. And then you would
be sorry — because I wouldn't interest you
any more. Suppositions are so much more
intriguing thn facts. Charlotte Burton is
divorced from Williiam Russell. Zena Keefe
opposite Eugene O'Brien in "His Wife's
Money." Alice Joyce is divorced from Tom
Moore. Neither has married again.

EsTELLE Claire, Hoboken. — There are
some people I should never attempt to argue
with, even though I am convinced that I
am in the right you are one of them. But
I natheless repeat that Dorothy Dickson-
Hyson was a member of the cast of George
Cohan's musical comedy "The Royal Vaga-
bond" when I saw it in New York. When
it left Manhattan, the dancer doubtless
stepped out, inasmuch as she seldom if ever
leaves her home and fireside — which is the
Algonquin Hotel on 44th St., N. Y. And
all these theatrical facts are quite outside
my province, too. Your own name is so
much more fascinating than any nom-de-
plum — particularly Buddie; so why not use
it?

Bea, Oakland, Cal. — Right pert and
snappy, young 'un! The story, "Oh,
Annice!" was changed for Viola Dana's
Metro use to "The Gold Cure." Annice Pa-
rish, Viola Dana; Michael Darcy, Wm.
B. Davidson; Vance Dunton, John Mc-
Gowan; Dr. Rodney Parish, Howard
Hal' ; Edna Lauison, Elsie McLeod ;
Michael Connors, Franklin Hanna; Dr.
Dumbbel, George Dowling; Cord, the De-
tective, Fred Jones; The Gardner, Ed Muck,
The Gardner's Wife, Julia Hurley. That's
what I call a complete cast. Buzz around
again soon.

Tan Swee, Parit Buntar. — Good of you
to send me a letter all that distance to tell
me you liked my column. I am sorry, but
I do not send out photographs of screen
stars. Mr. and Mrs. Francis X. Bushman
are playing on the legitimate stage at pres-
ent. When they will return to films is
doubtful, just now; but I will let you know
when it happens. They have a baby son.
The name of their play, is "The Master
Thief." Thanks once more.

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Photoplay Magazine — Advertising Section

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Questions and Answers

(Continued)

Mack E. R., Eugene, Oregon. — Another
new one! Louise Huff isn't playmg just at
present, but she is just resting between en-
gagements. She recently married a Man-
hattan millionaire, by name Edgar Stillman.
She has a little girl, Mary Louise, by her
first husband Edgar Jones, once a Lubin
director. She lives on Park Avenue. Conrad
Nagel is playing in "Athalie." Ralph Graves
still with Griffith. Gaston Glass has a con-
tract with International.

Valentine, Peotone. — You remind me of
the little boy who, when he saw a zebra for
(he first time, asked his mother if it was a
white horse with black stripes or a black
horjc with white stripes. Dorothy Gish
wears a wig on the screen, but not in real
life. Lillian does not wear a wig at all.
I asked Lillian what you asked me, and
she laughed. Her own hair is very nice,
so why should she change it? Dorothy
wears one so that she can play different
types .from her sister. Two blonde Gishes
would be distracting.

Greg E. A., Manila. — Ah — you and I
both ! Where, oh where, are those peaches
of the beaches of yesteryear, you wail? Ill
tell you: Bebe Daniels has gone to act
in DeMille's little domestic dramas. Alice
Lake has forsaken comedy for tragedy at
the Metro studios. Gloria Swanson never
did like slaostick, anyway. Juanita Hanson
prefers thrilling serial stunts to high-diving.
Mildred Davis is Harold Lloyd's new lead-
ing woman — but who can replace Alice, and
Gloria, and last but never least, our glorious
Mary Thurman?

K. A., Toronto. — Bert Lytell is an Amer-
ican; married to Evelyn Vaughn. No to
your children query on Mary Pickford and
Elsie Ferguson. Alice Brady is doing both
screen and stage work, plus posing for
photographs and doing the shopping neces-
sary for an extensive wardrobe. Outside of
this, she has nothing to do. Lillian Gish
is still heartwhole and fancy free. Our
March issue gives the answer to Mae Marsh.
It is six months old Mary Marsh Arms.
Your "hov." many" on Mary Pickford amused
me. Nevei. Norma Talmadge is twenty-
five. Rumor i as Constance engaged, but as
an engagement is as uncertain as a stock
transaction, I'd rather keep mum on the
lucky man's name until the wedding bells
do chime.

Katinka, Ind. — Caesar's ghost, what a
Wallie Reid fan you are ! I'm breathless
from your impetus questions. In our June
and April, 1918, issues we had interviews
with this Adonis. Write to our Chicago
office for copies of the magazines. Dorothy
Davenport is his wife. She is twenty-five,
has red hair and is confessedly proud of it.
If Waliie has a middle name he hasn't told
the census man about it. A letter to the
Lasky studio, Hollywood, Cal., would reach
him. The cute litt'e girl with curly hair
you refer to is Mildred Davis. Thurston Hall
came back to the stage in "Civilian Clothes."
Write and tell Wallie's director that your
warm youthful enthusiasm demands a longer
fade-out on his kisses. His screen kisses.

Maria Luisa. — Swarthy toreadors in the
arena, black-eyed, gayly scarfed women, ar-
tistes of the Castanet, flashed before my eye
when I came upon your note. Eugene
O'Brien will doubtless be glad to know of his
Spanish admirer. His address is appended
elsewhere Wallie Reid's address you will find
in another spot in this department. Your
visit to Mexico interests me. You might
give Carranza, side-swipe for me.

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine— Advertising Section

Questions and Answers

{Continued)
Newport Maid.— By the day, or week?
I couldn't give you lessons in make-up.
That comes naturally to most women. Your
other questions answered elsewhere.

Frances P., Terre Haute.— Rockcliffe
Fellowes' latest picture is "In Search of a
Sinner" — Rockcliffe being the good young
man whom Constance Talmadge finally
diverted into wicked ways. You want a
story about him? Maybe.

Henry, Chicopee. — I'm glad to hear of
your town. For a while I had been pretty
cocky, telling myself there wasn't a town I
hadn't heard of. It doesn't pay to be so
conceited — somebody from Luskaloo, Ohio,
or Chicopee, Mississippi, is sure to come
along and take me down. Harry Carey in
"Overland Red" and "Marked Men," both
corking pictures. Universal City, Cal., is
Carey's address. He and his wife live on a
big ranch near there. Bryant Washburn,
Lasky studio, Hollywood. Washburn is a
comedian for Paramount-Artcraft; lately
seen in "Mrs. Temple's Telegram."

Miss Johnnie, Houston. — I like your
name; it's different. Don't be ashamed of
it. Olive Thomas is in her very early
twenties; she is a really beautiful girl, with
creamy skin and deep blue eyes with long,
long lashes — every one of the ninety-six of
them — and a piquant nose, and a mouth — •
well, you've seen Olive, yourself. She lives
on 5qth Street in NewrYork City, and has
a nice brother, who is an assistant director.
Olive has been called the prettiest show-girl
in the world and is Irish as they make 'em.
Incidentally, she is Mrs. Jack Pickford. She
works for Selznick ai|^ one of her latest
pictures is "Youthful Folly"; working now
on "The Flapper" from an original story by
Frances Marion.

Lillian, Ontario. — I am not a grandpa,
but I am glad to write to you anyway. If
I were a Daddy-Long-Legs I should adopt
you. Baby Marie Osborn's pictures are
released through Pathe. She must be about
your age, isn't she?

Peter, Mount Vernon. — I was up your
way -the other day, brother Pete. But I
was on my way to the thriving town of
Mamaroneck, and couldn't drop in to see
you. About Douglas Fairbanks — he is men-
tioned elsewhere. Charles Ray is married.

Bobbie, Shawnee. — I don't give funny
answers to girls who write to me when they
are eating divinity candy, knowing that I
like it and then not offering to send me
any. I am strictly business, yoimg lady.
Herbert Rawlinson IS married! (Ah — sweet
revenge!) To Roberta Arnold, an awfully
nice girl to be married to, I should jud^e.
She's an actress, and pretty. Mary MUes
. Minter, Realart star, is working at the
Lasky studios in California.

Taxi, Salina. — I happened to be looking
over a batch of new popular songs the
other day. If some of those critics who
rant and rave at the motion pictures would
take the trouble to investigate some of these
"songs" they would find something new to
reform. They correspond only to the very
worst of our pictures. And I mean the
"program" songs, not some of the tuneful
things that come from our modern comic
opera, the higher-class musical comedy. I
whistle those myself. Constance, not Norma,
Talmadge in "A Virtuous Vamp." Norma
is an emotional actress; Connie, the come-
dienne of the family.

When you write to advertisers please mention PHWT0P1.AY MAGAZINE.

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Photoplay Magazine — Advertising Section

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'yiMES kave certainly changed! When grandmother -was a little girl, Johnnie
-*- and Annie sat under the old bowl while naother snipped neatly around the edge
o£ it without a murn:iur. Children knew their place in those days. But look at
them no-w. The juvenile heads to the modern family have taken to making such
a fuss about hippity-hopping to the barber shop that the ingenious managers of a
department store hair cutting establishment in New York have hit upon the cheer-
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round hobby horses in their stead. New New York children ftry for a hair cut.

Questions and Answers

(Continued)

Malcolm Lockhart, Decatur, Georgia.
— Glad to hear from you. You can reach
Raymond Wells, the director who has under-
taken the task of filming the Bible in fifty-
five reels, at 407 Western Mutual Life Bldg.,
Los Angeles, California. The Historical Film
Company is handling his enterprise. You
neglected to enclose customary stamped ad-
dressed envelope; hence your question is
answered in these pages. Please write again.

Gladys R., Buffalo. — When a wife as-
sures you proudly that her husband never
goes out looking for trouble, you can safely
bet that he gets all he wants of it at home,
I am not married. I doubt if I ever will be
married — this is Leap Year, yet nobody has
asked me. Norma Talmadge always sends
her pictures to admirers, without any charge,
I believe. Don't know about Gloria Swan-
son. Write her care Lasky studio, Holly-
wood, and see.

Ella V., Milwaukee. — I am having a
flood of Wisconsin correspondence this
month. Some film favorites, must have
stopped over in your city and reawakened
your interest in the silent drammer. J.
Warren Kerrigan is an American; he isn't
married. Mary Pickford question answered
elsewhere.

Martha Washington. — Charlotte Burton
is divorced from William Russell. You have
not seen her lately because she has dropped
out of pictures. Look around for another
star to adore. Anna Q. Nilsson is or was
married to Guy Coombs. I heard they were
divorced. That you are a blonde, rather
pretty, with blue eyes and curly hair will
never get you into pictures. There are a
great many other essentials — adaptability
and flexibility to the camera being among
them.

A. C. R., Washington, D. C. — I don't
wonder that you get mixed. You see the
Paramount-Artcraft Corporation has many
different branches, the film output of which
used to be listed as Famous Players-Lasky,
etc. Now, however, all the photoplays re-
leased by the Zukor organization go out
under the one brand name of Paramount-
Artcraft. There are Ince Paramount-Art-
crafts; Sennett Paramount-Artcrafts — but
no more Lasky or Famous Players pictures.
The big Hollywood studios are still known
as the Lasky plant, however; and the New
York studio on s6th Street is still the
Famous Players for all practical purposes.
Mary Miles Minter is with Realart, working
in the West. Eileen Sedgwick is a Uni-
versal serialette: she was recently divorced.
Bert Lytell's wife is Evelyn Vaughn.

M. W., Washington. — You are right —
that's David Powell in "On With the Dance"
and "The Man Who Killed," both George
Fitzmaurice productions. David b a modest
young man with an English accent and a
French moustache. I know and like him
very much. Marguerite Clark won't make
any more pictures for a while, I believe.
She is now down in New Orleans, her hus-
band's home, and there are some rumors in
connection with a stork. They say there is
no more devoted couple than the H., Palmer-
son Williamses.

Elaine, Bay City. — Lloyd Hughes is the
man you ask about in "The Turn in the
Road." Did you land that year and a half
contract? In the evolution of time, I sup-
pose I shall be answering fan queries about
you Good luck, sweet Elaine.

Every advertisement In PHOTOPLAY MAOAZINK is guaranteed.

Photoplay Magazine — Advertising Section

Questions and Answers

(Continued)

Fashion Dancer. — You are pretty — I'll
say that much for you. But for one but
seventeen how comes that wistful look in
the eyes? Anyone who can earn the mu-
nificent sum of seventy-five dollars a night
ought to look like a burst of sunshine. Or
is it wistful you are because it was not one
hundred a night? Jack Gilbert was born in
Utah in 1895. Before going in for pictures
he played in stock for three years. He is
five feet eleven, with brown hair and eyes.
We'll keep your suggestion about him in
mind.

Austin M., New Haven. — Harry Ham
may be reached c/o Christie, Hollywood,
Cal. Any suggestion of food makes me
hungry, persistently hungry. Oh, I wish I
had reached this "Ham" epistle a little nearer
dinner hour.

Mildred K., Buffalo. — Dick Barthelmess
will certainly be all upset when I tell him
you do not think him good-looking. But
before I upset him, here are the addresses
you ask for. Eugene O'Brien, Selznick, 720
Seventh Ave., N. Y. C. Wallace Reid, Fa-
mous Players, Hollywood, Cal. Richard
Barthelmess, Griffith Studio, Mamaroneck,
N. Y. Norma Talmadge, 318 East 48th St.,
N. Y. C.

A Flatbush Girl. — Lew Cody was Ethel
Clayton's leading man in "Men, Women and
Money." Dick Barthelmess has his own spe-
cial typewriter to answer fan mail, so I am
sure not only a picture would come to you
but possibly a letter with his very own sig-
nature. I've heard that when Dick is too
busy to answer all his mail his best sweet-
heart helps him with it. No, I haven't let
the cat out of the bag; I mean his Mother.

Elsie Anderson. — Clara K. Young is di-
vorced. James L. Crane is Alice Brady's
husband. Both Ethel Clayton and Irene
Castle are still being "shot." That's a
teknickle term, as they say in the Dere
Mable letters. Mebbe in her new stage pro
duction, "The Blue Flame," there will be
more money spent (in quantity bought;
for Theda Bara's wardrobe. With apol-
ogies to W. S. Gilbert, "A vampire's lot is
not a happy one."

Deak. — That "please, please, please"
stirred my heart, and my stenographer
jumped at the splash from the large salty
drops which landed on your letter. I hope
that one please will get a rise out of the
Answer Man in future. No, Beverly Bayne
was not married before she wedded Francis
Bushman. David Powell did not play in
"Stella Maris." Please write me again.

Just Ruth. — I'll have to watch my p's
and q's if you are such an authority on film
stars that your family stand in awe of you.
It must be great to have one's family stand
in awe of one. Almost as good as being a
genius. Marion Davies has not a brother
in pictures. Did Mary Pickford convert
you to being a Pollyanna for the rest of
your life? Margarita Fischer has been mar-
ried. I might add laconically, "divorced."

Jack Kerrigan Fan. — In your case I
laughed. How could I cuss with your win-
some face looking up into mine? That's
not a bad sentimental line, is it? Bert
Lylell is married to Evelyn Vaughn. But,
ah, the fascinating Eugene. That's another
story — he escaped. That was a very inti-
mate question you asked me. I hope mv
stenographer didn't see it, poor child. While
in my sanctum, I hold myself custodian of
her morals.

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Photoplay Magazine — Advertising Section

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Questions and Answers

( Continued )

I. W., New York. — Dorothy Gish works
in the Griffith studios in Mamaroneck, and
lives in Mamaroneck, too. Dick Barthel-
mess may be reached care same studio; but
he has an apartment in New York and
commutes. Dick may be a writer some day
as weU as an actor; he has literary leanings —
but don't tell him I told you so. Naomi
Childers, the Grecian Girl that was, is now
a Goldwyn Duchess in Culver City, Cal.

Mabel S. G., Peoria. — You wrong me; I
do not have a contempt for sixteen-year-olds.
That's a glorious age to be — ask any actress
of thirty. Norma Talmadge's hair is not
bobbed; it is shoulder length. Constance
and Natalie have short hair, however. I
never said Constance was engaged. I said
she might be, for all I know. So you would
hate to have been my high-school teacher.
I may say that your detestation is not
reciprocated; I should love to be yours.

The Mystic Rose.— You're the first
woman I ever knew who became incensed
when accused of being in love. But perhaps
you were only camouflaging. I take it
back — the vampire is not dead; she will
never die, any more than the ingenue. But
some of the Cleopatra counterfeits are so
bad, I sometimes wish they would. I join
you heartUy with your enthusiasm over
Pearl White's picture. I am sure if she sent
me one I'd be tickled to death. No, no —
Dick hasn't married anyone. I think your
White surmise — the first^is right. Lift the
old knocker again soon.

Betsy Jane, Red Oak. — You know, you
got yourself in awfully wrong in the be-
ginning. I resent being called Mrs. Ques-
tions and Answers, just as the old newspaper
man who conducts the "Advice to the Love-
lorn" column must resent it when the letters
come in saluting him as "Dear Lady." I
smoke a pipe, not big black cigars. Cullen
Landis is married; he's the father of a little
girl. He's with Goldwyn on a long-term
contract. That's his real name. That's all.

J. D., Richmond. — My dear lady, you
misread me entirely. I didn't say Richard
Semler Barthelmess is married, for I know
he is not. I didn't say I had an aversion
to answering questions about him, for I
haven't. It took a lot of bravery — it must
have — for you to ask me that age-old ques-
tion about Dick — again. Don't worry —
when Barthelmess marries, or gets himself
engaged, I'll use all my influence to have the
Editor carry the announcement on the front
cover. If the Editor won't do that, I'll
wire you. Is that a bargain? Shake!

Betty Gray, Detroit. — I am not in Chi-
cago any more; I'm sorry. Manhattan is
holding me. A young lady of twenty-seven
is not too old to embark upon a screen
career.

B. H., Utica. — I should say about you
that you had good taste. You wish to
know how to reach Phyllis Haver, Kay
Laurell, and Lucille Zintheo. Kay is on
the ocean right now sailing to Europe. Her
personal address is 125 East S6th Street,
New York City, from whence her mail will
be forwarded to her. I am sure she will
send you her picture. Lucille Zintheo-
Carlisle is with the Larry Semon comedy
company, care Western Vitagraph. She
was a Photoplay Beauty-and-Brains contest
winner. Phyllis Haver— also Mister Ben
Turpin— may both be teached care Mack
Sennett studio, Los Angeles, California. Ah,
there, B. H.!

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Photoplay Magazine — Advkrtising Section

Questions and Answers

{Coniinued)
Cadet John C. J., Cornwall, N. Y.— I
commend you for your choice of favorites.
Bill Hart has his own studio in Los Angeles.
Tom Mix is with Fox, Western. Mildred
Reardon is in New York right now; that
story we had about her is really true. Wal-
lace Reid, Lasky studio, Hollywood. Charles
Ray, his own studio, Los Angeles. Roscoe
Arbuckle, care Lasky studio. Owen Moore,
Selznick. Pearl White, Eastern Fox. See
other answers elsewhere. Drop in again.

Eleanor-Margaret-Bessie, Nashville. —
You think I am about twenty-one, with
dark brown hair, slightly wavy, brown eyes,
and a very pleasant voice. All right — that
description suits me. I don't know how to
judge whether a player is conceited. How-
ever, I am sure that those you mention are
not. Lillian Gish is not dead— whatever
gave you that idea? She is playing now in
"VVay Down East." Jack Pickford married
Olive Thomas.

Virginia, Montrose.— I thank you from
the bottom of my heart for writing to the
Editor in my praise. Maybe now I shall
get a raise. Bobby Vernon is with Christie
Comedies. George Chesebro plays opposite
Juanita Hansen in that blonde star's new
serial, "The Lost City" — which is by the
way reviewed in the Shadow Stage depart-
ment. Jane and Katherine Lee are in
vaudeville now, in a spoken sketch called
"The New Director."

G. W., Toronto. — Go to any reliable
bookshop for Pearl White's life story, "Just
Me." Pearl is in Europe now — not picture-
making, but taking a five or six weeks'
vacation. ("The Mystic Rose" please note.)
She sailed the middle of March on the
Savoie. Sorry I can't tell you Pearl's exact
height — I'll find out this important point
and let you know later.

Merrie, Medford, Mass. — You are quite
correct. In fact, i,f all who write to me
were as correct as you, I would have no
fun at all. You ask, mostly, about people
who are not cast. Kay Laurell only had a
small "try-out" part in Wallace Reid's "The
Valley of the Giants." She had the lead in
"The Brand" and is the star in "Lonely
Heart," a story written for her by Edgar
Selwyn. Mary Pickford Fairbanks is
twenty-six. Hazel Dawn may do more pic-
tures some day — who knows? Right now
she is touring in "Up in Mabel's Room."

Marjorie S., Moline. — You can just bet
I'll be good to you. I have no way of illus-
trating right now, however, for most of
your questions are answered elsewhere. You
use suitable stationary, writing on only one
side, so I am not showing favoritism by
refraining from reprimanding you. I don't
quite see, however, how you can remind
your friends qf Norma Talmadge and Doro-
thy Gish at the same time. They are not
at all alike. Tom Moore and Alice Joyce
question answered elsewhere.

Dotty Dimples. — The best thing to do,
if you don't like the musicians in your
theater, is to come early and avoid the over-
ture. Richard Barthelmess in Griffith's
"Scarlet Days," "The Idol Dancer" and
"Way Down East," now in course of com-
pletion. In the first two plays he acts with
"Cutie Beautiful" or Clarine Seymour; in
the latter, as in "Broken Blossoms," with
Lillian Gish. Harrison Ford has signed a
new contract with Paramount and may be
reached at the Lasky studios.

(Continued on page 113)

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The Confessions of Theda Bara

Continued from page $8

On her short tour with "The Blue Flame"
before the play burst upon Broadway, Miss
Bara had many opportunities to test the
deep-rooted conviction of the vampire
superstition. In Washington, she and her
sister got into an elevator. In the car
were a man and his wife. The wife looked
around and saw Theda Bara. She ordered
the elevator to stop at the next floor, seized
her husband and gave him a terrified shove,
out of the elevator and harm's way.

Esther Bara, the sister, asked Theda ex-
actly how she would go about vamping the
man in the elevator. Theda didn't know,
but she was interested in the attitude of
the wife.

"In the first place," she said, "what could
I have done to him? I would have had to
work fast: And in the second place, why
do women always think that every woman
is after their husbands. I have seen plenty
of husbands belonging to other women
that I wouldn't even look at.'*

I had seen the pretty, young Esther Bara
and I was sorry I didn't meet her. She
was evidently a loyal and cheerful com-
panion to her vamping sister. The crit-
icisms of her work sometimes hurt Theda
Bara. But she had her mother and father
to tell her not to mind them. She didn't
read the reviews of her play. A. H. Woods
told her in advance what the critics would
say. She likes Mr. Woods for his friendli-
ness and for his faith in her.

"Not all my screen work was bad," she
told me. "I can look over some of the
old films and find scenes that were good.
I know when I have done good work.
There is a little bell inside of me that rings
when I hit the mark. In 'Cleopatra' I was
criticized for showing my legs. The re-
viewers said the costumes were all wrong.
But I studied with Mr. Lithgow, the ex-
pert on Egyptology at the Metropolitan
Art Museum, for several weeks in order
to get the costumes and settings correct.
Liberties were taken with the story, but
not with the settings. And if you will
look back on my pictures, you will remem-
ber that I did not go in for undress parts.

"A funny thing happened in the opening
night of 'The Blue Flame.' In the first
act, I am killed by an electric shock and
my fiance puts me on a couch that brings
me back to life without a soul. Allen Dine-
hart, my leading man, picked me up and
threw me down on the couch so that my
skirts went up to my knees. My first im-
pulse was to sit up and pull them down.
Fortunately, I remembered that I was dead.
And so I lay there and said to myself, 'Now
everyone is saying that I want to show
my legs.'

"After the performance, I told Mr. Dine-
hart to be careful about pulling down my
skirts, that I am supposed still to be a good
girl with a soul. Now, he is so conscien-
tious that he nearly rips my skirt off.

"The first night was a terrible ordeal.
I had a cold and I was so nervous that my
voice went back on me. I thought I
wouldn't live through some of the long
speeches. My throat was tight and I felt
as though I couldn't make a sound. Some
one told me to go out and apologize for
my voice. But I wouldn't. I suppose my
fighting blood was up. Many of those in
the audience were people who hated me. I
don't know why they hate me, but they
do. Tliey do not know me personally and
I haven't done anything to them, but they
ate me. And I wouldn't go out and apolo-
gize to them.

"I am going to stay on the stage and I
am going to make pictures, too. In two
years — well, you will see. After all I have

been through, do you think that I would
give up now?"

When Theda Bara left the screen there
were plenty of rumors about her. She was
going to be married. She had fallen in love
with a minister and had "reformed." She
was temperamental. She had lost her hold
on the public.

This is what Miss Bara says:

"My health was bad and I needed a rest.
I had been getting wretched stories. Studio
life was beginning to get on my nerves. The
inefficiency is appalling. I stoppec re-
porting for work in the morning. Nothing
was ever ready. We would wait for hours
and hours until some carpenter had cor-
rected a mistake in the setting. And all
about you there is a grinding and a pound-
ing. The mechanical staff have a way of
blaming all the delays on the star. The
star has no come-back because she cannot
go and tell tales on men who need their
day's wages. Mr. Fox seldom came to the
studio: he was busy at the home office. I
only saw him a few times a year. Directors
spend a great deal of money on unimpor-
tant things and then they economize in
small ways that prove expensive in the end.
It used to hurt me to see money wasted.

"J. Gordon Edwards was the nicest di-
rector I ever had. He was kind and con-
siderate. Some of the directors are won-
derful. They give you such funny advice
on manners and deportment. One time I
asked my director about a certain scene.
'Do I repulse the advances of this man
or do I lead him on?' I asked. The di-
rector was stumped. He hadn't any idea
of what to do. Finally he hit upon a lively
answer. 'Oh, just keep the audience guess-
ing,' he said."

Like Susie Jones, star of the plays in the
Zanesville High School, Miss Bara wishes
that she had worked under D. W. Griffith.

THERE is no use claiming a sensitive
soul for Theda Bara. If she had pos-
sessed one, she couldn't have done what
she has done. Her manufactured personal-
ity seems to have had no effect on her real
self. The criticisms hurt her only when
they touched upon some bit of sincerity
that came through the fantastic pose. Per-
sonally, she is not insincere. She is the sort
of girl who is "good to her folks." I sus-
pect her of being an excellent business
woman.

For five long years she appeared in noth-
ing but the most blatant sort of sex stories,
and yet you cannot get a sex interview
from Theda Bara. She won't talk about
love, marriage or any of those delightful
subjects that make such spicy yet refined
reading on the magazine pages of evening
newspapers. Neither will she talk about
anything occult. In fact, I think she is
heartily sick of sex and the orient as sub-
jects for publication.

Theda Bara's artistic sins have been many.
In "The Blue Flame," she hasn't reformed,
artistically. She still blames it on the pub-
lic. That is her greatest sin — this taking
for granted that the public likes the cheap,
the impossible and the vulgar. It is her
biggest failing. When she lives it down,
she won't have to wonder why people who
do not know her, hate her.

One of the curious things about the first
night audience was that those who knew
Theda Bara defended her. The many
friends of her family proclaimed her good-
ness, her charity, her desire to be kind to
her motion picture public and her pleasant
home life. Somehow, when you meet her
personally at a press-agent-less interview,
you find yourself being shocked at the
enormity of the hoax on the public and yet

Every advertisemont in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

The Confessions of Theda
Bara

(Concluded)

condoning the woman who, almost in spite
of herself, permitted it.

In shedding the snake skin of the vam-
pire and telling the story of five years of
organized deceit, Theda Bara did not pre-
tend to emerge as a lamb. She says nothing
is so restful after a day of hard work.
Moreover, she didn't say she had the
dearest mother in the world. She didn't
say it hurt her to be misjudged because she
is really so good and pure. She didn't say
she wanted to get married and be the
sainted mother of six children.

Her sense of humor is her saving grace.
Perhaps it was cruel of her to laugh during
all those years, but if she hadn't she would
have emerged an impossible person — much
worse than a vampire. After all, she was
ridiculous — a sacrifice to the Great God
Bunk on the altar of publicity. And I am
glad she laughed.

Allah II Allah

THEY were sisters in the movies.
Priscilla, the elder, and Patsy, the
younger.

Priscilla played in pictures in which she
wore cambric frocks, black velvet sashes,
sandals with ankle ties, baby-blue hair-
ribbons and always and always the director
threw in a lot of animal stuff; you know,
puppies and kittens and ducks and chickens
(not the Mack Sennett kind) and old
Dobbin in the one-hoss chaise. And there
were close-ups of Priscilla in Reel V kissing
the Hero in a nice chaste way.

Now Patsy, the younger, has orange-
flame hair and her pictures are that kind.
Studio stuff, you know; Greenwich Village
fluff and iris-in and iris-out on Patsy posing
for Venus-at-the-Bath ; and sometimes a
wronged wife in the background and always
and always the pistol in the top right-hand
drawer of the dressing-table.

. . . And yet, Priscilla and Patsy smoke
the same brand of cigarettes.

Allah il Allah I

Saidee was born in Manitowoc, Wis., and
just adored Mary Pickford and Mary Miles
Minter and Marguerite Clark and all the
pretty and proper posies in the pitchers.

When they had a Saturday matinee at
I. O. 0. F. Hall with any of Saidee's
favourites on tap she was always on hand
and sat through both shows.

Finally Saidee's great-aunt died and left
her a thousand dollars and Saidee hastened
to the great city and bought herself some
swell raiment and fared forth to the studios.

But Saidee forgot that she had black hair
and eyes that somehow could not behave,
for they put her in a Custard Comedy and
now she has a Jelly-Rolls car and a Pekin-
gese and wears those shimmie shoes 'nevery-
thingl

Allah il Allah!

Ill

Once upon a time a kind-hearted Director
saw a good-looking little minx among the
Extras who was doing soup-and-fish in an
Uncle Tom show.

"I will her into stardom," he muttered.

And so he worked and worked and
worked, and presently the little minx was
indeed a screen star of the uttermost im-
portance. Ah ! Then she quit the kind-
hearted Director, huh?

No, she kept right on feeding out of his
hand and doing just like what he told her.
(Yes she did!)

Allah il Allah! —Justin Fair.

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112

Photoplay Magazine — Advertising Section

What Fashion Really Means

(Continued jrom page 63)

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picturesque periods of Louis XIV. But
don't be awed when some exclusive shop
advertises its "Louis XIV styles." It
simply means they are showing suits with
full ripple skirts and jackets that have wide
revers opening over a double breasted waist-
coat of fancy weave. If they are true to
the period they will show these suits with
three-quarter sleeves, wide at the hand, with
an inset lace ruffle.

When you saw those pretty little dancing
dresses last winter that were wired to stand
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Just because I have talked about these
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originate in France. On the contrary.
Sometime — if you have the necessary time
rnd patience — try getting a tailored suit in
France! That is the time when your mind
will turn yearningly to the good old U. S. A.
for the kind of tailoring that "keeps its
shape." Little old Paris may beat the world
at creating dresses — and she does — but when
it comes to tailored things and sports clothes
you have to come back to your Uncle
Samuel's land.

Now, this matter of clothes is much more
than a matter of money. Some of the
badly dressed women you meet are women
with lots of money and the idea that money
can get one everything in the world. It
can do a lot of things, naturally, else we
all wouldn't be after it so hard. But some
women with money remind me of the
woman whose husband "struck it rich in
oil" last year. The lady in question dis-
carded the old house and had a rococo sort
of palace built. There were a lot of win-
dows to the thing and she had each win-
dow decorated with a red and white striped
awning that bore the family monogram !

A lot of the clothes I see make me think
of this Oklahoma lady. There's money to
burn, hut mighty poor results from the
bonfire.

Good dressing is in its last analysis a mat-
ter of line, a matter of studying one's own
figure, learning the good and bad points.

and then finding out the styles that will
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For example, if your arms are thin you
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If your heart is set on short sleeves you
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an inch below the elbow. Don't, please
don't, wear things that will call attention to
sharp elbows.

If your legs are short in proportion to
the rest of your body, don't wear a flounced
skirt or a skirt of two colors set horizon-
tally. Build your skirts with the thought
of length of line in mind. And if you are
a short-waisted woman don't cut yourself
off with a deep sash. The short-waisted
woman wears best the long, loose type of
dress that has the sash dropping well down
on the hips.

If you are working hard and are tired
you would better keep away from the little
hats that turn sharply off the face. Try a
hat that droops a bit with a soft line about
the face, if you want to take ten years off
your age.

One of the best things this year's styles
has brought us is an abundance of bright
colors. Brown runs the whole gamut from
the palest sand tint to tele de negre; reds
and coppers and brilliant yellows abound.
Champagne is a favorite color this year
with the French, but we probably sha'n't
wear it. There's no use in stirring up pain-
ful memories.

People from other countr-es used to think
women in America had a "navy blue uni-
form" from the amount of that color they
saw in the streets. This year, however, we
are turning to the brilliant things, the deli-
cate pastel shades, everything that is bright
and gay. Doesn't it make your fingers just
tingle for a needle? Mine do. And I am
glad we are gett-ng over our dread of
bright-colored clothes. Bright colors have
the same effect on the wearer's mind as sun-
shine has on the flowers. Sometime this
year I'm going to talk a whole lot about
color and the shades that bring out the
best in different types of women.

Incidentally, I've a good joke to tell you
about color, but I'm afraid I shall have
to leave it over until next month, when I
intend to talk to you about sport clothes
and other things.

PICTURF-HOUSES jump prices."— iVem item.
"All the world's a stage and we are only payers."

Statement of the Ownership, Management, Circulation, etc., Required by the
Act of Congress of August 24, 1912.

Of Photoplay Magazine, published monthly at Chicago. Illinois, for April 1st, 1920.

Stats of niinioi3 )„,
Countv of Cook. {'"•

Before me, a Notary t>ublic in and for the State and cnunty aforesaid, personally ai)reared) Robert M.
Eastm"n, uho. having been duly sworn accuriiinfj to law. deposes and says that he is the Secreitary and Treas-
urer of the Photojilay Magazine and that the following is. to the best of his knowledge and belief, a true
statement of tho ownership, managemcjit (and if a daily paper, the circoilation), etc.. of the aforesaid publi-
cation for the date shown in the above caption, required by the Aet of August 24. 11112. embodied in section
443, Postal JL^w" and Regulations, printed on the reverse of this fonu, to wi': 1. Tliat the names and ad-
dresses of the puW'sher. editor, managing editor, and business mani^ger are: Publisher, .lames R. ouirk. Chi-
cago. Illinois. Editor. .Tames R. Ouirk. Chicago, Illinois. Manpging Kditor. none. Business Manager, J-mes
R. Quirk. Chicago. Illinois. 2. That tlie owners are: (Give names and addresses of individual owners, or, if
a corporption, g ve its name and the n:>mes aTd addresses of stockholders owning «>r holding 1 per cent or
more of the total amount of strck.) E. M. Co'vin. Chicago, 111.; R. M. Eastman, CTiicago, 111.; J. R. Ouirk,
Chicago, m.: .T. Hodgkins. Chicago. III.: Wilbert Shallenberg>cr. Waterloo, lona. 3. Tliat the known bondi-
hoUIers, mortgagees, and other security holders owning or holding 1 per cent or m'^re of total amount of bonds,
mortgages, or o'lier securities are; (If there are none. 3« state.) Nonei. 4 Tliat the two paragrajihs next
above, giv'ng the names of the owners, stockiholders. and security holders, if any, contain not only the list of
stockholders and security holders as they appear upon the books -of the company but also, in cases where the
stockhr^jdcr or security holder appears upon the books of the compajiy as trustee or in any other fiduciary rela-
tion, the name of the iicrson or corporatiion for whom such trustee is acting, is given; also that the said two
paragraphs contrin statements embracing alflant's full knowledge and belief as to the circumstances and con-
ditions under whicli stockholders and security holders wlio do r«ot a,pipe;ir 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 affiant has no
reason to believe that any other person, association, or corporation has any in'erest direct or indirect in the
said stock, bonds, or other securities than as so stated by bini. 5. That the average number of copies of
each issue of th's publiea'ion sold or d stributed. through the mails nr othenvise, to p'lid subscribers

during the six months preceding the date shown above is (This mformation is required from daily

poiblications only.) R. M. EASTMAN,

Treasurer.

Sworn to and subscrlbeed before me this 23rd day of March, 19 20.

[SEAL] KATHRTN DOUGHERTY,

(Jly commission expires June 17, 192 0.)

Every advertisement in PHOTOPtAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

The Pickford'Fairbanks

Wooing

(Continued from page 76)

packing up for the journey along the
honeymoon trail to Europe in June — away
from the sorrowful past.

The film folk are hoping that the sensa-
tion of the marriage will quiet down and
leave the two to their work and their
happiness. They hope Mary's days of trial
and trouble are over, and they are sure the
two great idols of the screen living their
new life together, will bring a new charm
to their art. Their hopes may seem opti-
mistic with the gossips reluctant to leave
so toothsome a topic and with an investiga-
tion of Mary Pickford's divorce from Moore
started twenty-four hours after her marriage
to Fairbanks.

But it hardly seems likely that her mil-
lions of friends on the other side of the
silversheet are to turn from her and con-
sign the one who once was "America's
Sweetheart" to the limbo of forgotten loves.
It would appear more reasonable that her
pictures and Doug's — like their future — are
to be just what they make them. But that
is for time to decide.

After all, life is just one crossroads after
another, and this is probably the greatest
problem of Mary Pickford's life. We must
all choose our own roads to happiness.
Friends or advisors can be of little help.

May the judgment of the future be
gentle, and may the coming reels bring her
the moonlight of romance she has so long
sought. Whatever is ahead, the present
seems the time for a suffusion of blue on
the sympathetic screen.

For Mary Pickford has made her choice.

Questions and Answers

{Continued)

Jennie Allen, Devils Lake, N. D. — You
are indeed a tonic for this tired business
man. Your consideration for my feelings
touched me deeply. The best I can do in
return is to give you the sorry information
that Gladys Leslie is no longer with Vita-
graph ; however, you may be able to reach
her care Ivan Abramson, for whose company
she made a picture recently. She is not per-
manently affiliated with any company at
present. I'll look it up for you.

B. B., Albany. — I have a good many
"Tomboy" noms-de-plume among my cor-
respondents, so we'll just let yours ride by.
No no — you're wrong. The Wally Reids
have only one child: his name is William
Wallace Jr. You were under the impression
evidently that they had two sons: one
named William and one named Wallace.
Wanda Hawley is married to J. Burton
Hawley; she's a Realart star now.

Robert A. Stone, Raleigh. — Mary is di-
vorced ; I am sure I do not know if she has
any intention of marrying again. She has
no children. She is twenty-six years old and
will send you her picture. So you are not
looking for a wife as you already have one
and experience has taught you — or is it
experience teaches all of us — that one is
beaucoup at a time.

Alene W., St. Louis. — I am sure I don't
know whether Eugene O'Brien reads his
mail himself or lets his secretary do it for
him. The best way to find out is to write
to him and see if he answers personally —
although he might even fool you then. I
know this much: his wife doesn't act as
his secretary because he hasn't any wife.
Louise Lovely plays with Lew Cody in "The
Butterflv Man."

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114

Photoplay Magazine — Advertising Section

The Round-Up

(Continued from page 54)

WHY / USE
A "NATIONAL BOB"

"First of all, bobbed hair is fashionable.
And then it does really make me look
younger. But why sacrifice my beautiful
hair ? I wear the " National Bob " and
nobody knows the difference. It matches
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in a minute. Yes indeed, I bought it
direct from the manufacturer for $10
postpaid. All I did was to send a strand
of my hair. Believe me, it is the best little
bargain I've bought in a great, great while.
Certainly can, match your hair."

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Sagebrush looked at him curiously, then
went to call Jack.

Jack emerged and stood overwhelmed at
seeing Dick standing before him. In a mo-
ment he recovered and planned. He seized
Dick's hand and tried to seem cordial and
joyous. Dick Lane read a message of per-
turbation in Jack's shaking voice.

"What the matter, Jack?" he demanded.
'Where's Echo?"

Dick started for the house. Jack quickly
stepped before him and raised a warning
hand.

"You mustn't go in now — you see, she's
not been well. The shock might be too
much for her."

"You are right. Jack," Lane responded.
"You tell her I'm here and I'll wait in the
garden. And say, Jack, I promised to pay
up for that grubstake the minute I got back.
Here's the money." Dick pressed bills into
Jack's unwilling hands and turned him to-
ward the house. "Tell Echo I am waiting."

Buck McKee, sulking by the hedge, saw
and overheard.

At the door Jack paused and drew Sage-
brush aside.

"I want you to stand there and don't let
anybody at all in. Echo's happiness is at
stake."

Dick, wandering in the garden, impa-
tiently walked about the house until he was
in range of a window. He stood frozen at
what he saw. The wedding ceremony was
in progress. He could almost hear the
words.

"For as much as John Payson and Echo
Allen have consented in holy wedlock — "

Dick turned and walked to his horse.
His face set hard in the hour of his torture,
he rode back into the hills from where he
had come.

WEEKS passed and no clue to the slayer
of Old Man Terrill had been found.
It was still the matter of gossip every-
where, more especially at the Florence sa-
loon. Slim there overheard Buck McKee
drunkenly declaiming:

"Well, for my part, I think Jack Payson
did it — he was the last man that saw Old
Man Terrill alive — and where did he get
that three thousand he paid off the mort-
gage on the Sweetwater ranch with?"

"You lyin' halfbreed, I'm a friend of
Jack Payson's," Sheriff Slim broke in.
"You're coming with me and face him,"

Bud Lane accompanied the Sheriff and
McKee. It was a curious group that gath-
ered on the porch at the Sweetwater ranch.
Echo and Sagebrush, standing by Jack Pay-
son, facing the sheriff.

"Jack, there's a few questions, I^" Slim
cleared his husky throat, "a few questions I
want to ask you. Where did you go by
yourself that day you were married?"

"I went to the express office and got
my wedding present for Echo." Jack was
firm and cool.

"And where'd you get the three thousand
you paid off the mortgage on this ranch?"

Jack flushed, went cold and stood silent.

"Why don't you tell them, dear?" Echo
spoke ever so softly.

"I— I can't."

"In that event I'll have to put you under
arrest." Slim spoke with evident pain at
his official necessity.

"Slim — I can explain this thing to you
— but first I must have a few words alone
with my wife,"

Slim nodded assent. Savage Buck McKee
objected.

"It's a frame-up, men," he shouted to
the gathering cowboys. "It's a frame-up
to let this guilty man escape. Let's take

the law in our hands and have a little
necktie party right now."

A mob was born of the moment. But
they did not justly measure Slim the sheriff.
In a flash he covered McKee with a re-
volver and swept the crowd with its mate.

"You'll deposit your shooting irons with
Mr. Sagebrush there and leave peaceably or
the sheriff of Pinal County will take action
immediate." Slim's blue eyes blazed. He
won. They left.

Inside the ranch house Jack poured out
his confession to Echo, of his duplicity about
Dick Lane, of Lane's coming the night of
the wedding, the payment of the money
and all.

"You must bring him back to me." Echo,
dry-eyed in her grief, drew back from her
husband.

In the hard silence of his misery, forget-
ting quite the waiting sheriff, Jack Payson
seized his rifle and saddle bags, stalked out
and, mounting his horse, rode away, on
the long trail in quest of Dick Lane.

Echo was dumfounded in her 'emotions
and grief. She ran calling into the yard.
Sheriff Slim appeared.

"Jack has gone — Jack has gone — I sent
him away — please, please, bring him back."

"That's what I'm sheriff of Pinal County
tor," answered Slim. And shortly a posse
was riding on Payson's trail. But Lane
joined the posse.

It was a long hot quest that led at last
to Fort Grant, the outermost post of civili-
zation in the lava bed country.

"Payson outfitted here a week ago and
struck straight into the Indian country,"
the officer in command told the sheriff.
"Troop F is leaving tomorrow to round up
a bunch of renegades out there. You'll
stand a better chance of findng your man
if you go with them."

OUT in the hell-blazing rocks of the lava
beds at the Apache spring Dick Lane
lay unconscious, his life all but gone, when
Jack Payson overtook him.

Riding again at the head of his red raid-
ers. Buck McKee crossed the two trails
leading toward Apache Spring. An evil
light came to his eyes. He reconnoitered
and saw Jack Payson bending over Dick
Lane with his canteen in hand. McKee
read the story at a glance and grinned.
Here, out under the desert sun in the wild
waste, he had the two men of all the world
whom he wanted most in his power. He
signaled his waiting Indians and they closed
about the spring in a circle.

Jack leaned close to Dick as he revived.

"I've been hunting you for weeks — to
bring you back, Dick. Echo wants you.
I lied to her — she thought you were dead."

Dick, weak but hot with hate, flamed up.

"Jack, I ought to kill you for this."

Payson spread his arms in a resigned
gesture.

"All right, I'm ready."

Dick shook his head. The men faced
each other with their problem between them.

"Dick — you'll find my horse there, and
the pack mule, loaded with grub and wa-
ter. You take them and go back to her —
I'll stay here."

"It's justice, and I'll do it," Jack an-
swered and rose.

Buck McKee peered over a rock, raised
his rifle and fired. Dick fell with a bullet
wound in his leg. Together, they took
cover of the rocks at the spring and stood
battle with the Indians.

A lull came. Again Payson urged Dick
Lane to go, while yet he might.

"No, I'll stay and fight it out beside
you."

Every advertisement in PHOTOPLAY MAGAZINE I9 guaranteed.

Photoplay Magazine — Advertising Section

The Round'Up

(Continued)

"If you don't go, Dick, I'll stand up and
let them get me."

Payson sprang up and Dick pulled him-
self up beside him.

The Indians shouted and fired in volley.
Both men went down, Jack with a broken
arm, Dick shot through the lungs.

The Indians were creeping up for a rush
when they heard the clatter of hoofs and
the sounds of a bugle. The Fort Grant
cavalry had come. The rattle of carbines
swept the scene. Swiftly the troopers
rounded up the Indians, among them des-
perate Buck McKee, badly wounded.

They gathered at the spring, the troopers.
Sheriff Slim and his posse with Bud Lane.
They found Dick Lane dead, and Jack Pay-
son, wounded and grieving, beside him.

Bud drew Sheriff Slim over to Buck Mc-
Kee.

"Now, Buck, you're 'bout done, tell the
sheriff all about it — all about Old Man
Terrill."

Haltingly and with pain, the halfbreed
told of the express robbery. He ended
with a plea.

"And don't be too hard on Bud — he's a
good kid."

The sheriff looked at Bud, then down
at the halfbreed. McKee was dead.

Without a word Bud handed the sheriff
a roll of bills, carried concealed in his shirt.
The sheriff felt the body of McKee and
discovered a similar roll tied with a raw-
hide thong.

"Bud — " Slim spoke slowly. "Only you and
me know about this little deal. Go straight
from now on and I'm forgettin' I ever
knew it."

When the homebound posse neared the
Sweetwater, Jack Payson spoke to the
sheriff.

"I'm going straight home — you stop by
the Bar-i and tell the folks."

Payson found Sagebrush at the house
when he entered.

"Where's Echo?"

"Boss, she's been living at the Bar-i ever
since you left." Sagebrush averted his face.

Jack went slowly into the house and
threw himself into a chair with bowed
head. So this was the end of it all — to
lose everything.

AT the Bar-i Sheriff Slim was telling
his tale to Uncle Jim Allen and Polly
and all the rest. Echo lingered inside the
door listening.

" — And Now Jack's gone right home to
Sweetwater," Slim concluded.

Echo, riding crop in hand, emerged from
the door, looking neither to right nor left.

"Where you going, Echo?" her father
called after her.

"I am going home to my husband."

Sheriff Slim rolled a cigarette and
sighed —

"Hell ! Nobody loves a fat man."

115

Paradise?

WITHIN a temple,
Whose walls are of virgin marble,
And with trellises of beaten gold
And windows of crystal
Sits a damozel wickedly beautiful.
. . . Nubian slaves fetch richly laden
Baskets heavy with pomegranates
And purple figs and yellow grapes
. . . And they bear great flagons
Of crimson wine!

Ah, is this a vista of Paradise?

Na-a-aw! , . . Movies!

Justin Fair.

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ii6

Photoplay Magazine — Advertising Section

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272JacU3on Street ELKHART, IWD.

Ask your theatre manager when he will show
Photoplay Magazine Screen Supplement !

The Shadow Stage

(Continued from page gg)

ners of the Night." Mr. Scott, like other
well known writers, believes that a crook is
almost always a dramatic success when pre-
sented as a sympathetic character. In this
case the crook is a woman who helps a de-
tective trap the real villain. The picture
keeps you wondering. The plot contains a
great deal of entertainment and has been
presented in good style by Paul Scardon.
The real star is Pinna Nesbit.

THE BELOVED CHEATER —
Robertson' Cole

KISSING is a great art. And so Lew
Cody is undoubtedly a great artist. A
kiss is the entire plot of "The Beloved
Cheater." A timid man, engaged to a chilly
girl, calls upon a gay young bachelor to
assist him in his wooing. Posing as the
iiance, the bachelor kisses the girl. And,
having known the original, she will accept
no substitutes. Who can blame her?

THE SPORTING DUCHESS —
Vitagraph

THE SPORTING DUCHESS" was pre-
sented on the stage years and years
ago with Rose Coghlan as the Duchess of
Desborough. It is a melodrama of high life
and low tricks. The high life is furnished
by Alice Joyce and Percy Marmont. The
low tricks are the work of Gustav Suyffer-
titz. The horse race climax is very well
filmed ; in fact, the whole picture has the
proper gallop for a melodrama.

THE DAREDEVIL — Fox

TOM MIX at his very best, as a tender-
foot who makes the west too wild for its
native. It has action, it has humor, and it
has stunts. The picture gives him plenty
of opportunities for landscape gardening —
that is breaking up the scenery. And he
doesn't have to emote. Once we saw Tom
Mix emote and we shall never forget it.

THE EVIL EYE — Hallmark

MEET our friend Benny Leonard, the
lightweight champion, who is starred
in a serial. Roy MacCardell wrote the
story. Don't ask us what "The Evil Eye"
is about. We only saw the first three epi-
sodes and we only saw them once. Benny is
a heroic bank messenger whose aim in life it
is to protect a million dollars' worth of
bonds. Stuart Holmes is working with a
band of crooks. Benny doesn't look like a
prize fighter and you rather like him but he
isn't going to snatch any acting honors from
John Barrymore.

THE FALSE ROAD —
Paramount- Artcratt

IF you ever get a picture crook into the
country — the nice, clean, wholesome coun-
try, where he or she comes under the in-
fluence of a sweet old lady — his or her life
of sin is done for; you can count on that
In this picture a young man and a younp;
woman were started down the false road
with a gang of crooks — but the false road
led to the grand and glorious country and
a simple-souled old woman. So they were
saved, and settled down in the country for
life. Enid Bennett and Lloyd Hughes play
the leading roles. The picture is no world
beater, but a nice little evening's entertain-
ment for those who like their crooks, and
like them reformed.

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Photoplay Magazine — Advertising Section

The Golden Age of the Pictures

(Concluded from page 4g)

117

over such matters as the so-called su-
periority of European productions, and
sat down to wait for the return of the
prodigal fans. Having been wined and
dined upon swiftly moving, high grade
motion pictures from North America, the
prodigals were a bit wary about return-
ing. A few did visit the theater, in mem-
ory of the old days, but they came away
to return no more. Cobwebs quickly cov-
ered the ticket window, and the exhibitor
threw up the sponge in the first round.

of 100,000, also has several motion picture'
theaters, and there are a few other cities
fortunate to possess a theater of this sort.
A rattling good detective story, provided
it has no complication that conflict with
the teachings of the Koran, makes an in-
stant hit. Screen vamps and romanti<-
matinee idols with kissing tendencies and
who persist in clasping exotic heroines to
their bosoms are strictly taboo, for they
run counter to the Koran, and that ends it.

HUNDREDS of high-grade theater?
. . , ^ will be required to entertain the greai

in Europe has grown on an enormous
scale despite the fact that Europe is
America's chief and only competitor in
the world's film markets. Great Britain,
with millions invested in the producing
business, continues to exhibit a fondness
for American pictures, approximately 90
per cent of the productions being shown
having come from America. So great is
the demand for the high grade of Ameri-
can photoplay and so few are the theaters
in which they can be exhibited that the
British exhibitor is compelled to book far
in advance to get the pictures he wants.
The average theater is booked from one
to two years in advance, and booking for
1922 soon will be under way.

A new departure for American pro-
ducers has been the establishment of a
large studio in London by a prominent
company for the production of the Amer-
ican type of picture on Old World loca-
tions. The foremost American and Euro-
pean stars and artists will co-operate in
making these productions. The stories of
the greatest writers of Europe will be
produced upon the locations actually de-
scribed in the stories, instead of hand-
picked California and New Jersey ex-
teriors.

By far the most far-reaching develop-
ment from a distribution standpoint, how-
ever, is the opening of the huge territory
in Central Europe, which has been closed
to American pictures for six years. More
than 8,000 theaters and approximately
200,000,000 people are included in this ter-
ritory— Germany, Poland, Austria, Hun-
gary, Rumania, Czecho-Slovakia, Jugo-
slavia and Bulgaria. Although Germany
and Austria have been important pro-
ducers, American pictures are expected to
duplicate their enormous success in other
European countries once the ban on the im-
portation of films is removed.

Another important step in the world-
wide conquest of the American movies will
be taken this year when Western Asia and
India will be exploited on a large scale.
The Garden of Eden, the valley of the
Tigris, and the ancient cities of Mesopo-
tamia and Persia will shortly be viewing
the latest and best American motion pic-
tures. India, while it has been developed
on a small scale, will be the center of im-
portant film activities, which will radiate
in all directions.

The countries of Asia Minor obtained
their first view of American pictures dur-
ing the war, when adventurous Y. M. C.
A. men came to entertain the Allied sol-
diers. Bedouins, Turks, Kurds, Armeni-
ans, Jews and Greeks quickly forgot their
differences once they were fortunate enough

masses of Orientals once they become ac-
quainted with the motion picture. Capital
to develop such enterprises soon wOl be-
come available for the producers and
distributors are quick to visualize the vast
profits of those fortunate to get in on the
sand floor, as it were. The dearth of the-
aters is exemplified by Teheran, capital of
Persia, which is without a single movie
house for the entertainment of its 70,000
piipiilation. Hundreds of other cities and
towns are in the same position, and to
keep abreast of the times they must be-
gin soon, for a leisure-loving people must
have its entertainment.

Although it is apparent that the dove of
peace will scarcely find a resting place in
what was once the Russian Empire for
months to come, far-sighted producers al-
ready are making their preparations for the
opening of this vast territory. They readily
appreciate the profit awaiting those who
can induce the Russian to forget his Bol-
shevistic sentiments for a saner view of the
world, and are preparing to put themselves
in the way of the high voltage prosperity
that is to come.

Scandinavian countries offer an excellent
illustration of the tremendous hold Ameri-
can photoplays have in Europe. The pro-
ductions of one American company, it is
said on good authority, are shown in prac-
tically everyone of the 1,300 theaters in
Denmark, Sweden and Norway. Long runs
are regular occurrences in those theaters
exhibiting American pictures. One theater
in Christiania was compelled to show one
American picture continuously for six weeks
before it could satisfy the public's desire
to see it.

The city of Bergen, Norway, having a
population of 100,000 and desiring a short
cut solution of its revenue problems, has
taken over the seven motion picture houses
and is now operating them as municipal
theaters. Under private ownership these
seven houses last year did a busfness of
$650,000, an average of $6.50 from each
fan. This was an increase of 200 per cent
in two years. Nine-tenths of the films
shown in this territory are made in America.

Far-sighted producers and exporters now
have their eyes on the juicy melons to be
cut when Africa and Eastern Asia are ready
for exploitation. It is expected that another
year will see the opening of an intensive
drive upon China. Once the sleeping giant
is awakened, American producers believe
they will have their hands full catering to
the 400,000,000 potential motion picture
fans. Except in the larger coastal cities,
motion pictures are unknown in China. But
that part of China that has had its taste
of the movies is showing such an increasing

to squeeze their way into an improvised appetite as to bring joy to the American

motion picture theater, and their grunts
of satisfaction would have been sweet
music to American producers had they
been able to hear them.

Bagdad, with a population of 200,000,

has three theaters and is building others in

anticipation of an enormous increase in

.the importation of films. Mosul, a city

producer, who can see millions of dollars
ready to be harvested from films that long
since have lived out their allotted span of
usefulness in America and other countries.
The Chinese fan looks upon the dashing
cowboy as America's foremost citizen,
which accounts for the popularity of this
type of film in the Far East.

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Dollars and the Woman

(Continued from page 40)

"I learned at the hospital that someone
paid your bill, Madge. You told me that
no one did it. That was not true."

Madge looked at Dan in silence.

"And then I found this," Dan continued,
producing the cancelled check.

"I paid nothing at the hospital. Neither
did Mr. Crewe. That check was for — an-
other matter." For a moment she was
tempted to tell him the truth, but decided
not.

"Some one paid, I tell you! And why
not Crewe? He was your old sweet-
heart," Dan continued, beside himself with
jealousy and rage. "But how did you re-
pay the rest? This would not have paid
your bills for a week. Men like Crewe
don't pay bills for women they love without
a reason — and wives don't lie without — "

Madge looked into the white face and
the blood-shot eyes of her husband with
evident loathing.

"Go!" she said between taut lips. "If
you don't, I — I think I shall kill you!"

Dan took his hat, and went out, leaving
her alone.

ARTHUR CREWE, arriving at the H=l-
lyer door a few minutes later, came
just in t'me to interrupt Madge in the act
of throwing all her clothes and those of the
baby into bags and trunks. Dan's distrust
of her had killed all the love she had for
him. She was going to leave him — to find
a phce where she might have peace.

"Why d'd you come?" Madge asked an-
grily of Crewe.

"Because I cannot bear to see you un-
happy in spite of my sacrifices," he an-
swered quietly. "It was to save your life
that I demanded the $300, Madge. I made
you despise me, so that you would fight for
your life. Otherwise you never would have
pulled through. I never would have told
you— in my heart I had given you up for-
ever— but Madge, Madge, I saw how un-
happy your were last night. You must
come with me, dear. You could not earn
a living. I want you to go to my sister
till you can get a divorce. Then I want
you to marry me."

Madge's expression changed from loathing
to wonder as Crewe talked, then her eyes
filled with tears.

"I don't ask your love. I won't force
mine on you," Crewe added gently. "I just
ask for the right to make you happy."

Dan, entering the hall door with his pass
key, heard the last words.

"YoUt wife is leaving you," Crewe said,
turning to Dan. "I have asked her to di-
vorce you and marry me."

Dan turned to Madge. His walk in the
air had calmed him.

"Yes," she said hysterically, "I am going.
I wanted to get away before you came
back."

Dan went to the desk and got his re-
volver, then broke it, took out the car-
tridges and handed the gun to Crewe.

"My temper is none too sweet at times,"
he said. "There will be no scene unless you
make it, Mr. Crewe. Now as I understand
it, you wish to marry Mrs. Hillyer to
atone — "

"I wish to marry her because I love her.
In her case there can be no question of
atonement, and if you were not an utter
fool you'd know it," answered Crewe.

"But why did my wife give you this?"
Dan held out the check.

"It was money she borrowed to send you
West. The money she drew from the bank
was stolen on the way home."

"Then who paid the hospital expenses?"
Dan demanded.

"I did," answered Crewe. It was Madge's
turn for bewilderment now.

"That was a matter of which your wife
was entirely ignorant."

There was silence in the little room, then
Dan Hillyer spoke.

"Crewe, if Madge decides to marry you,
she'll get a man, a real man clear down to
the ground."

It was several moments before Madge
raised her voice.

"You will understand, Dan," she said,
"that when I leave you, I shall go wholly
out of your life. If the baby is to be with
me, you can never see him."

"He belongs to you. You would not be
happy without him," Dan replied. "I have
been selfish enough. I have nothing more
to say."

Madge looked for a moment at her hus-
band. The thought that Dan was willing
to make this sacrifice for her, that he was
willing to give up his child as well as her
for her happiness' sake, proved that he
loved her — and her old love for him came
tumbling over the barriers.

"Arthur," she said, turning to Crewe,
"you have sacrificed much for me, but
could you do — what he has done?"

Arthur Crewe was too honest to pretend.
He turned away and went out silently as
Madge found her old happy place in Dan's
arms.

"I don't care if you spend everything
you have," she whispered in his ear.

"Spend? Why, I'm a miser from now
on. I'll choke the Indian on every penny
I get," answered Dan Hillyer. And he
kissed her.

:f: % H^ ^

BUT neither Madge nor ■ Dan ever knew
that the reason for Colonel Barnard's
change of mind over night in regard to the
smelter process patent was an order that
came from certain directors of the company
in New York, who demanded that the deal
be closed — and that the reason back of the
directors was a rich young man named
Arthur Crewe.

Ave et Vale

UHUHmiHiltHU

(il4>''><;nit«J»I!«»»l!tM(llOH»ll!:?(ll)Hl|l

THE great clock in the courthouse struck the mystic hour of twelve. The city was as
silent as the age-wreathed column of Karnak or the sad-eyed lion that keeps constant
tr>'st with the immortal dead upon the sand-strewn plains of Troy.

Hushed was the plaint of traffic; mute the voice of discord and stOled the clamor of
golden commerce. Policemen stood upon the streets as motionless as the marble caryatides
that forever guard the pulseless sleep of the great Napoleon.

A shower was falling, such a rain as chilled the ardor of the noble Ten Thousand ere
the glad cry, "Thassala ! Thassala ! The sea I The sea !" burst from the home-hungry
hearts and sand-parched lips of the followers of Thucydides. Still the rain fell! It was
Niobe, the great Nature-mother mourning over the death of her loved and lost. All earth
felt the solemnity of the hour: the halcyonic calm, for the great photoplay actress had
lost her wad of chewing gum and nothing could be done in the studio until it was found.

Even- ativertisement in PHOTOPLAY MAGAZINE is guarante«d.

Photoplay Magazine — AnvKirnsiNG Skciion

The Lonely Princess

(Continued from page 46)

not conceit. But consider that she was New
York's best-known child star in "The Lit
tiest Rebel," with these Corsican brothers,
William and Dustin Farnum, She was in
other classics of the old legitimate with such
stars as Mrs. Fiske, Robert Milliard and
Kalich. But if you think Mary never had
any but an easy row to hoe^

Mary's only real hobby is her sister,
Margaret Shelby. Mary is convinced she
will some day be a singer in the Metropoli-
tan. Margaret is to go abroad, to study
music. The things Mary herself would love
to have, has dreamed about and denied,
turned over and over in her serious mind,
she has given to Margaret. Last Christmas,
she gave her an automobile she wanted her-
self. She admires Margaret for her sense of
humor and her youthfulness. Mary herself,
the personification of youth, is not young at
all. Of course if she were really young, she
could not portray youth so well.

An odd little mind she has, too. She
knows more about the law than some law-
yers. She knows her ancient history, her
medieval and modern history. She can give
you dates and statistics. Talk to her, for
an hour, and you will leave her feeling that
it must have taken more than a hundred
years to learn all that she knows. She has
a well-oiled mind, but she is not a parrot.
Anyone can recite dates and statistics; not
everyone can argue about them.

The world in general, particularly the pro-
fessional world, unconsciously cherishes re-
sentment against Mary Miles Minter. Her
success has seemed to come to her; she has
risen so easily. She has never gone through
a period of theatrical idleness; her services,
once she was established, have always been
more or less in demand. And she has always
been guarded, cherished, protected. But
don't think that she has not struggled —
though her "struggles" my have been
mental. It has been harder for her, sur-
rounded and protected always by a good
and devoted mother and family, to keep her
own viewpoint, her own individuality, than
it would have been had she starved to suc-
ceed. She has a fine mind; she has her own
ideas — not for the world ; she has protected
her personality even as her mother protected
her material being. That she has succeeded
up to this point wouid seem to mean real
success; she is well on the way to do some
good honest work, to attain some good
honest ambition.

She may never be great ; but when T sit
and talk to her I feel that there is in her
the indomitable qu Ity which makes for
greatness. Such a tiny little girl — and such
a fund of knowledge, of common-sense !
Fluffy ingenue she is not; that she acts the
part now does not mean that she will always
act it.

Her career is pretty well-known; besides,
it is not with Miss Minter's past perform-
ances with which we are concerned. She has
proved her place in the theatre and in the
films. It is with her future — the future of
the girl in whom Adolph Zukor has such
faith that he predicts for her a throne like
Mary Pickford's — that we are concerned.
Will she be a future queen of the movies?
Will Mary Miles Minter live up to the
prophecies made for her? Or will she, like
our conventional princess of the fairy-tale,
listen to the wooing of some future fairy
prince (note: he will not be an actor) and
ride off with him to a conventional kingdom
of her own and live happily ever after?

A \

, V

s?^

A^^

(1l»ii^^ Complete

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Photoplay Magazine — Advertising Section

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Broadway's Royal Family

(Continued from page j^)

personal, but Ethel Barrymore was never
Lcnsorious.

She had returned from a week-end at a
magnificent country estate. She told the
story of the visit. She told us of the mag-
nificence of the house, the splendor of the
furnishings.

"But the hostess?" we asked.

"She is very charming, but she is one of
the kind of women who is always expecting
compliments and trying to extract them from
(he men. It is tiresome." She added con-
tritely: "But I shouldn't have said that."

Even the lodging-house cat, a huge, lum-
bering beast in a Maltese coat, that had
been brought from England, was the object
of her scrutiny and interest. I passed her
one day on the stairs. She held the beast
in her arms and admonished him.

"You are more like a dog than a cat.
You must remember that you are a cat,"
he adjured. "We must all remember what
we are."

Anyone of the horde of admiring girls
she accumulated might have studied Ethel
Barrymore as a model of tact. Her smile
was always ready. If she said little she
never said the wrong th'ng.

A whirlwind woman caught her up in a
storm of enthusiasm.

"A girl who crosses herself when she
speaks your name has been raised to a sev-
enth heaven. She is transported because
while you were awsy she rented your room.
I think she said her prayers to your pic-
lure. You remember her of course? She
says she knows you. Her name is Carey?"

The Barrymore smile and Barrymore
graciousn:ss were in ev'dence. Ethel sat
en the edge of her bed and smiled and
smiled. I, who witnessed the breezy call
and the speaker's exit, was sure Miss Barry-
more hid known the woman who rented
her room and slept in the bed made sacred
by her. Not knowing the breadth and
.lepth and height of her tact I was un-
prepared for her calm inquiry:

"Who the devO is Carey?"

Outwardly serene, the young actress
whose future loomed larger and more
jrilliant than she knew was a victim of
nward nervousness. She played Mme.
Trenloni with firmness and authority while
)lder members of her company marvelled
U her poise. She would hurry home and
jrder a cab.

"I can't sleep. I must drive and wear cff
his nervousness," she would say. Her
--usin, Georgia Mendum, who hid begun
;r stage career as maid in "Catherine,"
nd who abode with her, was her compan'on
n the sleep-wooing drives. Or one of her
brothers, the big one Lionel, or the boy
irck, would climb into the hansom beside
i-cr to woo the air that quiets aching
erves.

In consequence ;he was not visible be-
fore noon. She breakfa-ted in bed on fruit
nd cohee. Si.e ate an orange and sipped
er coffee while readmg her letters. There
vas a huge heap of the letters, invitations
for the most part, but bills too, fcr she
was the self-constituted treasurer of the
amily. Lionel was not then launched in
is successful career. Jack was a slim, pale,
;andsome boy, an inveterate borrower of
quarters.

Her father, who had transmitted to her
hi;, brilliance and good looks, was slowly
dying in a hospital in Long Island.

"It's a shame that that girl should bear

he heavy expense of Barry's keep at the

■ospital," said a Lamb looking out the

window and across the street. "Let's do

f^mething f-^r bim oiir=elves, if onlv in

memory of his jokes. They were priceless."

The offer was repeated to Maurice Barry-
more's daughter.

"No," was her answer. "Thank you,
no."

No one had the temerity to urge.

"It's like her. She's a thoroughbred,"
said one of the most famous Lambs. "Don't
you remember her cross-continent funeral
journey when she was fifteen? She had
been in Southern California with her nrother.
Georgia Drew Barrymore was dying. She
wanted her daughter with her. The boys
were in scr.ool. Barry was playing in the
East. The girl started back to Pi iladeliliia
alone with her mother's body. At every
long stop she would get out and go back
and stand beside the baggage car. She
made the journey aione. When she arrived
with the remains ana persons talked to her
about the experience stio only said: 'Mme.
Modjeska was in California. She was very
kind to me.' "

Deep inborn reticence is one of her domi-
nant characteristics. No dowager of May-
fair dislikes scenes more than does she. Our
landlady of the memorable lodging-house
had a peppery temper and a ebel tongue,
as Miss Banymore, with all other dv.iicrs
beneath her roof, knew.

Came the time wnen Miss Barrymore bad
prospered sufficiently to justify her in mov-
ing to ampler quarters. A servant brought
the news: "Miss Barrymore is packing up
to go away."

The landlady climbed the stairs. She
rapped resoundingly on the door.

"I hear you are going to move, Miss
Barrymore."

"Move? Not at all. I'm going to lie
right here where I am for a long time,"
was the smiling answer.

That afternoon she arose and dressed and
went for a walk. The walk ended at her
new domicile. A half hour after her de-
parture a drayman called for the trunk.
The landlady, exasperated, climbed to the
Barrymore door once more. Three trunks
were packed, locked, strapped. On one of
them lay a letter. Beside the letter was a
box of the long stemmed roses v^'hich, as
often happened, the popular young actress
had not opened.

The landlady opened the envelop>e to
find a check for her reckoning and a card
bearing the message: "So sorry. But I
hate to say Goodbye."

Out of this girl of soft speech and con-
quering smiles gradually evolved a definite
woman, yet one in whom the girl's char-
acteristics endured. One sees her at roof
restaurants after a play. I saw her at a
dance given by Blanche Bates at the Club
de Vingt, where she did not sit out a
dance. In the garage which Mrs. William
Courtenay (Virginia Harned) periodically
converts into a ball-room I have seen her
sit long at the piano playing for a hundred
of the Courtenay's dancing friends. She
goes to teas for charity and teas for chat.
She and Grace Weiderseim, the artist and
creator of fantastic child figures, met and
embraced at a Fifth Avenue home.

Daniel Frohman escorting M'ss Barry-
more said : "I want you two to know each
other."

"0 LTncle Dan," Miss Barrymore said
with her fascinatingly dragging speech, "I
know that girl. How I know her! We
knew each other in school in Philadelphia
umptyum years ago. She hasn't changed a
bit except in length of skirts."

Mingling is obedience to her creed. "I
believe that an actress ought to go every-
where and see everything and know every-
one," she informed me. "She portrays life.
To portray it she must know it."

Ethel Barrymore is quite capable of ad-

Every advertisement in PHOTOPLAY MAOAZINHC Is guaranteed.

Photoplay Magazine — Advektising Section

121

Broadway's Royal Family

(Concluded)

miring other women. And generous enough
to express that admiration. Seeing Maxine
Elliott in "Her Own Way," she said: "The
Venus de Milo has found her arms."

Maxine Elliott's beauty is one of Miss
Barrymore's enduring enthusiasms. Miss
Elliott's midnight orbs being a subject of
discussion, the question was raised about
the reality of the dusky shadow that lies
ever beneath them as though cast by their
purple blackness.

"Certainly it is real." She spoke more
quickly than usual and with more emphasis.
"I have seen her wake up. I know she
does not make up."

A survival of the girl Ethel Barrymore
in the woman is her habit of rest. "The
way to rest is to lie in bed. A doctor told
me that. When I am tired I go to bed.
And I stay there until I am rested."

A habit that has caused anguished folk
to cry "anathema!" The habit of remaining
in bed until rested cannonades her day's
programme and rends her engagement book
as the Huns rent the Cathedrals of France.

Very amiably she consents to pose for
special photographs. The person who has
arrangeci the appointment with the photog-
rapher arrives at the agreed upon studio.
He and the photographer pretend to enter-
tain each other with anecdotes, the while
casting occasional furtive glances at the
clock. A half hour passes. An hour. An-
other half hour.

"Ought we not phone?" asks one.

"Perhaps we should. There may have been
an automobile accident. You know she
has to come from her home in Mamroneck."

Anxious phoning. A British butler's voice
answers with a butler's majesty.

"Mrs. Colt is still in bed. No sir. I
cannot call her. She left word that she
was not to be disturbed."

The recording angel would never enter
in the celestial ledger the virtues "system"
or "punctuality" after her illustrious name.
If these were the keys to heaven she could
never pass her celestial life in Paradise.

(In the July issue of PHOTOPLAY
MAGAZINE, Miss Patterson will tell
more of Ethel Barrymore's remarkable
character, of her children and of her
brothers, Lionel and Jack.)

Just speechless

TROY BARNES is working out on the
• Goldwyn lot in Culver City. When
he isn't on the "set" playing he can be
found with a group around him, telling a
funny story of which the following is a
sample:

"A man rushed into a wet goods place in
Mexicali the other day, giving every evidence
of having made a quick trip across the
Mexican border. He ran up to the bar, and
scribbled on a pad which he pulled from
his pocket :

" 'Give me a drink of whisky.'

"The bartender followed instructions and
almost immediately the man wrote:

" 'Give me another drink of whisky.'

"The second drink followed the first.
Then the man wrote on the pad:

"'How much do I owe you?'

"The bartender took the pencil and wrote
under the question:

" 'That's all right. I don't want any
money from deaf and dumb folks.'

"The man made a desperate effort to
speak and finally managed to say:

" 'Deaf and dumb nothing ! I'm from
Los Angeles and my throat was so dry I
couldn't talk.'"

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122

Photoplay Magazine — Advertising Section

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What Do You
Think?

Letters from PHOTOPLAY readers
are invited by the editor. They
should be not more than three hun-
dred ^vords in length, and must have
attached the -writers name and address.

An Open Letter to Alice.

My dear Miss Brady:

Apropos of your letter in the April
issue of Photoplay, have you ever put
your plan of clothing yourself on $5 per
into practice? The figures, to me, were so
absolutely ridiculous and inconsistent I
wondered if that was just a press-agent
yarn or the result of actual experience. If
the former — well, the story hasn't aroused
much enthusiastic comment from anyone I
know, and if the latter, I should be only
too glad to learn the details, for, you see,
I myself have tried to devise ways and
means to make ends meet without much
success, and these helpful suggestions one
reads now and again in various newspapers
are rather amusing, to say the least.

Because a girl longs for something more
than a mere "union suit at Si. 00 each" and
Georgette waists instead of the attractive
lawn ones you suggest, does that necessarily
imply that she aspires to be a "little daugh-
ter of the rich?"

But to get down to bare facts — the actual
figures you have down — where can one buy
sufficient stockmgs for $6 that will last a
year? And just what is meant by a
"storm coat?" Where is the store now
that sells comfortable, well-wearing shoes
that will guarantee to keep you in them
for $30 yearly? The storm coat and the
$10 hats are to be considered luxuries
rather than actual necessities when com-
pared with the aforesaid union suits and
lawn waists. Does one eat and sleep in
that one suit?

And what does one do the first year while
the $5 per is accumulating? Ten weeks
savings to buy a suit, if one takes one item
at a time, and at the end of that ten weeks
what is the condition of one's wardrobe?
Pleasant prospects! It is so easy to juggle
with a handful of figures and map out
other people's expenses when one is draw-
ing a most comfortable income, but would
you — and could you honestly put your
scheme into practice?

More information on this most interest-
ing problem would be appreciated by

One who is still struggling to solve it —
Kathleen Hunt.

"Hp Discrepancy Hound, BUT —

Editor Photoplay Magazine,
Sir:

In justice to "high brows, and those who
think they are high brows," is it not a fact
that unfavorable comment and "brick
throwing" at motion pictures is not con-
fined exclusively to the incredulous, but is
indulged in to a considerable extent by the
confirmed picture-patron and others as
well?

Education, a knowledge of literature and
the fundamentals from a-b-c to the classics,
or arithmetic from simple addition to
quadratic equations, or higher mathematics.

have nothing whatever to do with the case,
but inconsistencies in the pictures them-"
selves are mainly resporisible, and for ob-
vious and well defined reasons.

As an instance: there occurred, not long
ago, in a promment motion picture the-
ater, a visualized play, very mediocre in
character, in which the heroine is repre-
sented to be on an errand of mercy, when
suddenly she poses in a doorway to the
home of a supposed to be indigent family,
bearing a large basket of eatables and other
essentials. The costume of this particu-
lar character consisted chieily of a modish
coat and a most conspicuous picture hat
of huge proportions, trimmed with a
fringing of small white feathers, the affair
topped off with an enormous white plume
that shook serenely in the onerous silence.
The scene was so amazingly ridiculous,
that a small boy in the audience, quickly
comprehending the significance of the ab-
surd situation, piped out in a loud shrill
voice: "Merry Christmas!" His inter-
pretation of the vision was quite infec-
tious, and it became necessary for the
management to turn on the lights before
the uproar that followed was quelled.

In tropical pictures we sometimes find
the heroine comfortably walking about
clad in a becoming costume seen any cold
day on Fifth Avenue, New York, while
the native populace find it difficult to
keep cool in a paucity of clothing. In the
frigid North, the heroine occasionally ap-
pears unconcernedly moving about in the
snow, thinly gowned and minus a coat,
while others close by are clad "Eskimo"
fashion to keep them from freezing.

It quite frequently happens that the
hero, having rescued his sweetheart from
a watery grave, triumphantly carries her
dripping to a waiting automobile in which
they ride "bone dry" to a safe haven of
refuge. In arid regions of the West we
find sometimes the cattle ranch sur-
rounded by an attractive fence, while in
the yard and about the premises there is
a profusion of shrubs and trees indigenous
to the Middle States, or the East.

However, these discrepancies in the mo-
tion picture are not regarded seriously by
most people, but are attributed, of course,
to a lack of knowledge, or carelessness, on
the part of an incompetent director. Nev-
ertheless, occurring frequently, they are
exceedingly harmful to the art, and can-
not be dismissed with the excuse that
they are "bent poker" incidents, or typo-
"graphical errors of the business; they are
too glaring for that, and the "discrepancy
hound," always on the alert, is quick to
grasp the significance of the situation, and
the prestige of the begetter suffers in con-
sequence.

To picturize successfully the writings of
Scott, Hugo, Dickens, Shakespeare, Thack-
eray, and scores of other inspired auth&rs
can be, with a few exceptions, but a futile
effort. The sublime expressive sentiment,
the pathos, and "technique" of these noble

Every advertisement in PH0T0PL.iVY MAGAZINE Is piaranteed.

"Dr. Kororwj^s

Photoplay Magazine — Advertising Section

What Do You Think?

(Continued)

old masterpieces of fiction would present
only an incongruous vision of the idea the
author intends to convey; hence it is by
word of mouth or reading that they are
elaborated and understood in the mental
picture so vividly drawn by these gifted
writers.

The motion picture of today is a magic
and most pleasing diversion, bringing to
the very doorstep instructive and inlcrest-
ing features, that many people could not
see or experience in any other way or
fashion.

As a scientific achievement the motion
picture stands on a firm pedestal of its
own, and any adverse criticism leveled at
it should have as little effect on its future
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123

METHOD
/V\ANICURING

It Sometimes Happens

INTO a picture show I went, to spend an
hour or two,
The lights went out, and on the screen,

there flashed upon my view —
Gazoophus Piddle Papp presents, Miss

Sassafrassa Crow,
Assisted by Jules Stoople Gunk — in — "Did

she love him? — No."
Scenario by L. Wopper Guff
Adapted from "It's all a bluff,"
Directed by Chimpazzle Chuff,
The photos by Jazz Snow.

Art titles made by Guzzle Flitt,
And ladies' hats by LoU,
The gowns by Zeetle, Zigg, and Zitt
(Their gowns are such a perfect fit)
"Vamp" shoes, "Bears" furs, that ended it,
but here's what they forgot. .

They mentioned nothing of the make,
Of collars, sox, or Christmas cake.
No word of whether Jules S. Gunk,
Packed all his wardrobe in a trunk.
No mention of the Author's wife,
Or story of their married life,
They missed a lot as can be seen,
But then scene one, came on the screen.

tm\

The Good Old Days

A THEATER manager in Milwaukee —
manager of the Alhambra — got sick
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1«

I And She ^vas a Viking's Daughter

By A. B. BERND

THREE volumes of "art" photographs
got a job for the Baroness BrunhUde
de Retz. One hundred and fifty pic-
tures of herself, posed in the flowing veil
and the glowing hair, finished in black and
white or sepia or red or mellow blue,
snapped by the most renowned camera
artists of the world, handsomely mounted
and glued in her big leather scrap-books, —
these little things urged Terry Donovan into
making the contract to which she affixed her
signature.

The Baroness was "there," Donovan
argued. Beauty and grace of form were
proved in those pictures; if she "screened"
half as we-1, a fortune awaited the producer
who signed her. With the double attraction
of a noble name
and a noble fig-
ure, she could
make even a
poor picture
profitable.

Whereupon it
was stipulated
in the bond that
she should make
one photodrama
for Donovan at
a good salary.
If he liked it,
he had the op-
tion of signing
her for a term
of years at a
four-digit sum.
She should be
starred in the
production un-
der her name of
the Baroness de
Retz. Terry,
knowing human
nature, realized
the attraction
which a title
exercises over us
democratic
Americans.

"Give me
something that's
half naked," he
said to his
scenario chief.
"Her title will
attract women
and her figure
attract men. If
her first film
succeeds, she's
made."

"I've been
working on
Ibsen's Lady
from the Sea,' "
said the chief.
"We'll play up

the ocean and beach stuff, change the name,
refuse credit to Ibsen, and magnify sex
interest. I can do it."

And he did. As "A Mother's Trial," the
feature was handed to Director Jimmy
Batty, with instructions to "make it snappy."
The Baroness, her husband, her dog, her
maid, several non-essential members of the
cast, the director, his staff, a scanty ward-
robe, and a couple of carneras, moved to
Bar Harbor. They were going to start the
aim with ocean scenes.

Three days later they were back in New
York.

"Say, she's a hunk of cheese," confided
the director's assistant as soon as he could
rush to friends in the publicity office. "Legs?
She ain't got none. Act? She never heard

She ■was descended f

the word. Brains? You could put 'em in
your eye. But nerve, — well, that's all she
has got."

Under a rapid fire of questions from edi-
tors, writers, stenographers and office boys,
he told his story:

No one had asked the Baroness whether
she could swim. When she made no objec-
tion to the story offered her, natatorial
ability was taken for granted. On the first
day of filming, she was instructed to dive
from a rock into the ocean. It was the
sort of thing any seashore child could have
done. And the Baroness Brunhilde de Retz
was said to be descended from a long line
of Scandinavian sea-rovers. (Her scrap-
books announced that the Baron had pro-
posed o'er the
grave of the
melancholy
Dane.)

Without ob-
jection Brun-
hilde dived.
Rather, she
jumped; for the
most amateur
Kel Hermann
would have been
shamed at such
a leap. She
struck the water,
cameras grind-
ing. She dis-
appeared. A
moment later,
she came up,
gasping for
breath, and cry-
ing to those on
shore. They
didn't under-
stand. She went
down again.
When she came
up, almost sense-
less, the Baron
himself leapt in,
seized her and
dragged her to
safety.

Then the truth
appeared. She
could not swim.
"I won't
change the pic-
t u r e," said
Donovan when
he heard the
story. "We'll
teach her to
swim. She'll
need to know it
for other fea-
tures."

Palisades
A m usement
Park was not far from the Fort Lee studio.
To it, the Baroness began going each morn-
ing. An instructor taught her the gentle art
of keeping afloat. In the afternoons, she
worked before the camera on indoor scenes.
The ocean episodes were postponed until the
last.

One afternoon, Donovan walked into the
projection room to see some of the work
she had done. He came out wild-eyed.

"Where is her beautiful figure?" he wailed.
"Where is the grace and charm she showed
in her scrap-books?"

He found the answer when he saw the
books again. The retoucher's pencil had
aided. Ugly lines had given , place to
luxurious curves; bony ankles had been
filled out ; a close scrutiny revealed how the

rom a Ion

long li

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MARQUETTE BLDC, CHICAGO

TOPLAY M.\GAZINE — AoVHin ISING SECTION

And She Was a Viking's
Daughter

(Continued)

photographer's artist had made beauty grow
where there was none. Donovan began to
think that the Baroness would not be the
enormous success he had hoped.

Then came the climax. Publicity depart-
ment had been busy for weeks preparing
elaborate press books on "A Mother's Trial."
They had emphasized the highly titled lady
who played its leading role. The first coi:)y
of an expensive advertising sheet lay on the
editor's desk when the Baron and his wife
entered the office.
They looked at it.

" 'Donovan Films, Inc., present the
BARONESS DE RETZ in "A Mother's
Trial,"'" they read; and immediately re-
tired to a corner for consultation.

"You musn't say that," cried the Baron
to the editor. "Don't call her 'Baroness.'
We don't like to commercialize our title.
Call her 'Brunhilde,' and omit 'Baroness.' "
"Sorry," said the editor. "Orders. From
the front office. You'll have to see Dono-
van."

Which they did. They saw him for two
solid hours, two golden hours during which
various press sheets were being printed
which were later to be destroyed. At the
end of that time, Baron and Baroness took
the elevator to the street. Terry Donovan
burst into the publicity office. Because he
had shifted his quid of tobacco from left
jaw to right, the editor knew he was angry.
"Tear up all your copy on 'A Mother's
Trial,' " he stormed. "If you've printed
anything, throw it away. I'll send you
down new billing."

In the calmer hours, it came.
"Donovan Films, Inc., present 'A Moth-
er's Trial,' with Warren Grande and an
all-star cast."

Furthermore orders stipulated that all

mention of the Baroness was to be deleted

and all pictures of her thrown out. In the

cast of characters she was to be mentioned

merely as 'Brunhilde.' No other reference

was to be made.

"Warren Grande?" the director's assistant

I said when asked about h'm. "Oh, he's

some unimportant slob that plays in three

I or four scenes. Of course there ain't no stars

: in the thing. The biggest part is played by

the Baroness.

"Only she ain't a Baroness. She got
scared when she saw it printed in your
advertising book. She was a Swede servant
girl and her husband was a life saver at
Coney Island. Sure, Donovan knew it all
the time."

uestions and Answers

(Continued)

Marie, Canada. — House Peters is still in
pictures. His recent release was "Love,
Honor and Obey" in which he starred.
Address Brunton Studio, Los Angeles, CaL
Elsie Ferguson is thirty-seven and married
to a man in private life. Ah, Marie, thank
you for your expression of love. I am
quite, quite fussed. I know not ze French.

M. L., Pittsburgh. — Your Irishman, Eu-
gene O'Brien, was born in Denver — but
write to him anyway. If one went to Fort
Lee would one meet the film stars? I don't
know about stars — but I do know -about
ferries, and rocky roads, and slow street-
cars— I went to Fort Lee once. O'Brien,
Selznick, 72Q Seventh Avenue, New York
City.

"We Must Fly To-Night'

Out of a deep sleep he woke her. She
thought she knew him so well. Vet now,
ai two in the morning, he burst on her
with this terror— iliismystery—thiswhat?

It's the beginning of one of the best
mysteries ever solved by the great
detective.

CRAIG KENltfiDY

^^19 American SherlochUci\-:is -' \

_ ^ ARTHUR B.REEVE

lie is the detective genius of our age.
He has taken science — science that
stands for this age — and allied it to
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every bit of the plot is worked out scien-
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Occupation Photo 6-20

When you write to advertisers please nuiition PHOTOPI^Y MAGAZINE,

126

Photoplay Magazine — Advertising Section

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Questions and Answers

(Contitmed)

Golden Glow. — Elsie Ferguson is married
to Thomas B. Clark, Jr. He is not of the
theatre or film world. I can't account for
that wistful expression except that she is
a deep thinker in life, and all deep tliinkers
are inclined to be wistful. Life's a hard
nut to crack. Elliot Dejrter has been ill,
but he's now in great shape and coming
back to the screen. I side-step expressing
opinions about lovely ladies. Let me out
on this, won't you, golden glow?

S. B., Manila. — Hebe Daniels is not mar-
ried. I'm all with you in your admira-
tion. Nor is Pearl White married. She
never told the old Answer Man her age.
Suppose you write her at Bayside, Long
Island, and ask her? It isn't a case of who
is the most beautiful actress; rather, it's
who are the most beautiful actresses.

S. B., England. — Come, come — you don't
really expect me to remember you when you
identify yourself simply and solely as "the
young lady who wrote you a month ago
asking about Sessue Hayakawa." The Japa-
nese actor is a good deal more sought-after
than you would seem to imply. He was
born in Nippon and educated both in his
native country and in America. He is mar-
ried to Tsuru Aoki, the charming little
Universal star. Hayakawa is an intelligent
tnd well-read man, I hear, and takes an
interest in music and other arts besides his
own profession. I don't know him per-
sonally. Thanks for wishing Photoplay con-
tinued popularity. Same to you.

D| ICU Address J. H. Bush, President, Oept.'^'O
lO W w n MOTOR CO., Busti temple. Chicago. IllUioIa

M. L. S., Ind. — Yes, a third sister is
Natalie. She is going to have an important
part with Constance in "The Love Expert."
In answer to what you ask about Norma, I
would say most emphatically "Rather not."
She'll enhance the screen for an aeon to
come, we hope. I don't know how he has
escaped, but Eugene O'Brien is not married.
Harrison Ford is divorced.

M. Ruby S., Enid. — Almost every play
has its dope-fiend. We might call him, if
wc care to be facetious, the playwrights'
protest against prohibition. After asking
me about two dozen questions about the
lady, you confide to me that you are simply
crazy about Norma Talmadge. Kitty Gor-
don's play, "Lady Kitty, Inc.," didn't get
very far; it failed. You cannot have my
picture.

Mary Carr, Ann Arbor. — Your letters
always cheer me; you are a delightful —
writer, at any rate. I should certainly follow
my artistic talents if I were you, Mary.
If a man can build a better mouse-trap — you
know the rest. But I am sure I would
never get well if you were administering to
me in your dainty cap and apron. Let me
know which you decide to be: if a nurse,
I'll get sick immediately. If an artist — I'll
start a new magazine and buy all your stuff.
Please write to me soon again.

Jessie, Toronto. — That was Jim Kirk-
wood you liked so well in "The Eagle's
Mate" with Mary Pickford. Jim is a fine
upstanding Irishman; he has the leading
role of the Irish shoe-maker in "The Luck
of the Irish," the Allan Dwan production,
and he may be seen soon in Goldwyn's
"The Branding Iron." Kirkwood is as good
a director as he is an actor, but he is
always so much in demand as a leading
man, he doesn't have much time to handle
a megaphone. He directed "The Eagle's
Mate," too, you know; also Mary's "Be-
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Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine— Advehhsing Section

Questions and Answers

(CotUmued)

The Mystic Rose. — I never heard of
Eugene pronouncing his last name as they
pronounce potatoes in fashionable restaurants,
"0-bri-enne." However, I suppose it can
be done. I certainly think your getting
two photographs and a personal letter each
from Mary Pickford and Charles Chaplin is
good and sufficient proof of your prowess
with the pen. But then I didn't need any
proof. Pearl While has several cars of her
own. I know this is so, although I have
never had a ride in any of them. (Adv.)
As to your question: when any gossip re-
peats a slanderous story, / — stare her — or
him into silence. Try it sometime. Don't
stay away so long, again.

W.WNE Edson, Ogden, Utah.— Don't
worry about your letter not being friendly
enough. Most of them are too deuced
friendly to suit me. I weary of the eternal
"Sweet Rips" and "Old Dears." Gladys
Brockwell in "Flames of the Flesh." I note
your suggestion about her. Write to our
Circulation Department in Chicago for that
information.

Helen J., Montgomery, Alabama. — My
dear child — you are most disturbing ! Hon-
estly I don't write books. Call me any-
thing you like; say I am a hopeless low-
brow who wears glasses and pink shirts and
green ties; but, for Shakespeare's sakes,
don't accuse me of being an author. So,
you saw Jean Sothern in vaudcvil e and
■you want a great big darling picture of
her in the art section. That's up to the
editor. You'll get your Jack Holt prayer
answered in this issue.

RowENA, L. I. — Where is Ivanhoe? I
don't see why some enterprising producer
doesn't recreate this Walter Scott romance;
it is very adaptable to the screen. We
have a series of fashion articles by Norma
Talmadge, beginning in this issue. The Elsie
Ferguson story on "Good Taste and Clothes"
was not a part of the regular fashion de-
partment inaugurated by Miss Talmadge.
Norma is, I believe, generally considered the
best-dressed star on the screen. I don't
know much about such things, but Norma
always looks good to me.

Dorothy June, Ohio. — The longest dinner
party I ever heard of was one given by a
monarch of France and which consisted of
1 60 courses. I believe this was Louis XIV.
Nowadays, we eat a little and dance a little;
then eat a little and dance some more. I
never get enough to eat. Niles Welch is
married to Dell Boone, who sometimes ap-
pears in pictures. Mabel Normand is not
and never has been married. Mabel's latest
is "The Slim Princess."

Gwendolyn, Chicago. — I am not staying
awake nights worrying about whether we'll
be able to communicate with Mars. If it
were Venus, now — Conway Tearle is to be
starred by a California company ; his wife
is Adele Rowland, at present appearing on
the New York stage in "Irene," which
musical comedy role Edith Day created.

Irene, Newton, Mass. — I have seen John
Barrymore in "Richard III." He gives an
impressive performance. But as one critic
rt^marked, "I enjoyed the first five hours of
Richard." It's an exceedingly long play.
Pearl White questions answered elsewhere.

M. v., Newark. — You ask if Mary P'ck-
ford didn't take off two parts in "Stella
Maris" and, presuming that you mean did
'^he play two roles, my answer is yes.

■€:

JSM^:

j'^m

wl - -.,

Scenes from the Universal Feature Film **He€ids Win/**

"Heads Win!

»♦

platfc

Traffic jammed at the rush hour! Crowds thronging station
orms! A mile of stalled trains! The swing-bridge would not
close and all because down in the power house something had gone
wrong and nobody knew what — until Jim came to the rescue.

Each night thousands are seeing unfolded on the screen the thrilling story
of Jim Godfrey, who, in the hours after supper, with the help of the Inter-
national Correspondence Schools, had put a trained head on his shoulders
—a head that knew what to do in an emergency.

There are thousands of Jims in real life. You will find them in offices, shops, stores, fac-
tories, in mines and on railroads. For in every city and town and in every line of industry
there are men who have gained in spare moments, with I. C. S. help, special training in the

work of their choice. | t««h out hcrx ^^ — —kh

There are men like Jesse G. Vincent, who I INTERNATIONAL CORRESPONDENCE SCHOOLS

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rose from a toolmaker's apprentice to invent
or of the Liberty Motor; rien like Joseph G.
Tynan, the laborer who ijecame the world's
greatest ship builder; men like Robert E.
Ramsay, the clerk who became editor of Ad-
veriising and Selling. There are carpenters'
helpers who became architects, bookkeepers
who became general managers, men and bnys
who rose from nothing at all to responsible
positions at splendid salaries.

It's simply a question of training. Your hands
can't earn the money you need, but your head nin
ityou'Ugiveit the chance. "Heads win" every time!

More than two million men and women in the last
28 years have let the I.C. S. heipthem win better jobs,
make more money, enj 3y happier homes. Over one
hundred thousand right now are turning their spare
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Can you still go on, putting in your days at the
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It is easily possible for you to have the position
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Telephone Work
UEOIIANICALENtllNEKU
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Toolmaker
Gas Engine Operating
CIVIL ENGINEER
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MINE ^•0ll^,»lA^orEly(^•ll

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Ship Draftsman
ARCHITECT

S Contractor and Knlldcr
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D Concrete Builder
Structural Engineer
PMJHIIIMI ASU IlElTINe
Sheet Metal Worker
T«xtll(« OverBeerorSiiDt.
(IIIEMIST

O Navigation

□ Window Triramer

a Show Cord Writer

QSign Pointer

G Railroad Trainman

D ILLUSTRATING

Q Cartooning

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Q Private Secretary

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D TRAFFIC MANAGER

8 Railway Accounlaot
Commercial Law
nGOOD ENGLISH
Q Teacher

Qrommon School Sabjaeta
n Mathematics
D CIVIL SERVICE
a Railway Mail Clerk
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a Ante llipairlni; ■P^'paiilik
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128

Photoplay Magazine — Advertising Section

Cupid says: "''Secure a Satin SkirC^

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satin skin. The secret of a satin your skin. Bestows refined fairness,

skin is found in Satirr Skin Cream a "smart" well groomed appear-

(Cold or Greaseless), an essence of ance. The best party and theatre

perfuming flowers, healing herbal powder, because it stays on. Satin

extracts, beautifying balsams. You Skin is stunning in street effect, neu-

can make your skin a smooth, satin tralizing the brightness of day and

skin, free from blemish, add to your sunlight, with a satiny soft glow,

attractiveness, comfort and charm. Made in five finest shades: Flesh,

by daily using Satin Skin Cream. white, pink, brunette, naturelle.

I. At night apply Satin Skin Cold Cream to wet skin.

II. Day and evening use Satin Skin Greaseless Cream.

III. Satin Skin Powder gives satiny finish. Choice of 5 tints:

Sold at hading toilet counters. SATIN SKIN LABORATORY. Mnfr., Detroit. U.S. A.

• It takes you right into filmland — where pictures
, are made! You can watch the stars at work
- and at play — at home and in the studio— in the

A Gate Through the Magic Screen

Photoplay Magazine Screen Supplement!

Ask your nearest theatre manager ivhen he will shoiv the Suoplement.

SAVE YOUR BODY

Conserve Your Health and Efficiency First

**I Would Not Part Witli It lor $10,000"

So writes an enthusiastic, grateful customer. "Worth more than a farm,"
says another. In like manner testify over 100,000 people who have worn it.

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Questions and Answers

(Concluded)
Mercia, Sioux City. — There's a woman
in almost every case — that is, watch case.
We do not answer questions about religion.
Ethel and Marguerite Clayton are not re-
lated. Clarine Seymour, Griffith studios,
Mamaroneck. Ethel Clayton, Lasky studios,
Hollywood.

B. Lamb, Hayward, Cal. — Where can you
go to learn all about how to become a movie
star? I don't know, little Lamb.

Lois, OF Idaho. — Why, the largest air-
plane I have heard of, carries one hundred
passengers. I have been up, but only once,
and we didn't do any spiral twisting oi
nose-diving or looping the loop, so I might
just as well have spared the aviator his
trouble, and gone to see "The Great Air
Robbery" again. Robert Ellis, now a di-
rector with Ollie Thomas in "The Spite
Bride." Nazimova has no children. Grace
Cunard has come back — again — in a series
of two-reel comedies. Yep — I know Antonio
Moreno. He's one of the most eligible young
stars on the screen — but he's very elusive,
Tony is.

Mary B., Carson, Iowa. — I haven't even
been able to buy myself a new necktie this
spring. I have been so harassed by collec-
tions oi various sorts. I have sympathy for
the needy, I assure you — in fact, have
nothing but sympathy for them. Priscilla
Dean is married to Wheeler Oakman; Tom
Mix to Victoria Forde, daughter of Eugenie.
George Walsh was married to Seena Owen;
they have a little girl. Divorced. R. A.
Walsh is Miriam Cooper's husband — Miriam,
the dusky "Evangeline" and "The Friendless
One" of Griffith's "Intolerance."

Susie, Victor, Col. — What do you mean
— will I "let a stranger ask a few questions?"
Do you honestly think I am personally
acquainted with ■ everyone who writes to
me? I'd like to be, but I really haven't
the time. William S. Hart isn't, has no inten-
tions of being, and never was married. I
am very sure he will send you his photo-
graph. He writes books in addition to
scenarios. His newest screen story, "The
Toll Gate," which Photoplay carried in fic-
tion form, is by Hart and his director
Lambert Hillyer.

Frances Brawn er, Hopkinsville. — ^You
ask me if I can detect any signs of genius
in your handwriting. My dear girl, I am
not a detective, but an Answer Man. Anita
Stewart, who is Mrs. Rudolph Cameron in
private life, lives with her husband, her
mother, and her younger brother George, in
a nice home in a mountain-top within motor-
ing distance of Los Angeles. Brother George,
by the way, has been doing a picture with
Douglas Fairbanks. Cameron played in a
Vitagraph picture or two with his wife; he is
now her business manager. Constance Tal-
madre has her own company, working at
the Talmadge studios, which she shares with
sister Norma. Joseph Schenck, Norma's
husband, manages both the girls, but they
release their pictures through First National.
Now I hope I've told you everything you
were thirsting to know. I'm glad I can do
something in that direction — not many
thirsts are quenched these days.

M. Betty A., Cairo. — I have heard the
song and tasted the corn-syrup, but I have
never been in Cairo, Illinois. I see I shall
— now that I have heard from you — have to
mend my ways. I can't answer your ques-
tion; I'd advise you to write to the Post-
master, Los Angeles, California.

Every advertisement in PHOTOPLAT MAGAZINE is guaranteed.

Photoplay MA(iAziNE — Aunkhiising Secikjn

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\^t-ict-in 0..nl:<-.T of Wurlitzer instruments is known
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This outfit offer includes genuine Wurlitzer instruments.

Every known sttinged instrument or'wind instrument
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Send for New Catalog
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Every instrument known illustrated and described, with
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Free trial blank comes with it. Catalog is FREE. There
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I30

Photoplay Magazine— Advertising Section

KODAK

as you go

If it isn^t an Eastman^ it isn^t a Kodak.
Eastman Kodak Company, Rochester, N.Y., The Kodak City

Every advertisement in IMIOTOPLAY MAGAZINE is guaranteed.

heXOriahed and Towdered

Fashion's Every Demand

for Colorful Lingerie

May Be Gratified

Never have the shops been so ablaze with
color. Every last detail of milady's apparel is
gorgeous with pinks, blues, yellows and reds.
1 o be in fashion one simply must be in color.
Yet, so much of one's wardrobe in the past has
been m white. These white pieces— they too
may be given the subtle touch of charming
color effects.

That dainty camisole, that demure night
dress, that shimmery blouse, may be -washed
any color of your heart's desire. A rare bit of
magic It may seem— yet with Ric you may
revel in the colors so in vogue among
women who first reflect the subtle
charm of Paris.

And the beauty of it is, Rit is so
convenient to use.

No Fuss, No Muss-
just -wash and the "Rit"-ing is done.
What need you care if lingerie in the
season's fashionable shades is not
available. Just use Rit. and wonder
of wonders— that choice bit of apparel
is washed into a joyous creation of
most approved color.

All the soft, elusive shades so win-
ningly described in your favorite mag-
azine are aaually yours with Rit.

From yeils to stockings Rit may
be used -with perfect confidence.
IVonderfully satisfying are its
results.

Silk sweaters, lingerie,
frocks^ even corsets, may
enjoy the subtle cha m of
the season 's newest shades.
S'mply ■wah ihem -with
Rit, and lo! the magic is
done. Rit makes possible
perfect color harmony
throughout your entire
costume.

^
^

There is an irresistible charm
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Many million women are using
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satisfaction. In fact, many,
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No staining of hands or
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gratifying to note that while
the colors are fast— Rit does
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All good stores carry Rit for
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From sheerest
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Lovely f inks, dainty
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even black, are the Rit
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New Life for Old Friends

Part of the c'.iarm of using Rit is the thrill
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Rit proves equally si ccessful with evr,
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after being "Rit"-ed that the joy of
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Never say (lye- say

TRADE MARK R.ECrrTC(l(-0 UT PATENT O'nCL.

Sunbeam Chemical Company

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