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Scanned  from  the  collection  of 
Karl  Thiede 


Coordinated  by  the 

Media  History  Digital  Library 

www.mediahistoryproject.org 


Funded  by  an  anonymous  donation 
in  memory  of  Carolyn  Hauer 


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Digitized  by  the  Internet  Archive 

in  2012  with  funding  from  * 

Media  History  Digital  Library 


http://archive.org/details/photoplayvolume448chic 


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JULY 

25   CENTS 


JOAN 
BENNETT 

BY 
TCHETCHET 


LYING  the     HONtfMOON  EXPRESS 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


ft" 


Lnkwhat  jou've  done, 

Joan  Bennett! 


YOU'VE   GIVEN   ME   A  JEALOUS   HUSBAND 


IM  AND  I  HAVE 
BEEN  MARRIED 
SIX  YEARS  AND 
I  THOUGHT  HIS 
INDIFFERENCE 
WAS JUST BECAUSE 
WE  WERE  GETTING 
'SETTLED  DOWN'.  .  I  D/Da/T 
SUSPECT  THE  REAL  REASON 
UNTIL  JOAN  BENNETT,  WHO'D 
BEEN  A  FRIEND  OF  MINE  AT 
SCHOOL,  CAME  TO  SPEND  A 
WEEK-END  WITH  US, 

AND-- 


JANE.YOUVE  BEEN  GETTING 
YOUNGER  AND  PRETTIER  EVER 
SINCE  JOAN  BENNETT  WAS  HERE 
WHAT  DID  SHE  DO  TO  YOU? 


YOURE  AS  SLIM 
AND  LOVELY  AS 
YOUR  PICTURES, 
JOAN 


SPEAKING  OF  PERFECT 
FIGURES,  JOAN,  YOU'RE 
GOING  TO  BE  THE   MOST 
UNPOPULAR  GIRL  IN  TOWN" 
WITH  THE  WIVES. 


IDIDNT  DREAM 
JIM  EVER  NOTICED 
FIGURES,  JOAN. 
WHAT  HE  MUST 


MY  DEAR,  ALL  MEN  NOTICE  FIGURES. 
BUT  CHEER  UP,  ILL  TEACH  YOU  THE 
HOLLYWOOD  HABIT  THATSO  MANY 
FAMOUS  STARS  USE 


SERVE    RY-KRISP 
WITH    GREEN    SALADS 

...  for  instance,  a  shining  green 
pepper  — piled  high  with  cole 
slaw  flecked  with  scarlet  pi- 
mento. Or  tossed  lerruce  — or 
a  mixture  of  crisp  vegetables. 


"GET  THE  HOLLYWOOD  HABIT-EXERCISE  REGULARLY,  EAT  SENSIBLY,  USE  RY-KRISP  INSTEAD  OF  HEAVY,  STARCHY  FOODS-WATCH  YOUR  WAISTLINE  WASTE  AWAY 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


Mefro-Goldwyn- Mayer  presents    the  season's  gayest  romance  adapted 
from  New  York's  laughing  stage  hit! 


JOAN 


ROBERT 


CRAWFORD  MONTGOMERY 

NO  MORE  LADIES 


with 


CHARLIE  WIGGLES  •  FRANCHOT  TONE  •  EDNA  MAY  OLIVER 


Directed  by  Edward  H.  Griffith 


WINNERS    OF    PHOTOPLAY 

MAGAZINE    GOLD    MEDAL 

FOR  THE  BEST  PICTURE  OF 

THE  YEAR 

1920 
"HUMORESQUE" 

1921 
"TOL'ABLE  DAVID" 

1922 

"ROBIN  HOOD" 

1923 

"THE  COVERED  WAGON" 

1924 

"ABRAHAM  LINCOLN" 

1925 

"THE  BIG  PARADE" 

1926 

"BEAU  GESTE" 

1927 
"7th  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

"ALL  QUIET  ON  THE 

WESTERN  FRONT" 

1931 

"CIMARRON" 

1932 

'SMILIN'  THROUGH" 

1933 

"LITTLE  WOMEN" 


PUBLISHED  MONTHLY  BY 

MACFADDEN  PUBLICATIONS,  INC. 

BERNARR  MACFADDEN,  PRESIDENT 

IRENE  T.  KENNEDY,  TREASURER 

WESLEY  F.  PAPE,  SECRETARY 

PUBLISHING  OFFICE 

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BUSINESS  AND  EDITORIAL  OFFICES 

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ATLAS    PUBLISHING    COMPANY, 

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ILL.,    UNDER   THE    ACT   OF    MARCH    3,    1879. 

COPYRIGHT,  1935    BY 
MACFADDEN  PUBLICATIONS,  INC.,  NEW  YORK 


PHOTOPLAY 

THE    ARISTOCRAT     OF    MOTION     PICTURE     MAGAZINES 

KATHRYN     DOUGHERTY,     EDITOR 

W.  T.  WALSH,  MANAGING  EDITOR 
IVAN       ST.       JOHNS,        WESTERN        EDITOR 
WALLACE     HAMILTON     CAMPBELL,     ART     EDITOR 


VOL.  XLVIM    NO.  1 


JULY,    1935 


HIGH-LIGHTS       OF       THIS       ISSUE 

Close-Ups  and  Long-Shots  .      .       Kathryn  Dougherty  21 

And  Now  There  Is  Al  Jolson,  Jr.   .            Radie  Harris  24 

Flying  the     Honeymoon  Express   .       Kirtley  Baskette  26 

What  Is  Dietrich's  Destiny?  Warren  Reeve  29 
You  Can't  Get  On  These  Sets!  .32 
The  Ladies  Say,  "He's  Got  What  It  Takes!" 

Frederick  L.  Collins  34 

Heart-Break  Houses                         ...  Ruth  Rankin  36 

Cal  York's  Gossip  of  Hollywood 40 

Happiness  For  Every  Type  of  Girl      .     .      .      .Sylvia  44 

The  Rancho  In  the  Mountains 46 

Don't  Love  Me  (Part  V) 49 

Photoplay  Fashions Courtenay  Marvin  53 

What  Was  the  Best  Picture  of  1934? 66 

Burning  the  Bright  Lights  With  Mitzi     Mitzi  Cummings  72 

Photoplay's  Hollywood  Beauty  Shop 

Carolyn  Van  Wyck  74 

PHOTOPLAY'S       FAMOUS       REVIEWS 


Brief  Reviews  of  Current  Pictures 
The  Shadow  Stage    .... 


PERSONALITIES 

Diamond  Jim  Comes  Back  .  .  Charles  Darnton 
The  Rise  of  Randolph  Scott  ....  Ellen  Grant 
"I  Want  To  Be  a  Clown"     ....  Mildred  Mastin 

Time  Out  For  Twins Reginald  Taviner 

The  Trackwalker  Who  Was  Knighted 

William  A.  Ulman,  Jr. 

On  the  Cover,  Joan  Bennett,  Painted  by  Tchetchet 


8 
68 


30 
39 
48 
65 

67 


INFORMATION       AND        SERVICE 

Letters 6 

Ask  the  Answer  Man 78 

Hollywood  Menus 80 

Screen  Memories  from  Photoplay 113 

The  Fan  Club  Corner 116 

Casts  of  Current  Photoplays 117 

Addresses  of  the  Stars 1 


Eugene  Robert  Richee 


I  HIS  picture  will  probably  inspire  all  girls  who  see  it  to  go  out  and 
buy  Roman-striped  scarves  to  tie  around  their  heads.  And  if  you 
have  red-gold  fly-away  curls  like  Elissa  Landi's,  and  that  same  come- 
hither  twinkle,  plus  a  peach-and-white  skin,  it's  sure  to  be  a  success 


PHOTOPLAY  MAGAZINE  FOR  JULY,   1935 


the  new  Grace   Moore   picturel 


Letters 


It's  the  movie-going  public  who  determines 
the  trend  of  the  screen.  Letters  you  write 
today  will  affect  the  pictures  of  tomorrow 


Bette  Davis  enjoys 
a  smoke  on  the  set 
between  scenes  of 
her  latest  Warner 
picture,  "The  Girl 
from    10th   Avenue" 


ON  SONG  HITS 


I  WONDER  why  song  hits  from  current  mo- 
tion pictures  are  allowed  to  be  broadcast 
over  the  radio  long  before  the  pictures  are  re- 
leased to  the  general  public?  I  believe  most  of 
us  would  enjoy  our  movies  more  if  we  were 
greeted  by  fresh,  new  songs  instead  of  worn- 
out  tunes  that  have  already  become  daily 
nuisances. 

Bertha  Lambert,  San  Jacinto,  Calif. 

COMEDIAN  RAINS 

IT  was  a  pleasant  surprise  to  find  that  Claude 
Rains  has  a  natural  flair  for  subtle  comedy.  I 
have  never  seen  a  finer  performance  on  the 
screen  than  the  one  he  gave  in  "The  Man  Who 
Reclaimed  His  Head."    For  real  acting,  he  un- 


doubtedly is  number  one  While  admitting 
he  was  perfect  in  "Crime  Without  Passion," 
and  "Edwin  Drood,"  I  would  prefer  to  see  a 
man  with  such  an  evident  sense  of  humor  in 
less  morbid  parts. 

C.  W.,  Albany   New  York 

THE  BRAVEST  ACTRESS 

I  SALUTE  the  bravest  actress  of  all  cinema 
land,  the  screen's  best  "bad  girl" — Bette 
Davis.  From  sweet,  young  innocents  to 
spirited,  dynamite  devils;  from  dear  little  sis- 
ters to  acid-in-your  face  portrayals  are  dan- 
gerous steps  to  take.  But  this  young  actress 
has  bridged  the  wide  gap  successfully. 

Yet,  one  wonders  if  such  vicious  roles,  no 
matter  how  brilliantly  acted,  will  poison  her 
chances  for  permanent  screen  stardom.     Will 


the  public  cherish  an  interesting  villainess  as  a 
screen  favorite? 

Anyhow,  hats  off  to  Bette  Davis,  courageous 
trouper  and  great   actress! 

Jack  Long,  Oak  Grove,  Missouri 

TO  THE  STUDIOS 

A  WORD  in  appreciation  of  the  recent  fine 
efforts  of  the  studios  to  make  pictures 
which  escape  the  wrath  of  the  censors  and  at 
the  same  time  remain  interesting  and  enter 
taining. 

Notable  among  these  are  "David  Copper 
field,"  "Lives  of  a  Bengal  Lancer."  and  "The 
Little  Colonel."  They  are  three  of  the  best 
pictures  that  ever  came  out  of  Hollywood,  rely 
ing  neither  upon  sex  nor  unwholesome  situa 
tions,  containing  not  one  thing  to  which  the 
most  discriminating  movie-goer  could  object 
Mabel  K.  Retd,  Lafayette,  Rhode  Island 

NELSON  EDDY 

IT  seems  that  college  students  enjoy  semi 
'classical  pictures  such  as  "Naughty  Mar- 
ietta." But  Nelson  Eddy,  the  "bellering  bari 
tone"  and  wise-cracking  captain  was  subject 
to  boos. 

Had  not  Frank  Morgan  been  there  to  dis 
play  his  wonderful  acting,  most  people  would 
have  fallen  asleep.  Jeanette  MacDonald's 
acting  was  also  wonderful. 

Joe  Giacoletti,  Indiana  University,  Ind. 
[  please  turn  to  page  12  1 


George  Murphy  and  an  Albertina 
Rasch  dancer  practice  a  step  for 
"After  the  Dance."  His  mask  keeps 
the     girl's     mind     on     her     dancing 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


TILL 


^ADORER 


LlSTERINE  halts  halitosis  (bad  breath) 
Deodorizes  Longer 


THE  years  are  adding  up  .  .  .  soon 
their  children  will  be  grown  .  .  .  yet 
he  is  still  her  adorer  .  .  .  she  holds  him 
as  completely  as  when  they  were  first 
married.    More   women    should    know 

her  secret. 

*     *     *     * 

How  wise  is  the  woman  who  realizes  the 
importance  of  keeping  the  breath  al- 
ways sweet,  wholesome  and  agreeable! 
After  all,  nothing  mars  a  personal  re- 
lationship like  halitosis  (bad  breath) 
whether  occasional  or  habitual.  It  is 
ridiculously  easy  to  keep  the  breath 
inoffensive.  Simply  use  Listerine,  that's 
all — a  little  in  the  morning,  a  little  at 
night,  and  between  times  before  social 
engagements.  Listerine  instantly  halts 
halitosis;  deodorizes  longer  than  ordi- 
nary non-antiseptic  mouth  washes. 
Keep  a  bottle  handy  in  home  and  office. 
Lambert  Pharmacal  Co.,  St.  Louis,  Mo. 


BRIEF  REVIEWS 

OF      CURRENT      PICTURES 

CONSULT  THIS  PICTURE 
SHOPPING  GUIDE  AND  SAVE 
YOUR    TIME,    MONEY   AND    DISPOSITION 

•  INDICATES      PICTURE      WAS      NAMED      AS      ONE     OF     THE     BEST     UPON     ITS     MONTH     OF     REVIEW 


AFTER  OFFICE  HOURS  —  M-G-M. -Smart 
lines  and  clever  situations,  with  Constance  Bennett 
as  the  would-be  reporter  in  satin  trains  and  furbelows, 
and  Clark  Gable  her  hard-boiled  managing  editor. 
(Apr.) 

ALL  THE  KING'S  HORSES— Paramount.— An 
entertaining  but  familiar  story  of  the  king  and  the 
commoner  who  look  alike  and  change  places.  Carl 
Brisson  is  charming,  and  Mary  Ellis,  in  her  screen 
debut,  delightful.      (May) 

ANNE    OF    GREEN    GABLES— RKO-Radio.— 

Romance,  humor,  pathos  suitable  for  the  whole 
family  in  this  story  of  the  orphan  (Anne  Shirley) 
adopted  by  O.  P.  Heggie  and  his  sister.  Helen 
Westley.    (Jan.) 

AUTUMN  CROCUS— Associated  Talking  Pic- 
tures.— A  schoolmistress  (Fay  Compton),  touring 
the  Alps,  falls  in  love  with  a  young  inn-keeper  (Ivor 
Novello)  before  she  learns  he's  married.  A  little  slow. 
but  beautifully  done.  (Jan.) 

•  BABBITT— First  National. — Sinclair  Lewis 
famous  novel  brought  to  the  screen  with  Guy 
Kibbee  excellent  in  the  title  role.  Aline  MacMahon 
good  as  his  wife.    (Feb.) 

•  BABES  IN  TOYLAND— Hal  Roach-M-G- 
M. — A  -delight  for  the  kiddies,  fun  for  the 
grown-ups,  this  screen  version  of  Victor  Herbert's 
Nursery  Rhyme  classic,  with  Stan  Laurel  and  Oliver 
Hardy.     (Feb.) 

BABY     FACE     HARRINGTON— M-G-M— An 

amusing  enough  little  picture  with  Charles  Butter- 
worth  as  the  timid  soul  mistaken  for  a  big-shot 
gangster.  Una  Merkel,  Nat  Pendleton,  Donald 
Meek.   (June) 

BAND  PLAYS  ON,  THE— M-G-M —Essentially 
the  old  rah-rah  collegiate  stuff,  with  the  touchdown 
on  the  last  gun.  Good  performances  by  Robert 
Young,  Stu  Erwinand  Betty  Furness.  (March) 

BATTLE,  THE— Leon  Garganoff  Prod.— A  pic 
lure  of  enormous  power,  with  Charles  Boyer  as  a 
Japanese  naval  officer  who  is  willing  to  sacrifice  his 
beautiful  wife,  Merle  Oberon,  to  obtain  war  secrets 
from  an  English  attache.  Superb  direction  and 
photography.     (Feb.) 

BEHOLD  MY  WIFE— Paramount.— Old  time 
hokum,  but  you'll  like  it,  for  Sylvia  Sidney  is  beau- 
tiful as  the  Indian  Princess  and  Gene  Raymond  is 
top-notch  as  the  man  who  marries  her  to  spite  his 
family.     (Feb.) 

BEST  MAN  WINS,  THE— Columbia.— An  inter- 
esting film  with  Jack  Holt,  Edmund  Lowe  and  Flor- 
ence Rice  for  romance,  underseas  adventures  for 
excitement  and  Bela  Lugosi  as  a  menace.     (March) 

BIOGRAPHY  OF  A  BACHELOR  GIRL— M-G- 

M. — Ann  Harding  as  you  like  her  best,  in  a  bright, 
sophisticated  film.  Robert  Montgomery,  Una  Mer- 
kel, Eddie  Horton,  Edward  Arnold  and  Charles 
Richman  make  it  a  grand  cast.    (March) 

•  BLACK  FURY— First  National.— A  saga  of 
the  coal  mines  presenting  with  intense  realism 
and  power  the  elemental  problems  of  the  miners. 
Paul  Muni  gives  a  memorable  performance,  and 
Karen   Morley   lends  excellent   support.      (June) 

BORDERTOWN  —  Warners.— Outstanding  per- 
formances by  Bette  Davis  and  Paul  Muni  make  this 
one  worthwhile.  The  story  is  of  the  bitter  disil- 
lusionment of  a  young  attorney  who  loses  his  first 
case,  then  falls  prey  to  the  schemings  of  a  jealous 
woman.  Not  altogether  pleasant,  but  gripping. 
(Apr.) 

•  BRIGHT  EYES  — Fox.— A  bright  bit  of 
entertainment  with  sad  moments  and  glad 
moments  and  little  Shirley  Temple  in  the  stellar  role. 
Jimmy  Dunn  is  her  starring  partner.  Good  support- 
ing cast.     (Feb.) 

•  BROADWAY  BILL— Columbia.— Many  un- 
forgettable scenes  in  this.  Warner  Baxter 
breaks  with  paper-box  making,  his  domineering  wife 
(Helen  Vinson)  and  her  father  (Walter  Connolly). 
He  stakes  everything  on  a  gallant  race  horse — and 
Myrna  Loy.      (Jan.) 

8 


•  CAPTAIN  HATES  THE  SEA,  THE— Colum- 
bia.— Board  ship  and  meet  Captain  Walter 
Connolly,  tippling  reporter  John  Gilbert,  detective 
Victor  McLaglen,  Tala  Birell  and  other  favorites. 
It's  sprightly  and  comic.   (Jan.) 

CAPTAIN  HURRICANE— RKO-Radio.— A  dull 
story  with  a  grand  cast.  Too  bad  they  didn't  find 
a  better  vehicle  for  stage  star  James  Barton's  screen 
debut.  Helen  Westley,  Henry  Travers,  Gene  Lock- 
hart.      (May) 

CAR  99 — Paramount. — An  entertaining  and  ex- 
citing picture  which  Junior  will  want  to  see  twice,  with 
Sir  Guy  Standing  good  as  the  master  mind  of  a  bank 
robbing  gang,  protecting  himself  by  masquerading  as 
a  professor.      (May) 

•  CARDINAL  RICHELIEU— 20th  Century- 
United  Artists.  —  A  beautiful  historical  drama 
with  George  Arliss  at  his  best  as  the  great  Cardinal 
of  France.  Maureen  O'Sullivan,  Edward  Arnold. 
(June) 

CARNIVAL — Columbia. —  The  experiences — some 
funny,  many  sad — of  an  anxious  father  whose  mother- 
less baby  is  constantly  in  danger  of  being  snatched 
from  him  by  the  Children's  Welfare  Association.  Lee 
Tracy,  Sally  Eilers,  Jimmy  Durante.     (Apr.) 

CASINO    MURDER    CASE,    THE— M-G-M.— 

Paul  Lukas  is  the  Philo  Vance  who  steps  in  and  solves 
the  mystery,  with  Alison  Skipworth,  charming  Rosa- 
lind Russell,  Ted  Healy  and  Louise  Fazenda  lending 
good  support.      (.Way) 

CHARLIE  CHAN  IN  LONDON— Fox— Warner 

Oland  (Charlie  Chan)  has  three  days  to  prevent  ex- 
ecution of  Drue  Leyton's  brother,  accused  of  a 
murder  he  did  not  commit.  Alan  Mowbray  involved. 
(Dec.) 

CHARLIE    CHAN     IN    PARIS— Fox.— Warner 

Oland  at  his  best  as  Chan,  with  Mary  Brian  and 
Thomas  Beck  carrying  the  love  interest.    (March) 

CHASING     YESTERDAY— RKO-Radio.— Ana- 

tole  France's  "The  Crime  of  Sylvestre  Bonnard" 
loses  importance  in  the  screen  telling.  Good  per- 
formances by  Anne  Shirley,  O.  P.  Heggie,  Helen 
Westley  and  Elizabeth  Patterson.  But  the  film  story 
is  pallid.      (June) 

CHEATING  CHEATERS— Universal.— A  mys- 
tery and  crook  picture,  with  comedy  and  gags.  Fay 
Wray  is  the  girl  crook,  and  Henry  Armetta,  Hugh 
O'Connell  are  the  comics.    Has  a  snapper  twist.  (Ja  n.) 

CLIVE  OF  INDIA— 20th  Century-United  Artists. 
— A  stirring  and  impressive  story  of  a  young  man 
who,  almost  single-handed,  conquered  India  for 
Britain.  Ronald  Colman  is  excellent  as  Clive, 
Loretta  Young  gives  a  fine  performance  in  the  role  of 
his  wife.    (March) 

•  COLLEGE  RHYTHM— Paramount— Abright. 
tuneful  collegiate  musical.  Footballer  Jack 
Oakie  steals  girl  friend  Mary  Brian  from  Lanny  Ross. 
Joe  Penner  puts  in  plenty  of  laughs.  (Jan.) 

*  COUNT  OF  MONTE  CRISTO,THE— United 
Artists. — A  thrilling  film  which  builds  steadily 
to  the  dramatic  courtroom  climax.  Robert  Donat  is 
Dantes;  Elissa  Landi  fine,  too.     (Nov.) 

COUNTY  CHAIRMAN,  THE— Fox— Will  Rog- 
ers as  a  loveable  but  astute  rural  politician  is  at  his 
best.  Good  cast  includes  Evelyn  Venable,  Louise 
Dresser,  Kent  Taylor.  Entertainment  for  the  family, 
(March) 

CURTAIN  FALLS,  THE— Chesterfield.— Henri- 
etta Crosman  carries  this  picture  as  an  old  vaudeville 
actress  who  gambles  with  chance  and  impersonates  a 
Lady  Scoresby,  moving  in  on  her  family,  until 
her  final  and  best  performance.     (Feb.) 

DAVID  COPPERFIELD— M-G-M—  An  incom- 
parable photoplay,  and  one  that  will  live  with  you 
for  years.  Freddie  Bartholomew  as  the  child, 
David,  W.  C.  Fields  as  Micawber.  Madge  Evans  as 
Agnes  are  only  a  few  of  a  long,  superb  cast.  It's  a 
brilliant  adaption  of  Dickens'  famous  novel.  (March) 


DEALERS  IN  DEATH— Topical  Films.— 
Whether  you  are  a  pacifist  or  not  after  seeing  this 
film  you  leave  the  theater  horrified  at  the  high  price 
of  war  and  cost  of  armaments.  Not  a  story,  but  an 
impressive  editorial  which  will  make  you  think.  (Feb.) 

DEATH  FLIES  EAST— Columbia.— A  rather  dull 
and  illogical  picture  with  Conrad  Nagel  and  Florence 
Rice  rising  above  screen-story  difficulties  and  Oscar 
Apfel,  Raymond  Walburn  and  Irene  Franklin  strug- 
gling for  laughs  with  un-funny  material.     (June) 

DEVIL  IS  A  WOMAN,  THE— Paramount  — 
Marlene  Dietrich  in  a  series  of  static  and  exquisite 
views.  The  story  lacks  motivation  and  Von  Stern- 
berg's direction  has  drained  all  animation  from  the 
cast.  Cesar  Romero,  Edward  Everett  Horton. 
Lionel  At  will.      (May) 

DOG  OF  FLANDERS,  A— RKO-Radio— Fine 
performances  by  young  Frankie  Thomas  and  O.  P. 
Heggie  make  this  Ouida  classic  really  live  on  the 
screen.  It's  a  film  children  will  love  and  parents  will 
enjoy.      (May) 

ELINOR  NORTON— Fox.— A  completely  boring 
attempt  to  depict  the  quirks  of  a  diseased  mind. 
Claire  Trevor,  Hugh  Williams,  Gilbert  Roland 
bogged    down    by    it.      (Jan.) 

ENCHANTED  APRIL  —  RKO-Radio.  —  Ann 
Harding  in  a  quiet  little  story  of  the  enchantment 
wrought  by  Italy  in  the  spring.  Frank  Morgan, 
Ralph  Forbes,  Katherine  Alexander.  Jane  Baxter 
(March) 

ENTER  MADAME— Paramount.— Spotty  enter- 
tainment despite  Elissa  Landi's  brilliant  perform- 
ance as  a  capricious  prima  donna.  Cary  Grant,  her 
bewildered  spouse,  has  a  brief  relief  in  a  quieter  love. 
(Jan.) 

•  EVELYN  PRENTICE— M-G-M.— Myrna  Loy 
thinks  she  has  murdered  a  man,  but  Isabel 
Jewell  is  accused  Then  Myrna's  lawyer-husband  is 
engaged  to  defend  Isabel.  Another  Loy-Powell  hit. 
(Jan.) 

EVENSONG— Gaumont  British.— The  story  of 
the  rise  and  fall  of  a  great  prima  donna.  Evelyn 
Laye's  beautiful  voice  and  a  wealth  of  opera  make  it 
a  feast  for  music  lovers.      (Feb.) 

EVERGREEN— Gaumont  British.— You'll  love 
Jessie  Matthews,  darling  of  the  London  stage,  and 
she  has  a  chance  to  do  some  grand  singing  and  danc- 
ing in  this  merry  little  story.   (March) 

FATHER  BROWN,  DETECTIVE— Paramount. 

— Gertrude  Michael  is  the  one  thrill  in  this  rather 
punchless  crook  drama.  Walter  Connolly's  role,  that 
of  a  priest  with  a  flair  for  detective  work,  gets 
monotonous.    Paul  Lukas  is  miscast.      (Feb.) 

FEDERAL  AGENT— Select  Pictures.— Age-old 
crook  stuff  with  Bill  Boyd  as  a  government  man 
trying  to  outwit  dangers.  Don  Alvarado  and  hi 
two  lady  friends.  (March) 

FIGHTING  ROOKIE,  THE— Mayfair.— A 
quickie  which  moves  slowly.  Cop  Jack  LaRue  is 
"framed"  by  a  gang  and  his  suspension  from  the 
force  threatens  his  romance  with  Ida  Ince.  Trite 
situations.      (Feb.) 

FIREBIRD,     THE— Warners.— Ricardo    Cortez. 

actor,  is  killed  when  he  tries  to  ensnare  Verree  Teas 
dale,  Lionel  Atwill's  wife,  in  a  love  trap,  catching 
instead  Verree's  daughter,  Anita  Louise.  Good  adult 
entertainment.     (Jan.) 

•  FLIRTATION  WALK— First  National.— 
Colorful  West  Point  is  the  background  of  the 
Dick  Powell-Ruby  Keeler  charm.  Pat  O'Brien's  a 
tough   sergeant.      Take  the   family     (Jan.) 

FLIRTING  WITH  DANGER— Monogram  — 
Bob  Armstrong,  Bill  Cagney  and  Edgar  Kennedy 
amid  such  confusion  and  laughter  in  a  South  Ameri- 
can high  explosives  plant.  Maria  Alba  is  the  Spanish 
charmer  that  provides  chief  romantic  interest.  (Feb.) 
\  PLEASE  TURN  TO  PAGE  10  ] 


PHOTOPLAY  MAGAZINE  FOR  JULY,  1935 


?romUND€R  TH€  PAMPAS  MOON' 


Wamt  BAXTER 
/(^'GALLIAN 

in  a  fiery  romance 

'  UNDER  THE 
PAMPAS  MOON'  f 

A    B.   G.   DeSYLVA    PRODUCTION 
with 

TITO  GUIZAR 

Radio's  Troubadour  of  Love 

VELOZ  and  YOLANDA 

internationally  renowned  Artists  of  the  Dance 

Directed  by  James  Tinting  Jj  "  A 


ACCLAIMED  BY  SOCIETY  ON 
TWO  CONTINENTS,  VELOZ  and 
YOLANDA  bring  their  superb 
talent  to  the  screen  in  a  breath- 
taking creation,  the  exotic 
COBRA  TANGO. 


BY  JERRY  HALUDAY 

He  rides  like  the  wind  and 
loves  like  the  whirlwind! 

Carramba,  but  this  is  one  grandioso  picture! 
And  as  for  Warner  Baxter  .  .  .  ah,  be  still,  flut- 
tering heart.  What  a  man!  What  a  lover!  He's 
even  more  tempestuous  than  as  "The  Cisco  Kid". 
So  prepare  for  fireworks  when  Baxter,  a  gallant 
gaucho  with  the  swiftest  horse,  the  smoothest 
line,  the  stunningest  senoritas  on  the  pampas, 
meets  a  gay  m'amselle  from  the  Boulevards  of 
Paree!  And  to  add  to  the  excitement,  there's  a 
feud,  a  stirring  horse  race,  a  glamorous  cabaret 
scene  in  romantic  Buenos  Aires. 

If  your  blood  tingles  to  the  tinkle  of  guitars  .  . . 
if  your  heart  thrills  to  the  throbbing  rhythms 
of  the  rhumba,  to  the  passionate  songs  of  the 
gauchos,  to  the  sinuous  tempo  of  the  tango,  then 
rush  to  see  this  picture  —  and  take  the  "love 
interest"  with  you! 


HOLLYWOOD  NOTES 

FLASH!  The  cinema  capital  is  playing  a  new 
game  called  the  "Triple  S"  Test  .  .  .  studio, 
star,  story.  Fans  rate  a  picture  on  these 
three  counts  before  they  see  it.  Then  they 
check  their  judgment  after  the  performance. 
And  it's  amazing  how  high  Fox  Films  rank! 
•  But  then,  that's  to  be  expected.  For  Fox 
Studios  have  the  ace  directors,  the  leading 
writers,  the  biggest  headline  names.  •  So 
take  a  tip  from  Hollywood  .  .  .  when  you 
look  for  entertainment,  look  for  the  name 


>2^ 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM   PAGE  8 


FOLIES  BERGERE— 20th  Century- United  Ar- 
tists.— Disregard  the  story  and  give  yourself  up  to 
Maurice  Chevalier's  charm,  the  music,  singing  and 
dancing.  Ann  Sothern  and  Merle  Oberon  good. 
(Apr.) 

FORSAKING  ALL  OTHERS— M-G-M.—  Joan 
Crawford,  Clark  Gable,  Robert  Montgomery  and 
Charles  Butterworth  at  their  best  in  a  simple  story 
that  leaves  you  dizzy  with  laughter  and  braced  like 
a  champagne  cocktail.     (.March) 

•  FOUR  HOURS  TO  KILL— Paramount.— 
Tense  and  compelling  screen  entertainment 
with  Richard  Barthelmess,  in  the  finest  character 
opportunity  of  his  career,  as  the  doomed  killer  hand- 
cuffed to  a  guard  in  a  theater  lobby  for  four  hours. 
Skilful  support  by  Roscoe  Karns,  Helen  Mack,  Joe 
Morrison,  Gertrude  Michael  and  others.     (June) 

FUGITIVE  LADY— Columbia.— Florence  Rice 
makes  a  successful  film  debut  as  a  woman  on  her  way 
to  jail,  double-crossed  by  a  jewel  thief  (Donald 
Cook),  when  a  train  wreck  puts  her  into  the  role  of 
the  estranged  wife  of  Neil  Hamilton.  Plenty  of  action. 
(Jan.) 

FUGITIVE  ROAD— Invincible.— Eric  Von  Stro- 
heim  is  good  as  the  commandant  of  a  frontier  post  in 
Austria,  falling  in  love  with  an  American  girl,  Wera 
Engels,  and  frustrated  in  his  romantic  plans  by  gang- 
ster Leslie  Fenton.  Slender  story  well  acted.    (Feb.) 

GAY  BRIDE,  THE— M-G-M.— Chorine  Carole 
Lombard,  out  for  a  husband,  becomes  involved  with 
gangsters  who  bump  each  other  off  for  her  pleasure. 
Nat  Pendleton,  Sam  Hardy,  Leo  Carrillo  pay  while 
Chester  Morris  wins.      (Jan  ) 

GENTLEMEN  ARE  BORN— First  National  — 
Franchot  Tone  is  one  of  four  college  pals  trying  to 
find  a  job  today.  Jean  Muir.  Nick  Foran.  others 
good.     It  has  reality.     (Jan.) 

GEORGE  WHITE'S  1935  SCANDALS— Fox  — 

A  clean  Scandals.  Jimmy  Dunn  and  Alice  Faye  are 
the  small-time  team  who  let  success  go  to  their  heads. 
Ned  Sparks  gets  most  of  the  laughs.  And  Eleanor 
Powell  is  a  tap  dancer  so  good  you  can  hardly  believe 
it !      (June) 

GHOST  WALKS,  THE— Invincible.— A  theatri- 
cal group  rehearses  a  melodrama  in  a  haunted  house, 
and  when  a  real  maniac  slips  in,  things  happen.  A 
unique  story,  with  John  Miljan,  Richard  Carle,  June 
Collyer.     (Apr.) 

GILDED  LILY,  THE— Paramount.— Good  enter- 
tainment, but  not  as  much  punch  as  you  have  a 
right  to  expect  from  a  movie  with  Claudette  Colbert 
in  the  lead,  and  Wesley  Ruggles  directing.     (March) 

GIRL  O'  MY  DREAMS— Monogram.— Much 
rah-rah  and  collegiate  confusion,  with  Sterling  Hollo- 
way's  comicalities  unable  to  pull  it  through.  Mary 
Carlisle,   Eddie  Nugent  do  well.      (Jan.) 

•  GO  INTO  YOUR  DANCE— First  National. 
— A  grand  evening  for  those  who  like  singing 
and  dancing  with  a  plausible  story  sandwiched  in. 
Al  Jolson  better  than  ever;  Ruby  Keeler  good  as 
always;  Glenda  Farrell  in  top  support.      (June) 

GOIN'  TO  TOWN— Paramount.— Mae  West, 
pursuing  the  man  instead  of  being  pursued,  in  a  fast- 
moving,  wise-cracking  film,  that  will  keep  you  laugh- 
ing.     (May) 

GOOD  FAIRY,  THE— Universal— Margaret 
Sullavan,  in  the  title  role,  and  Herbert  Marshall 
head  the  cast  of  this  screen  adaptation  of  the  stage  hit. 
The  scenes  are  played  in  high  comedy  throughout. . 
But  comedy.      (March) 


GRAND  OLD  GIRL— RKO-Radio.—  That  grand 
old  trouper,  May  Robson,  gives  a  superfine  per- 
formance as  a  veteran  high  school  principal  who 
bucks  the  town's  politicians  for  the  welfare  of  her 
pupils.  Mary  Carlisle  and  Alan  Hale  highlight  a 
good  supporting  cast.  (March) 

•  GREAT  EXPECTATIONS  —  Universal.— 
Dickens'  charm  preserved  by  George  Breakston 
as  orphaned  Pip,  later  by  Phillips  Holmes,  Florence 
Reed.  Henry  Hull  and  others.     (Jan.)    • 

GREAT  GOD  GOLD — Monogram.— The  story 
promises  to  be  an  exciting  expose  on  the  receivership 
racket,  but  it  becomes  stupid.  Martha  Sleeper  does 
as  well  by  her  part  as  possible.  Regis  Toomey  gets 
nowhere.      (May) 

GREAT  HOTEL  MURDER,   THE— Fox.— Old 

reliable  sure-fire  Edmund  Lowe-Victor  McLaglen 
stuff,  with  Vic  as  a  dumb  house  detective  and  Eddie 
the  guest  who  writes  mystery  stories,  both  trying 
to  discover  who  poisoned  the  victim.  Mary  Carlisle, 
C.  Henry  Gordon.      (May) 

GREEN  EYES  —  Chesterfield.  —  A  stereotyped 
murder  mystery.  Charles  Starrett,  Claude  Gilling- 
water,  Shirley  Grey,  William  Bakewell.  John  Wray, 
Dorothy  Revier  are  adequate.     (Jan.) 

GRIDIRON  FLASH— RKO-Radio.— A  college 
football  story  about  a  paroled  convict  (Eddie  Quillan) 
who  finally  wins  the  game  and  Betty  Furness,  too. 
Glenn  Tryon.  Lucien  Littlefield.     (March) 

HEART  SONG—  Fox-Gaumont-British.— A  pleas- 
ant little  English  film  with  Lilian  Harvey  and  Charles 
Boyer.     (Sept.) 

HELLDORADO— Fox.— A  hollow  story  in  a 
mining  town  setting  which  fails  to  give  Richard 
Arlen  the  kind  of  part  he  deserves.  (March) 

HELL  IN  THE  HEAVENS— Fox.— A  gripping 
depiction  of  a  French  air  unit  in  the  late  war.  Warner 
Baxter  is  an  American  with  the  outfit.  Conchita 
Montenegro  is  the  only  feminine  influence.     (Jan.) 

HERE  IS  MY  HEART— Paramount.— You'll 
applaud  this  one.  For  between  laughs  Bing  Crosby 
and  Kitty  Carlisle  sing  those  haunting  tunes,  and  the 
story  is  good.    (March) 

HOLD  'EM  YALE — Paramount.— A  weak  but 
pleasant  little  picture  about  four  thugs  who  inherit 
a  lady.  Patricia  Ellis  is  the  lady.  Cesar  Romero, 
Larry  Crabbe,  Andy  Devine,  William  Frawley 
George  E.  Stone.     (June) 

HOME  ON  THE  RANGE— Paramount.— An 
up-to-date  Western,  with  the  old  mortgage  still 
present  but  the  crooks  using  modern  methods  for 
getting  it.  Evelyn  Brent,  Jackie  Coogan,  Randy 
Scott.     (Feb.) 

HONGKONG  NIGHTS— Futter  Prod.— A  highly 
implausible  story  about  a  Chinese  gun-runner  and  an 
American  Secret  Service  man.  Production  and 
photography  superb,  dialogue  and  story  poor.  Tom 
Keene,  Wera  Engels,  Warren  Hymer.      (May) 

HOOSIER  SCHOOLMASTER,  THE— Mono- 
gram.— Norman  Foster  is  the  schoolmaster  in  the 
screen  version  of  this  old-time  favorite,  with  Charlotte 
Henry  as  the  girl  he  loves.  Fred  Kohler,  Jr.,  Wallace 
Reid,  Jr.,  Dorothy  Libaire.     (June) 

I  AM  A  THIEF— Warners.— A  diamond  neck- 
lace disappears  and  everybody  looks  guilty — Ricardo 
Cortez,  Mary  Astor,  Dudley  Digges,  Irving  Pichel 
and  the  rest  of  the  cast.  There's  murder,  thievery, 
and  some  romance.    Maintains  interest.     (Feb.) 


•  IMITATION  OF  LIFE  —  Universal.— A 
warm  and  human  drama  about  two  mothers  of 
different  races,  allied  in  the  common  cause  of  their 
children.  Excellent  performances  by  Claudette  Col- 
bert and  Louise  Beavers.  Warren  William,  Fredi 
Washington.  Rochelle  Hudson,  Ned  Sparks.      (Feb.) 

IN  OLD  SANTA  FE— Mascot.— A  dozen  plots 
wrapped  up  for  the  price  of  one — and  a  nice  package 
for  those  who  enjoy  Westerns.  Ken  Maynard,  his 
horse,  Tarzan,  Evalyn  Knapp,  H.  B.  Warner,  Ken- 
neth Thomson,  and  the  entire  cast  are  good.     (Feb.) 

•  IRON  DUKE,  THE— Gaumont  British.— An 
interesting  picture  with  George  Arliss  as  Well- 
ington, and  the  Duke's  triumphs  told  in  a  careful, 
thoughtful,  if  not  brilliant  manner.     (Apr.) 

I  SELL  ANYTHING— First  National.  — Pat 
O'Brien  talks  you  to  death  as  a  gyp  auctioneer  who  is 
taken  by  a  society  golddigger  (Claire  Dodd).  Sadder 
and  gabbier  he  returns  to  Ann  Dvorak.     (Jan.) 

IT  HAPPENED  IN  NEW  YORK— Universal.— 
You'll  be  amused  by  press-agent  Hugh  O'Connell's 
tricks  to  get  movie  star  Gertrude  Michael  into  the 
limelight,  and  the  interference  of  a  taxi  driver,  Lyle 
Talbot  and  his  sweetie.  Heather  Angel.  Lots  of 
laughs.     (May) 

•  IT'S  A  GIFT— Paramount.— One  long  laugh, 
with  W.  C.  Fields  in  the  role  of  a  hen-pecked 
husband.  Baby  LeRoy,  Jean  Rouverol.  Kathleen 
Howard.    But  it's  Fields'  show.    (Feb.) 

IT'S  A  SMALL  WORLD— Fox.— Gay  dialogue 
in  a  wisp  of  a  story,  with  Spencer  Tracy  and  Wendy 
Barrie.     Lots  of  laughs.     (June) 

I'VE  BEEN  AROUND— Universal  —A  good  cast 
wasted  on  a  trite  story  and  amazingly  stagey  dialogue. 
(March) 

JACK  AHOY — Gaumont  British. — It  you  can 
laugh  at  old  jokes,  this  isn't  bad.  However,  Eng- 
land's comedian.  Jack  Hulburt,  deserves  better  treat- 
ment.    (Apr.) 

JEALOUSY— Columbia.— Watch  George  Murphy 
if  you  go  to  see  this  picture  about  a  prize  fighter  who 
is  inordinately  jealous  of  his  pretty  wife.  Nancy 
Carroll.  Donald  Cook.  Arthur  Hohl      (March) 

KENTUCKY  KERNELS— RKO-Radio.— Wheelet 
and  Woolsey  as  custodians  of  a  young  heir,  Spanky 
McFarland,  mixed  up  with  a  Kentucky  feud,  moon- 
shine and  roses.     It's  hilarious.     (Jan.) 

•  KID  MILLIONS— Samuel  Goldwyn-United 
Artists. — A  Cantor  extravaganza  complete 
with  hilarious  situations,  gorgeous  settings,  catchy 
tunes  and  a  grand  cast.     (Jan.) 

LADDIE— RKO-Radio.— Old  fashioned,  homey, 
but  a  grand  picture  is  this  love  story  of  Laddie  (John 
Beal)  and  Pamela  (Gloria  Stuart)  whose  romance  is 
bitterly  opposed  by  her  father  (Donald  Crisp). 
Excellent  direction  by  George  Stevens.      (May) 

LAST  WILDERNESS,  THE— Jerry  Fairbanks 
Prod. — A  most  effective  wild  animal  life  picture. 
Hasn't  bothered  with  the  sensational  and  melo- 
dramatic. Howard  Hill  deadly  with  bow  and  arrow. 
(Dec.) 

LEMON  DROP  KID,  THE— Paramount.— A 
race-track  tout  goes  straight  for  marriage  and  a  baby. 
Lee  Tracy,  Helen  Mack,  William  Frawley,  Baby 
LeRoy,  Minna  Gombell,  Henry  B    Walthall.     (Dec.) 

*LES  MISERABLES— 20th  Century- United 
Artists. — A  close-knit  and  powerful  screen  re- 
countal  of  the  Victor  Hugo  classic.  Fredric  March  and 
Charles  Laughton  give  memorable  performances. 
(May) 

[  PLEASE  TURN  TO  PAGE  16  1 


Photoplays    Reviewed     in    the     Shadow    Stage    This    Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pick,  out  your  evening's  entertainment      Ma\e  this  your  reference  list. 


Page 
Brewster's  Millions — United  Artists.  .  .104 
Bride  of  Frankenstein,  The — Universal.  70 
Call  of  the  Wild— 20th  Century-United 

Artists 69 

Case  of  the  Curious  Bride,  The — First 

National 70 

Cowboy  Millionaire,  The — Fox 70 

Daring  Young  Man,  The — Fox 68 

Dinky — Warners 71 

Doubting  Thomas — Fox 70 

Eight  Bells — Columbia    71 


Page 

G  Men— First  National 69 

Gold  Diggers  of  1935— First  National..  104 

I'll  Love  You  Always — Columbia 104 

Informer,  The— RKO-Radio 68 

Kentucky  Blue  Streak — Talisman 105 

Ladies  Love  Danger — Fox 70 

Mary  Jane's  Pa — First  National 104 

Men  of  Tomorrow — London  Films.  .  .  .  104 
Oil    for    the    Lamps    of    China — First 

National 69 

One  Frightened  Night— Mascot 71 


Page 

Party  Wire — Columbia 71 

People's  Enemy,  The— RKO-Radio ...  104 
Phantom  Fiend,  The — Twickenham .  .  .  104 
Scoundrel,  The  —  Hecht  -  MacArthur  - 

Paramount 68 

Spring  Tonic — Fox 71 

Swell-Head — Columbia 104 

Unwelcome  Stranger,  The — Columbia . .   70 

Village  Tale— RKO-Radio 71 

Werewolf  of  London.  The — Universal .  .  104 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


CICELY  COURTNEIDGE 


BARRY  MACKAY 


''By  courtesy  of  Metro-Goldwyn-Mayer 


Letters 


On  these  pages  letters  from  all  over  the 
world  discuss  films  and  stars.  And  when 
the   movie-goer  speaks,   Hollywood   listens 


[  CONTINUED  FROM  PAGE  6  ] 

I  HAVE  just  seen  "Naughty  Marietta"  for 
the  third  time  in  two  days!  Of  all  the  many 
pictures  I  have  seen  there  is  none  to  compare 
with  "Marietta."  And  don't  let  Nelson 
Eddy  escape  from  the  screen,  and  let  lovely 
Jeanette  MacDonald  play  more  roles  like 
Marietta. 
Mrs.  Kenneth  Hardin,  Knoxville  Tenn. 

I'VE  seen  "Naughty  Marietta"  five  times  and 
'I've  been  in  a  trance  for  days. 

Nelson  Eddy! 

What  a  voice! 

What  a  man! 

Arline  Thayer,  Dayton,  Ohio 

W/HERE  has  this  lad  Nelson  Eddy  been  all 
"  my  movie  life?       And  where  is  he  going 
from  "Naughty  Marietta"? 

His  voice  is  not  only  grand,  but  his  quiet 
and  effective  acting  is  just  as  good.  I  hope 
we  see  a  lot  more  of  him. 

Winifred  Wishard,  Larchmont,  N.  Y. 

I I AIL  the  new  singing  star,  Nelson  Eddy! 

'  'i  was  still  under  his  spell  four  days  after 
seeing  and  hearing  him  sing  in  person  when  I 
went  to  see  "Naughty  Marietta,"  and  after 
viewing  the  picture,  the  spell  threatens  to  be- 
come permanent. 

Nelson  and  Jeanette  MacDonald  certainly 
make  a  stunning  pair. 

Lois  Williams,  Dallas,  Texas 


Warner  Baxter  and 
Ketti  Gallian  enjoy 
a  Spanish  ditty  be- 
tween scenes  of 
"Under  the  Pampas 
Moon,"    out   at    Fox 


You  asked  for  Ann  in  another 
singing-dancing  role.  You  got  it! 
Miss  Dvorak  as  the  night  club 
dancer   in   Warner's   film   "G   Men" 


12 


TO  JEAN  HARLOW 

kAy  vote  will  always  be  for  charming  Jean 
'  V  'Harlow.  But  she  should  have  a  sympa- 
thetic role,  although  I  shall  never  tire  of  her 
comedy.  Her  picture,  "Reckless,"  should 
break  all  box-office  records. 

Jack  Guard,  Laurium,  Michigan 

CHAMPIONS  CROMWELL 

THAT  fine  young  actor,  Richard  Cromwell, 
'  always  seems  to  be  cast  the  same  in  every 
picture — as  the  youth  who  is  weak  in  character 
and  easily  led  into  crime. 

Mr.  Cromwell  shows  anything  but  weak- 
ness of  character.  The  seriousness  and  de- 
termination he  puts  forth  in  every  part  he 
plays  proves  that  he  is  an  ambitious  young 


Fred  MacMurray 
set  a  I  I  the  girls 
agog  in  "The  Gilded 
Lily."  "Men  With- 
out Names"  is  his 
next  for  Paramount 


man  swayed  not  by  dishonest  methods  to 
gain  his  aim  but  willing  to  work  hard  against 
all  odds. 

Ralph  J.  Satterlee,  Muncie  Indiana 

FILMS  AID  CHILDREN 

1  TEACH  in  the  primary  grades.  Recently 
'  we  were  studying  ay  words  in  phonics,  once 
a  very  dull  subject.  Each  pupil  was  to  give  a 
word  containing  the  phonogram  ay.  One 
little  girl  jumped  up  and  shouted  she  knew 
two  words,  Fay  and  Wray. 

This  indicates  that,  contrary  to  many 
critics,  children — even  very  small  children — 
glean  something  besides  bad  habits  from  the 
movies.  Vocabulary,  for  instance. 
Mary  C.  McCarthy,  North  Andover,  Mass. 
|  please  turn  to  page  14  1 


PHOTOPLAY  MAGAZINE  FOR  JULY,   1935 


13 


"Only  in  Kotex  can  you  find 

these  3  satisfying  comforts 

CAN'T  CHAFE  •  CAN'T  FAIL  •  CAN'T  SHOW 


Three  exclusive  features  solve  three  important  problems  every  woman  faces.  I  ex- 
plain them  to  you  here  because  there  is  no  other  place  for  you  to  learn  about  them." 


Author  of  "Marjorie  May's  12th  Birthday" 


Now  you  can  wear  what 
you  will  without  lines  ever 
showing.  Why?  Kotex 
ends  are  not  merely 
rounded  as  in  ordinary 
pads,  but  flattened  and 
tapered  besides.  Ab- 
solute invisibility  always. 


New  Adjustable  Belt  Requires  No  Pins! 

No  wonder  thousands  are  buying  this  truly  remark- 
able Kotex  sanitary  belt!  It's 
conveniently  narrow . . .  easily 
adjustable  to  fit  the  figure. 
And  the  patented  clasp  does 
away  with  pins  entirely. You'll 
be  pleased  with  the  comfort 
.  .  .  and  the  low  price. 


A  special  center  layer  in  the 
heart  of  the  pad  is  chan- 
neled to  guide  moisture  the 
whole  length  of  the  pad  — 
thus  avoids  embarrassment. 
And  this  special  center  gives 
"body"  but  not  bulk  to 
the  pad  in  use.  No  twisting. 


I'VE  always  felt  that  the  real  facts  on 
this  intimate  subject  were  withheld 
from  women.  So  here  I  present  in- 
formation every  woman  should  know. 
I  realize  that  most  sanitary  napkins 
look  pretty  much  alike.  Yet  they  aren't 
alike  either  in  the  way  they're  made 
or  in  the  results  they  give.  For  only 
genuine  Kotex  offers  the  3  exclusive 
advantages  I  explain  on  this  page — the 
3  features  that  bring  you  women  the 
comfort  and  safety  you  seek.  And  with 
Kotex  now  costing  so  little  and  giving 
so  much,  there's  really  no  economy  in 
buying  any  other  kind. 


WONDERSOFT  KOTEX 

Try  the  New  Deodorant  Powder  .  .  .  QUEST,  for  personal  daintiness.  Available  wherever  Kotexis  sold. 


Letters 


Don't  say  it.  Write  it!  You 
can  tell  only  a  few  what 
you  think  of  a  film,  but 
thousands  read  these  pages 


Ruby  looks  worried  about  something. 
But  it  can't  be  golf.  For  she's  one 
of  Hollywood's  feminine  experts, 
and  the  game  is  her  favorite  hobby. 
Maybe  Ruby's  and  Al  Jolson's  new  son 
wants  to  go  into  the  movies  already 


CONTINUED  FROM  PAGE  12 


MAURICE  CHEVALIER 

WOULD  like  to  get  up  on  the  housetops  and 
shout  about  "Folies  Bergere."  I  have  seen 
it  twice  to  date  and  I  know  I  could  enjoy  it 
more  and  more.  This  is  really  the  first  time 
we,  on  the  other  side  of  the  silver  screen,  have 
really  seen  the  versatile  star  at  his  very  best. 
Edith  Blez,  Philadelphia,  Pennsylvania 

K  AY  compliments  to  Maurice  Chevalier  on 
'V 'the  wonderful  work  he  did  in  "Folies 
Bergere."  It  was  his  best  since  his  earlier 
films,  and  why?  Because  it  was  the  kind  of 
part  Maurice  loves  to  play  and  because  it 
gave  him  a  chance  to  show  the  public  he  can 
do  more  than  one  type  of  acting.  He  gave  us 
the  real  Maurice  we  all  like  to  see. 

Mrs.  Glenna  Riley,  President,  Chevalier- 
MacDonald  Club,  Newcastle,  Tnd. 

ASKS  AWARD  FOR  GARBO 

IIAVING  read  the  article  in  the  May  Photo- 
'  'play  about  the  hullabaloo  stirred  up  by  the 
Motion  Picture  Academy  Award,  I  would  like 
to  know  why  a  foreign-born  actress  never  got  it. 
I  am  thinking  and  writing  about  Garbo. 
She  is  a  genius.  Bette  Davis'  characteriza- 
tion of  Mildred  was  grand.  But  Garbo  is 
always  that  and  more.  She's  the  most  mar- 
velous actress  on  the  screen  today. 
Howard  C.  Anderson,  Mollenauer,  Penna. 

JOAN  OF  ARC 

TLISSA  LANDI  has  been  unduly  neglected. 
^-She  is  sadly  in  need  of  a  good  picture.    Miss 

14 


Two  smash  hits  in  the  last  year 
have  put  John  Beal  'way  up  on 
top.  First  "The  Little  Minister," 
then  "Laddie."  And  next  it's 
"Break  of  Hearts,"  Katharine 
Hepburn's  latest  starring  picture 


Landi  possesses  a  decidedly  interesting  flair 
for  sophisticated  comedy,  but  her  ethereal 
radiance  burns  to  a  bright  glow  in  an  historical 
picture,  say  "Joan  of  Arc."  If  the  producers 
are  thinking  of  letting  Katharine  Hepburn  or 
Greta  Garbo  bring  to  life  Joan  of  Arc,  I'll 
yell  for  that  lovely  enchantress — Elissa  Landi. 
Lillian  Doris,  West  New  York,  N.  J. 

GRETA  GARBO'S  work  on  the  screen  is 
truly  admirable.  As  a  dramatic  actress  she 
is  indisputably  superior,  achieving  what  no 
other  Hollywood  star  does — triumph  over  poor 
stories  by  giving  them  beauty  and  distinction. 
She  would  be  the  ideal  choice  for  Joan  of 
A  re.  No  other  star  possesses  the  same  appeal. 
Mrs.  M.  G.  Sorenson,  So.  Weymouth,  Mass. 


Marian  Marsh  wants  a  corner 
on  the  Hollywood  golf  market, 
too.  She  took  her  first  lesson 
a  few  weeks  ago.  Did  very 
well  according  to  her  teacher, 
the  handsome  Mr.  George  Murphy 


COMPLIMENTS  OF  JAPAN 

I  AM  a  fan  of  Miss  Takiko  Mizunoe  of  Sho- 
'  chiku  Girls  Reviews  of  Japan.  In  Japan 
where  men  are  not  used  in  Reviews,  Miss 
Mizunoe,  known  as  Taki,  takes  their  parts 
and  among  those  who  do  portray  the  male 
characters,  she  is  by  far  the  most  popular. 
There  is  no  one  who  can  pretend  to  be  as  good 
as  she  and  for  the  past  several  years  has  stood 
out  as  unexcelled  and  still  stands  alone  and 
above  all  the  others.  Her  personality  so  vital 
and  so  magnetic  draws  the  audience  and  holds 
it. 

But  it  is  not  only  personality  for  she 
makes  most  handsome  men.  She  is  exceptional 
in  all  ways. 


Letters 


Here  Photoplay  readers  en- 
joy a  frank  exchange  of  opin- 
ion regarding  movies  and 
the    stars   who    are   in    them 


Jean  Hersholt  has  long  been 
loved  for  his  genial,  human  roles 
on  the  screen.  But  he  was  never 
cast  more  ideally  than  in  the 
part  of  the  music  master  in 
RKO-Radio's    "Break    of    Hearts" 


There  is  a  magazine  produced  by  her  back- 
ers and  admirers  called  "Taki"  and  in  the 
New  Year  number  there  is  a  photograph  of 
Taki  looking  through  a  Photoplay,  of  which 
she  is  an  enthusiastic  and  constant  reader. 
Chiyo  Kashio,  Kamakura,  Japan 

ALICE  FAYE,  SINGER 

THE   statement   "Keep  your  eye  on   Alice 
Faye,  Fox  Film's  new  glamour  girl.    She  has 
what  it  takes  to  hit  the  cinema  heights,"  is 
every  bit  true. 

All  actresses  can  memorize  their  parts  and 
act  them.  If  they  couldn't  they  would  not  be 
in  Hollywood.  But,  can  they  all  sing?  No, 
of  course  not.     If  they  do  sing,  can  they  sing 


Lucky  puppy!  For  his  owner  is 
Tola  Birell.  If  you've  always 
thought  of  Tala  as  one  of  the 
most  vampish  of  screen  ladies, 
this  picture  is  proof  that  she 
is    a    real    out-door   girl    as    well 


like  Miss  Faye?  I  have  never  heard  them. 
When  better  singing  is  done  Alice  Faye  will 
do  it. 

Amedee  Dugas,  Jr.,  South  Bend,  Ind. 

CLAUDETTE  MOST  HUMAN 

IT  is  really  a  relief  to  see  an  actress  retain 
'naturalness  and  ease  in  her  roles,  despite  the 
characterization  she  has  to  portray.  I  refer  to 
Claudette  Colbert,  who  I  find  the  most  human 
of  all  actresses.  Miss  Colbert  just  "lives"  her 
roles. 

I  can't  help  feeling  that  her  honesty  and 
frankness  on  the  screen  are  also  characteristic 
of  her  private  life. 

A.  C.  Solomon,  Detroit   Michigan 


Looks  like  a  good  fight!  Certainly 
Pat  O'Brien  is  excited.  The  fighting 
figures  are  silhouetted  against  the 
back  wall.  The  fights  are  Pat's  favo- 
rite   sport.      He    seldom    misses   one 


MOVIES  WHOLESOME 

CHOULD  an  industry  that  spreads  so  much 
^cheer  and  delight  be  so  severely  criticised 
because  of  a  few  undesirable  pictures?  No 
because  the  wholesome,  inspiring  and  educa 
tional  pictures  out-number  the  undesirable 
ones  so  many,  many  times.  Thank  Heaven 
for  the  art  of  motion  pictures! 

Mary  W  Stelzel,  Houston,  Texas 

BRAVO  COLUMBIA! 

THE  decorum  and  prestige  that  the  public 
'  affiliates  with  any  player  who  exhibits  positive 
proof  of  his  histrionic  skill  is  slowly  surround 
ing  Edward  G  Robinson  whose  brilliant  dual 
performance  of  gangster  and  clerk  in  Columbia's 
"The  Whole  Town's  Talking"  is  a  scintillating 
town  topic. 

Columbia  has,  in  the  straight  course  of  its 
own  spectacular  voyage  to  stardom,  thrown 
life  savers  to  many  an  established  star  who  was 
drowning  from  lack  of  a  vitalized  and  original 
script,  but  never  have  they  rescued  a  more 
worthy  victim  than  Mr.  Robinson. 

Helen  E.  Rowley,  Earlville,  N.  Y. 

WITH  PARDONABLE  PRIDE— 

TROM  the  time  I  started  to  read  your  won- 
derful magazine,  it  made  my  soul  different. 
I'm  perky  nowadays.    No  weary  days  for  me 
now.    I'll  write  to  you  always.    There  is  much 
more  I  could  say,  but  I'll  stop.    Sincerely  with 
best   regards,   with  love,   yours, 
Judith  YurikoKanekiyo,  Makaweli,  Kauai 
P.  S. — I  give  my  best  regards  of  the  year  to 
my  dear  friend.  Photoplay  Magazine. 
|  please  turn  to  page  106  ] 

15 


Brief  Reviews  of  Current  Pictures 


[  CONTINUED  FROM  PAGE  10 


LET'S  LIVE  TONIGHT— Columbia.— A  wabbly 
story  gives  Tullio  Carminati  and  Lilian  Harvey  an 
opportunity  to  be  romantic  in  a  gauzy,  waltzy  man- 
ner. Film  lacks  emotional  warmth,  but  cast,  includ- 
ing Hugh  Williams,  Janet  Beecher,  Tala  Birell,  is 
good.      (May) 

LIFE  BEGINS  AT  40— Fox.— You'll  enjoy  this 
film  with  Will  Rogers  in  the  human,  sympathetic 
role  of  a  small  town  editor,  Richard  Cromwell  and 
Rochelle  Hudson  for  romance;  and  Slim  Summerville 
and  Sterling  Holloway  to  keep  you  laughing  when 
Will  isn't  on  the  screen.      (May) 

LIFE  RETURNS— Universal.— The  miraculous 
operation  that  Dr.  Robert  E.  Cornish  performs  on  a 
dog,  restoring  his  life  after  death  was  pronounced, 
would  make  a  worthwhile  short  subject.  But  the 
long  introduction  is  boring.     (Apr.) 

LIGHTNING  STRIKES  TWICE— RKO-Radio 
— A  mystery  built  on  a  murder  that  didn't  happen. 
Ben  Lyon  and  Skeets  Gallagher  are  amusing.  Pert 
Kelton  is  a  fan  dancer.     Story  at  fault.     (Jan.) 

LIMEHOUSE  BLUES— Paramount. — Gruesome 
for  the  kids,  old  stuff  for  the  adults.  Lurking  Chinese, 
thugs,  dope,  Scotland  Yard.  George  Raft,  Jean 
Parker,  Kent  Taylor.  Anna  May  Wong.     (Jan.) 

LITTLE  COLONEL,  THE— Fox.— Shirley  Tem- 
ple cuter  than  ever  as  the  famous  story  book  char- 
acter. Lionel  Barrymore  is  the  testy  old  grandfather, 
Evelyn  Venable  and  John  Lodge  the  child's  parents. 
Tap  dancer  Bill  Robinson  nearly  steals  the  picture. 
(May) 

LITTLE  FRIEND— Gaumont-  British.  —  The 
tragic  story  of  a  child  victim  of  divorce.  Outstanding 
is  the  performance  of  Nova  Pilbeam,  British  child 
actress.     Worthwhile.      (Jan.) 

LITTLE  MEN — Mascot. — A  nice  homey  little 
film  made  from  Louisa  M.  Alcott's  book,  with  Erin 
O'Brien-Moore  as  Au.nl  Jo,  Ralph  Morgan  as 
Professor  Bhaer.  and  Frankie  Darro  the  boy  Dan. 
(March) 

LITTLE  MINISTER,  THE— RKO-Radio.  —  A 
beautiful  screen  adaptation  of  Barrie's  famous  ro- 
mance, with  Katharine  Hepburn  as  Babbie  and  John 
Beal  in  the  title  role.  Beryl  Mercer,  Alan  Hale. 
Andy  Clyde,   Donald  Crisp,  top  support.      (March) 

•  LIVES  OF  A  BENGAL  LANCER— Para- 
mount— Brittle  dialogue,  swift  direction,  pic- 
torial grandeur,  and  intelligent  production  make  this 
picture  one  you  must  see.  Gary  Cooper,  Franchot 
Tone  Richard  Cromwell,  Sir  Guy  Standing,  head  an 
excellent  cast.      (March) 

LIVING  ON  VELVET— Warners.— Every  woman 
loves  to  get  her  hands  on  a  terribly  attractive  man 
and  reform  him.  And  when  Kay  Francis  is  the  re- 
former, what  man  has  a  chance?  George  Brent 
didn't.  Warren  William,  Helen  Lowell  help  a  lot. 
Smart  dialogue,  well  done  picture.      (May) 

LOST  IN  THE  STRATOSPHERE— Monogram. 

— Eddie  Nugent,  William  Cagney,  differ  over  June 
Collyer.  Enemies,  they  are  up  in  the  air  fourteen 
miles  and  the  balloon  goes  haywire.  For  the  young- 
sters.    (Jan.) 

LOTTERY  LOVER— Fox.— Bright  in  some  spots, 
unfortunately  dull  in  others,  this  film  story  with  Lew 
Ayres,  Nick  Foran  and  Peggy  Fears.     (March) 

LOVE  IN  BLOOM— Paramount.— Catchy  songs 
admirably  sung  by  Dixie  Lee  (Mrs.  Bing  Crosby, 
you  know)  and  Joe  Morrison,  plus  the  mad  antics  of 
George  Burns  and  Gracie  Allen,  make  this  bright, 
light  entertainment.      (May) 

LOVES  OF  A  DICTATOR— GB— An  historical 
drama,  well  cast  and  beautifully  presented,  telling 
the  romantic  story  of  Slruensee  (Clive  Brook)  who 
was  taken  into  the  Court  of  Denmark  as  dictator 
and  fell  in  love  with  the  bride-queen  (Madeleine 
Carroll).     (June) 

LOYALTIES— Harold  Auten  Prod.— An  over- 
played adaptation  of  John  Galsworthy's  play  based 
on  an  attempt  to  degrade  a  wealthy  Jew,  with  the 
Jew  victorious.     Basil  Rathbone  the  Jew.     (Jan.) 

MAN  OF  ARAN — Gaumont- British. — A  pictorial 
saga  of  the  lives  of  the  fisher  folk  on  the  barren  isles  of 
Aran  off  the  Irish  coast.     (Jan.) 

MAN  WHO  KNEW  TOO  MUCH,  THE— G.  B  — 

A  neat  and  exciting  little  melodrama  that  keeps  you 
hanging  on  your  chair  every  minute  of  the  way. 
Nova  Pilbeam  (of  "Little  Friend"  fame),  Edna 
Best,  Leslie  Banks  and  Peter  Lorre.      (May) 

MAN  WHO  RECLAIMED  HIS  HEAD,  THE— 

Universal. — As  fine  and  important  a  picture  as  has 
ever  been  made,  with  Claude  Rains  in  a  superb  per- 
formance as  the  pacifist  who  was  betrayed  by  an  un- 
scrupulous publisher  Joan  Bennett.  Lionel  Atwill. 
(March) 


MARIE  GALANTE— Fox.— Glaring  implausibil- 
ities  keep  this  from  being  a  strong  and  gripping  pic- 
ture. But  Ketti  Gallian,  a  new  French  star,  is  lovely; 
Helen  Morgan  sings  sobbily,  Ned  Sparks  and  Stepin 
Fetchit  are  funny,  Spencer  Tracy  a  nice  hero.   (Feb.) 

MARINES  ARE  COMING,  THE— Mascot.— A 
breezy  mixture  of  comedy  and  romance  with  William 
Haines  as  a  Marine  Corps  lieutenant  and  Armida 
pursuing  him.  Esther  Ralston,  Conrad  Nagel,  Edgar 
Kennedy.      (March) 

MARK  OF  THE  VAMPIRE— M-G-M.— A  con- 
fused and  incoherent  mystery  which  has  as  its  only 
virtue  some  fine  acting  by  Lionel  Barrymore.    (June) 

MAYBE  IT'S  LOVE— First  National.— A  rather 
dull  picture  of  the  hardships  of  a  young  couple  dur- 
ing the  first  six  months  of  marriage.  Ross  Alexander 
makes  the  young  husband  interesting.  But  Philip 
Reed,  Gloria  Stuart  and  the  rest  of  the  cast  are 
hampered  by  their  roles.      (Feb.) 

McFADDEN'S  FLATS— Paramount.— Plenty  of 
laughs  and  maybe  a  sniffle  in  this  story  of  the  girl 
(Betty  Furness)  who  goes  away  to  school  and  comes 
back  high-hatting  her  family  and  neighbors.  Walter 
C.  Kelly  is  grand  as  the  hod-carrier  king,  Dick 
Cromwell  is  the  sweetheart.      (May) 

•  THE  MIGHTY  BARNUM— 20th  Century- 
United  Artists. — A  great  show,  with  Wallace 
Beery,  as  circusman  P.  T.  Barnum.  in  one  of  the  best 
roles  of  his  career.  Adolphe  Menjou,  Virginia  Bruce, 
top  support.      (Feb.) 

MILLION  DOLLAR  BABY— Monogram.— Little 
Jimmy  Fay  is  cute  as  the  youngster  whose  parents 
dress  him  in  skirts  and  a  wig  and  put  him  under  con- 
tract to  a  movie  studio  as  a  second  Shirley  Temple. 
(March) 

MISSISSIPPI— Paramount.— Plenty  of  music, 
lavish  sets,  a  romantic  story  and  picturesque  southern 
atmosphere  make  this  pleasant  entertainment  with 
Bing  Crosby,  W.  C.  Fields,  Joan  Bennett  and  Gail 
Patrick.      (Apr.) 

MISTER  DYNAMITE— Universal.— Eddie  Lowe 
rides  to  glory  in  this  Dashiell  Hammett  yarn  as  the 
slick  detective  who  is  interested  in  justice  principally 
because  it  pays  him  fat  fees.  A  beautifully  paced 
story  that  keeps  you  baffled  and  makes  you*  laugh. 
Jean  Dixon.  Esther  Ralston,  Victor  Varconi.      (June) 

MURDER  ON  A  HONEYMOON— RKO-Radio. 

— An  amusing  and  intriguing  mystery,  with  Edna 
May  Oliver  as  the  intrepid  female  amateur  detective 
and  Jimmy  Gleason  the  slow  witted  inspector.  Good 
entertainment.     (Apr.) 

•  MUSIC  IN  THE  AIR— Fox.— Gloria  Swanson 
returns  in  this  charming  musical  as  a  tempestu- 
ous opera  star  in  love  with  her  leading  man,  John 
Boles.     Gay  and  tuneful.     (Jan.) 

MUTINY  AHEAD— Majestic— Just  an  average 
picture,  a  hybrid  sea-and-crook  drama  with  Neil 
Hamilton's  regeneration  as  the  main  story  thread, 
and  Kathleen  Burke  and  Leon  Ames  in  fair  support. 
(May) 

MY  HEART  IS  CALLING— Gaumont  British  — 
If  you  like  singing — lots  of  it — you  will  find  this  mu- 
sical film  a  treat.  Jan  Kiepura,  famous  European 
tenor,  has  a  grand  voice.  But  why  didn't  they  let 
Marta  Eggerth  sing  more?    Sonnie  Hale  good.  (Apr.) 

MYSTERY  MAN,  THE— Monogram.— Pretty 
meaty,  and  a  good  picture  idea.  But  you  have  to 
like  newspaper  atmosphere  with  hard-drinking  re- 
porters who  can  always  solve  the  mystery.  Maxine 
Doyle  and  Robert  Armstrong.      (May) 

MYSTERY  WOMAN,  THE— Fox.— Fairly  in- 
teresting combination  of  romance  and  mystery  con- 
cerning two  spies,  Gilbert  Roland  and  John  Halliday. 
both  in  love  with  Mona  Barrie.    (March) 

NAUGHTY  MARIETTA— M-G-M— A  thunder- 
ing big  melodious  adventure  picture,  with  lots  of 
romance  and  a  story-book  plot.  You've  never  heard 
singing  lovlier  than  Jeanette  MacDonald  and  Nelson 
Eddy  give  you  in  this  Victor  Herbert  musical.    (Apr.) 

NIGHT  ALARM— Majestic— If  you  like  to  go  to 
fires  you'll  get  a  three-alarm  thrill  from  this  story  of 
a  firebug  and  the  mysterious  blazes  he  starts.  Bruce 
Cabot  and  Judith  Allen  head  the  cast.      (Feb.) 

NIGHT  IS  YOUNG,  THE— M-G-M— A  small- 
scale  "Merry  Widow,"  with  Ramon  Novarro  and 
Evelyn  Laye  singing  agreeably  and  Charles  Butter- 
worth,  Una  Merkel  and  Eddie  Horton  for  fun. 
(March  i 

NIGHT  LIFE  OF  THE  GODS— Universal— A 
whimsical  and  fantastic  film  about  a  scientist  who 
discovered  a  formula  for  turning  statues  into  men 
and  men  into  statues.     (March) 

NORAH  O'NEALE— Clifton-Hurst  Prod.— Dub- 
lin's Abbey  Players,  famous  on  the  stage,  fail  in  their 
first  movie.  Lacks  their  spontaneity  and  charm  on 
the  stage.     (Jan.) 


NOTORIOUS  GENTLEMAN,  A— Universal  — 
Top  entertainment,  and  full  of  suspense,  is  this  story 
of  a  murderer  (Charles  Bickford)  who  lets  suspicion 
fall  upon  a  woman  (Helen  Vinson)  until  he  is  trapped 
by  Attorney  Onslow  Stevens.     (Apr.) 

NUT  FARM,  THE— Monogram.— What  happens 
when  hicks  arrive  in  the  movie-city  and  outslick  the 
Hollywood  slicker.  Funny  at  times.  Wallace  Ford. 
Betty  Alden,  Florence  Roberts,  Oscar  Apfel.    (Apr.) 

ONE  HOUR  LATE— Paramount.— New-comei 
Joe  Morrison  steals  the  show.  Helen  Twelvetrees. 
Conrad  Nagel,  Arline  Judge,  all  good  in  this  spritely 
romance.  But  it's  Joe  and  his  sweet  voice  you'll 
remember.     (Feb.) 

ONE  MORE  SPRING — Fox.— A  too-sweet  screen 
adaptation  of  Robert  Nathan's  novel  about  three 
depression  victims  (Warner  Baxter,  Janet  Gaynor 
and  Walter  King)  who  live  happily  together  in  a  tool 
barn  in  Central  Park.      (May) 

ONE  NEW  YORK  NIGHT— M-G-M— A  fast 
entertaining  mystery-comedy-drama,  played  in  a 
breezy,  highly  enjoyable  manner  by  Franchot  Tone. 
Una  Merkel,  Conrad  Nagel  and  Steffi  Duna.     (June) 

•  PAINTED  VEIL,  THE— M-G-M.— Garbo  as 
the  wife  of  a  doctor  (Herbert  Marshall)  in 
cholera-ridden  China.  A  betrayed  passion  for  George 
Brent  teaches  her  her  real  love  is  her  husband.  Pow- 
erful drama.     (Jan.) 

PEOPLE  WILL  TALK— Paramount.— One  of 
of  the  most  charming  of  the  Charlie  Ruggles-Mary 
Boland  comedies.  Leila  Hyams.  Dean  Jagger.  It's 
deft,  human  comedy  for  the  whole  family.     (June) 

PERFECT  CLUE,  THE— Majestic— Not  too 
expertly  made,  but  this  murder-drama-society  play 
has  its  bright  moments,  most  of  them  being  contrib- 
uted by  Skeets  Gallagher,  the  smooth  performance  of 
David  Manners  and  Betty  Blythe.      (Feb.) 

•  PRESIDENT  VANISHES,  THE— Waltei 
Wanger-Paramount. — A  sensational  screen 
speculation  of  what  would  happen  if  the  chief  execu- 
tive vanished  in  a  crisis.  Top-notch  cast  includes 
Arthur  Byron,  Edward  Arnold,  Janet  Beecher, 
Osgood  Perkins.    Intriguing  and  vital  film  fare.   (Feb.) 

PRINCESS    CHARMING — Gaumont-British  — 
Another  version  of  the  old  story  of  the  princess  in, 
distress.     Only  the  lovely  presence  of  Evelyn  Laye 
and  handsome  Henry  Wilcoxon  make  this  pleasant 
enough    entertainment.       (March) 

PRINCESS  O'HARA— Universal.— Nice  enter- 
tainment, with  Jean  Parker  as  the  girl  who  becomes  a 
hack  driver  after  her  father  is  killed,  and  Chester 
Morris  the  racketeer  boy-friend.     (Jinn) 

PRIVATE  LIFE  OF  DON  JUAN,  THE— United 
Artists. — Douglas  Fairbanks  is  good  as  the  gay 
Lothario,  who  is  finally  forced  to  give  up  balcony 
climbing  and  settle  down  in  the  country  with  his 
patient  wife.  Benita  Hume,  Binnie  Barnes,  Merle 
Oberon.      (March) 

•  PRIVATE  WORLDS— Walter  Wanger-Par- 
amount.— A  triumph  in  adult  entertainment, 
this  film  radiates  skill  and  understanding.  Claudette 
Colbert  and  Charles  Boyer  give  superb  performances 
as  two  psychiatrists  in  a  hospital  for  mental  cases 
who  suddenly  discover  their  own  lives  tangled  and 
warped.  Excellent  performances,  too,  by  Joan 
Bennett  and  Joel  McCrea.     (June) 

RECKLESS— M-G-M.— The  clever  talents  of 
Jean  Harlow,  William  Powell  and  Franchot  Tone, 
pooled  for  the  story  of  a  show  girl  who  marries  a 
millionaire  and  comes  to  grief  when  his  suicide  leaves 
her  with  a  ruined  reputation  and  a  baby  to  take  care 
of.      (June) 

RED  HOT  TIRES— First  National.— If  you  care 
for  automobile  racing,  with  crack-ups,  there's  plenty 
of  it.  Lyle  Talbot  is  the  racing  driver,  Mary  Astor, 
Frankie  Darro,  Roscoe  Karns.     (Apr.) 

RED  MORNING — RKO-Radio.— The  lovely 
presence  of  Steffi  Duna  is  the  only  new  thing  in  this 
picture.  Francis  McDonald  gives  a  good  perform- 
ance. Otherwise  it's  the  old  stuff  of  savages  sneaking 
through  forests  with  poisoned  spears,  etc.     (Feb.) 

RETURN    OF   CHANDU,    THE— Principal— A 

Hindu  secret  society  must  have  an  Egyptian  princess 
(Maria  Alba)  for  a  sacrifice.  Spookily  thrilling.  Bela 
Lugosi  is  Chandu.    Good  for  the  kids.    (Jan.) 

RIGHT  TO  LIVE,  THE— Warners.— Colin  Clive, 
Josephine  Hutchinson  and  George  Brent  capably 
present  Somerset  Maugham's  drama  of  a  crippled 
husband  whose  wife  falls  in  love  with  his  brother. 
A-l    direction   by   William    Keighley.      (May) 

ROBERTA— RKO-Radio.— A  film  treat  you 
shouldn't  miss,  with  Fred  Astaire  really  coming  into 
his  own  as  a  top-notch  entertainer.  An  excellent 
cast,  including  Ginger  Rogers,  Irene  Dunne.  Randy 
Scott,  combined  with  gorgeous  gowns,  excellent 
direction  and  grand  settings,  make  this  one  of  the 
most  delightful  experiences  you've  ever  had  in  a 
theater.      (May) 

I  PLEASE  TURN  TO  PAGE  114  I 


16 


Dolores  Del  Rio  is  one  star  whose  glamour  does  not  dim 
when  she's  out  of  her  screen  setting.  A  cameraman  caught 
her  unawares  this  time,  when  she  was  resting  between 
scenes  of  "In  Caliente."  But  had  she  been  specially  posed 
for  a  portrait,  Dolores  couldn't  have  looked  more  alluring 


/mww 


Cameras  and  powerful  lights  are  trundled 
nearer  to  the  bed  for  close-ups  of  a  tense 
scene  in  M-G-M's  "Public  Hero  No.  1."  Doc- 
tor Lionel  Barrymore  examines  the  patient, 
Joseph  Calleia,  while  the  crew  looks  on 
and  the  romantic  leads,  Jean  Arthur  and 
Chester  Morris,  exchange  significant 
glances.  Director  J.  Walter  Ruben  is  at 
the  foot  of  the  bed,  the  light  on  his  face 


Otto  Dyar 


"Rosemary  for  remembrance,"  sings  the  poet.  But  Rose- 
mary Ames  stands  not  only  for  many  pleasant  screen  re- 
membrances of  the  past  but  happy  promises  in  the  future. 
Her  latest  film  is  with  Shirley  Temple  in  "Our  Little  Girl." 
You    knew,   of  course,    Rosemary   is    Mrs.   Abner   Stillwell 


P  H  O  T  O  P  L  AY 

CLOSE-UPS 

AND    LONG-SHOTS 


BY  KATHRYN  DOUGHERTY 


NOEL  COWARD,  playwright,  actor,  and  man  of  the  world,  proves  to  be, 
under  the  merciless  scrutiny  that  the  screen  always  offers,  not  merely  a 
celebrity  but  a  personality.  Probably  none  other  could  more  adequately 
play  the  title  role  in  Ben  Hecht's  and  Charlie  MacArthur's  latest  picture,  "The 
Scoundrel."  And  certainly  no  one  outside  those  two  notables — unless  it  be  Coward 
himself — could  have  written  this  film.  Indeed,  one  may  reasonably  draw  the  inference 
all  three  had  a  hand  in  creating  the  script,  for  the  player  seems  exceedingly  to 
enjoy  uttering  the  lines  his  role  calls  for.  However  that  may  be,  the  work  is  a 
typical  Hecht-MacArthur  conceit,  shot  through  and  through  with  their  originality 
and  daring. 


I  AM  not  alone  in  my  suspicion  that  the  pair  have  been  a  bit  waggish  —  pulling  a 
fast  one  on  the  public — with  Coward  aiding  and  abetting  them.  Many  will  accept 
this  piece  on  its  face  value  as  pointing  a  moral,  showing  that  the  wages  of  sin  are 
repentance  and  death  Others  may  detect  a  satirical  note — as,  for  example,  in  the 
dialogue  between  the  arch-villain  Mallare  (Coward)  and  one  of  his  girl  victims — a 
note  that  pokes  a  little  fun  .at  the  conventional  movie  heroine  in  similar  situations. 
And  both  these  classes  of  film  addicts  will  merge  into  a  third,  who  don't  know  quite 
what  the  film  is  all  about. 

But  whatever  the  underlying  motives  or  purposes  of  the  authors,  one  thing  is 
pretty  certain — this  picture  is  going  to  be  widely  discussed  and  at  this  time — just 
a  few  days  after  its  release — promises  to  be  excellent  box-office. 

Hecht's  and  MacArthur's  offering  is  so  fresh  and  unusual  as  to  suggest  that  the 
cinema  has  by  no  means  exhausted  its  possibilities,  and  the  dialogue  is,  at  times, 
scintillating. 


THIS  is  their  second  release  as  joint-producers,  authors,  and  directors,  and  again 
they  prove  they  know  how  to  adapt  their  superb  skill  as  story  technicians  and 
playwrights  to  the  exacting  requirements  of  the  screen.  Made  at  the  Astoria 
studios,  Long  Island,  "The  Scoundrel"  is  practically  free  of  the  Hollywood  in- 
fluence. 

Over  and  above  excellent  craftsmanship,  it  is  in  its  genuine  sophistication  that 
this  picture  may  claim  distinction.  It  is  the  answer  to  all  criticism  that  the  screen 
lacks  appeal  for  the  intellectual. 


A  FTER  seeing  Dietrich  in  "The  Devil   Is  a  Woman,"   I  can   understand  why 

Paramount  renewed  her  contract.       Most  of  the  critics  on  the  Coast  lambasted 

the  picture  vigorously,  and  Eastern  reviewers  alluded  to  Dietrich's  "coy"  acting. 

Personally,  I  found  the  picture  much  better  than  represented.     The  role  she  plays 

21 


is  a  difficult  one,  that  of  a  temptress  who  gives  her  lovers  nothing.  She  sustains  this 
role  admirably  in  the  earlier  scenes.  Whatever  both  she  and  the  picture  may  lack 
is  due,  in  my  estimation,  more  to  improper  direction  than  to  any  other  factor.  And 
whatever  you  may  think  of  her  recent  films,  I  prophesy  Dietrich  will  again  become 
her  old  dazzling  self. 


["NEATH  riding  in  an  unknown  car,  driven  by  an  unknown  woman,  brought  sorrow 
to  the  thousands  who  are  entertained  and  cheered  by  motion  pictures,  and  grief 
more  poignant  to  four  families.  The  disaster  in  the  Southern  California  mountains 
that  killed  John  Coogan — father  of  Jackie — Junior  Durkin,  and  two  others,  and 
injured  Jackie  Coogan,  was  the  more  appalling,  because  it  was  so  sudden,  so  un- 
expected. 

Junior  Durkin's  passing  was  particularly  sad  because  the  young  actor,  though 
still  not  twenty,  had  been  on  stage  and  screen  for  over  seventeen  years,  and  seemed 
to  be  defying  the  unwritten  law  that  juveniles  must  quit  their  careers  with  ap- 
proaching maturity. 

In  the  past  five  years  he  had  excellent  roles  in  more  than  a  score  of  films,  includ- 
ing "Tom  Sawyer,"  "Huckleberry  Finn,"  "Mrs.  Wiggs  of  the  Cabbage  Patch," 
"So  Big,"  and  "Little  Men."  At  the  age  of  two  he  first  appeared  on  the  stage  and 
in  the  Winter  season  of  1933  starred  in  the  Broadway  stage  play  "Growing  Pains." 
Junior  had  the  winning,  boyish  type  of  personality  that  had  great  appeal  for  all 
audiences. 


WWALT  DISNEY  has  the  word  of  the  League  of  Nations  for  it  that  his  fantasies 
are  universally  regarded  as  "works  of  genius."  The  League,  it  seems,  goes 
into  other  matters  besides  trying  to  keep  its  members  out  of  war.  Its  Nations 
Child  Welfare  Committee  has  presented  a  study  of  "Cinema  for  the  Young"  in 
which  are  summed  up  the  picture  preferences  of  youth  of  eleven  different  countries. 
And  "Nordics,"  Latins  and  Americans  are  unanimous  in  the  conclusion  that 
"Mickey  Mouse"  and  the  "Silly  Symphonies"  are  tops. 

According  to  the  League's  report,  masculine  and  feminine  youth  show 
remarkable  similarity  of  tastes  in  such  various  countries  as  the  United  States, 
Italy  and  England.  The  girls  lead  off  with  romance;  the  boys  with  Westerns.  The 
average  girl's  choice  indicates  that,  after  romance,  she  prefers,  in  their  order, 
comedy,  Westerns  and  tragedy.  Sports,  adventure,  educational  and  war  pictures 
are  at  the  end  of  the  procession.  Boys  follow  up  their  first  choice  with  other  types 
of  adventure,  comedy  and  mystery.  War,  romance,  tragedy  and  educational  films, 
with  them,  come  last. 

From  the  report,  apparently  some  of  the  scenes  of  a  morally  questionable  nature 
that  trouble  censors  are  unobserved  or  ignored  by  children.  It  is  not  at  all  surpris- 
ing that  American  children  lead  the  world  in  their  attendance  at  motion  pictures, 
while  only  one  per  cent  of  Japanese  high  school  pupils  visit  a  picture  theater  oftener 
than  once  a  week. 

Discussion  of  the  report  brought  out  the  point  that  there  are  still  few  pictures 
made  with  a  youthful  audience  distinctly  in  mind.  The  findings  of  the  Nations 
Child  Welfare  Committee  may  suggest  an  idea  to  some  enterprising  Hollywood 
producer.     A  tremendous  box-office  awaits  the  one  with  the  right  idea. 


THAT  chap  Darryl  Zanuck  seems  to  ring  the  bell  every  time  he  fires  his  target 
pistol.  He  takes  his  time  about  loading  and  aiming  but  when  he  lets  go  you 
know  lie  is  sure  of  himself.  He  has  given  Twentieth  Century  half  a  dozen  big  suc- 
cesses, each  one  more  distinctive  than  its  predecessor.  Profits  aren't  eaten  up  by 
a  lot  of  mediocre  films  that  must  be  paid  for  by  one  box-office  hit. 

"Les  Miserables,"  his  latest,  is  running  true  to  form.  Unsupported  by  stage 
entertainment  or  other  inducements  it  thrilled  Broadway  for  weeks  at  an  admission 
price  unheard  of  since  the  depression.  Zanuck  not  only  knows  how  to  make 
pictures.  He  knows  the  public,  too.  He  is  that  rare  combination— a  fine  artist  and 
a  splendid  business  man. 


22 


Stephen  McNultv 


WE'VE  always  heard  that  Hollywood  gardens  are  wonderful,  and 
now  we  believe  it.  Our  cameraman,  snooping  over  a  garden  wall, 
got  this  picture  of  Virginia  Bruce  casting  an  appreciative  eye  over 
her   flower   beds.      At  the   studio   she's   completing    "Masquerade" 


AND  NOW 
THERE  IS 


Jolson.  Jr. 


RUBY  KEELER  stood  in  front  of  a  nurs- 
ery window  at  "The  Cradle,"  home  for 
adopted  babies  at  Evanston,  Illinois. 
Through  the  pane  glass,  a  uniformed  attend- 
ant held  up  a  sleeping  infant — just  two 
weeks  old.  He  had  about  as  much  hair  as 
Guy  Kibbee,  and  his  eyes  had  that  vague 
unfocused  gaze  of  a  new-born  baby.  But 
there  was  something  about  the  tiny  contour 
of  his  face  that  reminded  her  of  her  favorite 
actor— (Al  Jolson,  to  you!)— and,  instinctively,  she  knew  that 
here  was  the  "blessed  event"  she  and  Al  had  been  anticipating 
for  almost  six  years. 

And  so,  little  Al  Jolson,  Jr.,  left  "The  Cradle"  to  become  the 
adopted  son  of  the  world's  greatest  entertainer  and  his  beauti- 
ful, flawless  Ruby. 

If,  as  Shakespeare  says,  "The  web  of  our  life  is  of  a  mingled 
yarn,  good  and  ill  together,"  it  is  certainly  true  in  the  case  of 
Ruby  Keeler. 

Three  months  ago,  her  nineteen-year-old  sister,  Anna  Mae, 
died.  And  it  was  out  of  the  infinite  pain  of  her  tragic  passing 
that  Ruby  turned  to  the  solace  and  comfort  of  a  baby. 

24 


Al  Jolson  brought 
tears  to  the  eyes  of 
the  world  singing 
"Climb  upon  my  knee, 
Sonny  Boy,"  to  a  lit- 
tle shaver  in  the  mov- 
es Al  has  his  own 
youngster  to  croon 
his    lullabies    to    now 


"Not  that  little  Al,  or  anyone,  can  ever  erase  the  memory  of 
my  adored  sister,"  she  told  me,  when  I  called  on  her  at  the 
Sherry-Netherland  Hotel  to  express  my  sympathy.  "But  I 
realize  that  not  only  I,  but  my  whole  family  need  an  outlet  for 
the  affection  we  can  no  longer  lavish  on  Anna  Mae." 

Her  large  blue  eyes  filled  with  tears,  and  her  voice  was 
too  choked  to  continue.  Looking  at  her  lovely  pale  face,  made 
whiter  by  the  contrast  of  her  mourning  frock,  I  knew  that  this 
first  shadow  on  her  shining  world  would  leave  an  irreparable 
scar.  She  seemed  to  find  an  emotional  release  in  talking,  so  she 
went  on,  "Al  has  always  longed  for  a  son  You  can't  have  sung 
'Climb  upon  my  knee,  Sonny  Boy,'  as  often  as  he  has,  without 


The  family  circle  of  one 
of  Hollywood's  most  fa- 
mous couples  is  now  com- 
plete! Al  Jolson  and  his 
wife,  lovely  Ruby  Keeler, 
have  been  anticipating 
this  "blessed  event" 
for  more  than   six  years 

By    RADIE    HARRIS 


Ruby  looked  over  all 
the  tiny  babies  in 
the  nursery  and  chose 
the  one  she  thought 
looked  most  like  Al! 
Lucky  baby,  with  Ruby 
his  adoring  mother 
and  Al  the  proudest 
daddy   in    Hollywood 


feeling  the  reaction!  As  for  me,  I  have  known  such  happiness 
in  my  own  family  life  that  I  could  never  be  content  with  a. 
childless  marriage.  We  had  decided  long  ago  that,  if  we  weren't 
fortunate  enough  to  be  blessed  with  a  baby  of  our  own,  we 
would  adopt  one.  Last  year,  when  Al  re-decorated  our  home 
in  Scarsdale  as  a  surprise  for  me,  he  furnished  a  complete 
nursery.  It  was  adorable— even  though  the  baby's  crib  was  so 
large,  it  looked  as  if  we  were  expecting  a  junior  Camera! 

"But  we  didn't  adopt  little  Al  then,  because  we  were  called 
back  to  Hollywood  to  start  production  on  "Go  Into  Your 
Dance."  We  decided  to  wait  until  after  the  picture  was  over. 
In  the  meantime,  we  agreed  that,  as  an  old  married  couple  (we 


celebrate  our  sixth  wedding  anniversary  on 
September  21st),  we  ought  to  think  of 
settling  down  in  a  permanent  home,  instead 
of  commuting  between  hotel  suites  and 
rented  houses  every  few  months.  So  Al 
bought  a  five-acre  ranch  at  Elcino,  about 
twenty  miles  from  Hollywood,  and  only 
twelve  minutes  from  the  studio  at  Burbank. 
"It  is  a  glorious  site,  covered  with  orange, 
lemon  and  walnut  groves.  In  the  midst  of 
these  we  are  building  a  rambling  New  England  farm  house,  an 
unpretentious  place,  just  big  enough  for  Al,  the  baby  and  me. 
Adjoining  it,  we  will  build  a  small  guest  house.  Right  next 
door  there  is  a  five-acre  grapefruit  grove  that  I'd  like  to  buy. 
It  will  protect  us  from  neighbors,  and  it  is  a  good  investment, 

besides!"  u 

Ruby  managed  a  smile  at  the  thought  of  herself  as  a  prop- 
erty owner." 

As  soon  as  "  Go  Into  Your  Dance"  was  completed,  Al  had  to 
leave  for  New  York  to  start  a  series  of  radio  broadcasts.  Ruby 
remained  in  Hollywood  to  stay  with  Anna  Mae,  who  had  been 
rushed  to  the  Good  Samaritan     [  please  turn  to  page  106  | 

25 


Happy  landings!  Paul 
Mantz,  the  "Honeymoon 
Pilot,"  brought  bride  Lola 
Lane  and  her  husband, 
Director  Alexander  Hall, 
back  from   their  knot-tying 


Mantz,  besides  being  Holly- 
wood's number  one  Flying 
Cupid,  is  nationally  known 
in  aviation  circles.  He's 
with  Mrs.  Mantz  at  Hawaii, 
advisor   to   Amelia    Earhart 


BY    KIRTLEY    BASKETTE 


FLYING  THE 


CUPID  wore  wings  and  so,  quite  appropriately,  does 
Paul  Mantz. 
Paul  Mantz  is  Hollywood's  Flying  Cupid.  He 
hasn't  chubby  cheeks,  nor  a  rosebud  mouth  nor  curls,  and  he 
doesn't  work  his  medicine  with  a  bow  and  arrows — he  uses  a 
stick.  To  be  specific,  he  packs  matrimonially  minded  movie 
stars  into  his  swift  Lockheed  plane  and  zooms  them  the  two 
hundred  and  seventy-five  miles  or  so  to  Yuma,  Arizona,  or 
Las  Vegas,  Nevada,  beyond  reach  of  California's  three  day 
"gin-marriage"  law. 

Any  hour  of  the  day  or  night — and  ninety-five  out  of  one 
hundred  times  the  scene  is  well  after  decent  bed  time — comes 
an  insistent  jingle  from  the  telephone  at  the  Mantz  menage 

"Yeah,"  says  Paul  Mantz  sleepily. 

"This  is  so-and-so,"  says  a  voice,  "and  we  wanta  get 
married." 

"Okay,"  yawns  the  Honeymoon  Pilot,  shaking  the  sleep 
out  of  his  eyes,  "that's  your  business.  Which'U  it  be — Yuma  or 
Las  Vegas,  and  when  do  we  start?" 

"Yuma,"  they  usually  say,  because  for  some  reason  the 
tiny  town  that  sprawls  out  on  the  Arizona  desert  is  the  favorite 
hitching  post  of  Hollywood.     "How  about   twenty  minutes?" 

26 


"Make  it  a  half  hour,"  compromises  "Mendelssohn  Mantz" 
obligingly.     "And  don't  forget  the  ring." 

They  meet  him  at  his  hangar  at  the  United  Airport  in  Bur- 
bank,  ten  miles  out  from  Hollywood.  The  blushing  movie 
bride  and  the  nervous  movie  groom  standing  on  one  foot 
while  Mantz  warms  up  the  famous  "Honeymoon  Express" 
which  has  carried  more  stars  via  the  stars  to  the  altar  than  anv 
other  one  bridal  carriage  in  town. 

Paul  Mantz  is  discreet.  He  tends  to  his  business  and 
watches  the  motor  rather  than  the  snuggling  embraces  of  the 
movie  lovebirds  about  to  brook  their  better  judgments.  But 
there's  one  thing  he  has  noticed — invariably  movie  honey- 
moon couples  are  in  an  awful  hurry,  and  that  puzzles  him. 

"How  fast  can  we  make  it?"  they  always  ask.  And  he  tells 
them.  "An  hour  and  twenty  minutes  to  Yuma,  if  we're  lucky, 
in  the  fast  plane — a  little  longer  in  the  other  cabin  job." 

They  always  pick  the  fast  one — the  "Honeymoon  Express"  — 
even  though  it  costs  one  hundred  and  forty  dollars  to  the 
one  hundred  and  five  dollars  fare  in  the  slow  ship. 

Sometimes  he  warns.  "  It's  not  too  safe — plenty  of  fog." 
But  that  doesn't  mean  a  thing  when  screen  stars  sniff  the  en- 
chanting aroma  of  rice.     "Fog!"  they  cry.     "Can  a  little  fog 


The  Honeymoon  Express  itself,  poised  for 
a  quick  getaway.  Right,  Evelyn  Venable 
is  about  to  take  it  with  husband-to-be 
(now  is)   Hal  Mohr,  as  pilot  Mantz  smiles 


Paul  Mantz  has  piloted 
many  stars  to  the  altar, 
yet  he  rarely  knows  their 
names  because  he  never 
sees  a   motion   picture 


HONEYMOON  EXPRESS 


cool  our  love,  darling?  Contact!"  Love  not  only  laughs  at 
locksmiths  but  old  Jupe  Pluvius  the  weatherman  as  well,  on 
occasions. 

Besides,  there  is  a  well-founded  belief  around  Hollywood 
that  with  Paul  Mantz  at  the  controls  you're  going  to  get 
there — all  in  one  piece — nor  wind,  nor  rain  nor  sleet  nor  snow 
— the  male  (and  the  female)  go  through — to  Yuma's  marrying 
iudge. 

There's  a  hundred  per  cent  record  of  safety  to  back  this 
belief — in  over  four  thousand  hours  of  flying — in  exactly 
thirty-three  honeymoon  sky-rides.  But  Mantz  and  his 
Cupid-cargoes  have  had  their  moments. 

One  night  he  hurtled  the  "Love-in-bloom  Limited"  through 
pea-soup  vapors  four  thousand  two  hundred  feet  high,  carrying 
a  Columbia  studio  executive,  Jerome  Safron,  and  his  actress 
bride-to-be,   Nancy   Cornelius,  to  Yuma. 

But  let  him  tell  it— 

"We  shot  over  Yuma  and  you  couldn't  see  your  hand  in 
front  of  you — it  was  that  dark.  The  field  at  Yuma  is  small 
and  unlighted,  so  if  you  come  in  at  night,  you  have  to  be  an 
owl  to  find  a  place  to  sit  down.  I  threw  over  one  flare,  but  it 
didn't  do  any  good      I  was  too  low  to  waste  another  when  I 


saw  if  I   kept  on   I'd  smack   right   into  a  concrete  culvert. 

"We  had  been  riding  a  tail-wind,  but  often  down  there  in 
the  desert  the  wind  on  the  ground  blows  in  just  the  opposite 
direction.  I  didn't  have  time  to  explain — I  just  did  a  ground 
loop,  pulled  her  back  from  that  culvert  and  sat  down. 

"  'My  goodness,  what  was  that?"  they  gasped  when  it  was 
all  over. 

"  'Just  a  fast  turn,'  I  said,  but  I  don't  think  they  believed 
me.  Anyway,  the  next  morning  I  read  in  the  paper  where  I 
had  'landed  on  my  back'  and  cracked  up!  That's  just  what  I 
had  kept  from  doing!" 

As  a  matter  of  fact,  Paul  Mantz,  like  Will  Rogers,  (who, 
by  the  way,  called  on  Paul  to  take  him  up  the  other  day  to  see 
Wiley  Post  drop  his  landing  gear  when  he  made  the  strato- 
sphere attempt  with  his  Winnie  Mae)  has  to  depend  on  the 
papers  to  find  out  about  the  movies  and  usually  the  celebrities 
he  flies  to  be  Yu-mated.  Although  he  got  his  Hollywood  start 
stunt  flying  for  air-thrillers,  and  still  flies  for  aerial  photography, 
he  never  goes  to  movies. 

Half  the  time  he  doesn't  know  who  his  romantic  passengers 


are. 


One  night   a   couple   called  and  said   they   had   honorable 


27 


intentions.  Mantz  flew  them  to 
Yuma,  witnessed  the  knot-tying, 
dropped  the  newlyweds  off  at 
Caliente  and  flew  home  to  a 
welcome  bed. 

The  next  morning  with  his 
orange  juice  he  read  that  he  had 
Cupided  Leslie  Fenton  and  Ann 
Dvorak.  The  man  had  said  his 
name  was  Fenton,  and  he  had  a 
pretty  bride,  but  that  was  all 
the  significance  Mantz  had  at- 
tached to  his  fares. 

Another  night  a  striking 
blonde  and  a  short  man  with  a 
toothbrush  moustache  drove  up 
to  the  hangar.  They  said  they 
were  in  the  market  for  a  sky- 
jaunt  across  the  state  line,  and, 
as  usual,  they  were  in  a  hurry. 

"The  slow  ship  is  the  only 
one  in  the  hangar,"  they  were 
told.  "The  Lockheed  won't  be 
in   until   later." 

"How  fast  can  you  make  it?" 

"Couple  of  hours  each  way." 

They  said  they'd  rather  wait 
in  the  air  than  in  Hollywood, 
and  glancing  nervously  behind 
as  if  they  expected  a  posse  to 
come  over  the  horizon  any  min- 
ute, they  climbed  into  the  cabin. 

Screaming  bold-faced  head- 
lines announced  to  Paul  Mantz 
the  next  morning  that  Jean  Har- 
low and  Hal  Rosson  had  eloped 
by  air. 

Most  stars  and  their  to-be's, 
for  some  strange  reason,  try 
desperately  to  keep  their  wed- 
ding flights  a  secret  from  the 
press.  What  a  difference  a  few 
hours  makes  isn't  quite  clear 
(could  it  be  a  better  publicity 
break?),  but  all  assume  the  atti- 
tude of  fugitives  from  justice. 
The  very  word  "reporter"  or 
"photographer"  is  enough  to 
make  them  dart  glances  over 
shoulders  and  speak  in  hoarse 
whispers. 

Evelyn  Laye  and  Frank  Law- 
ton  were  in   the  same  nervous 

28 


Wally  Beery,  an  expert  at  the  controls 
himself,  talks  shop  with  Frank  Clarke, 
movie  stunt  flyer,  and  Paul  Mantz.  He 
helped  Wally  to  perfect  his  technique. 
Paul  himself  has  stunted  daringly  for 
the  movies  in  his  time.  He  still  holds 
the  record  for  breath-stopping  outside 
loops     with     a     stock     plane — forty-six 


Here's  Paul  in  a  top  flight.  Next  to  him 
are  Roscoe  Karns  and  George  Palmer 
Putnam,  publisher  husband  of  Amelia 
Earhart  (top).  Nice  smile,  Myrna  Loy. 
Amelia  Earhart  makes  her  headquarters 
at  Monti's  hangar  when  she's  in  Holly- 
wood. In  fact,  his  fast  plane  is  the  one 
Amelia    spanned    the    Pacific    Ocean    in 


hurry,  and  Director  Al  Hall  and 
Lola  Lane  played  tag  with  the 
press. 

They  can't  beat  the  game,  of 
course,  because  the  Los  Angeles 
papers  have  correspondents 
in  both  Yuma  and  Las  Vegas 
who  stick  as  close  to  the  mar- 
riage bureaus  as  fly-paper  to  a 
rubber  heel.  Maybe  it's  fun 
— like  hare  and  hounds — any- 
way, they  resort  to  all  sorts 
of  tricky  ruses  to  keep  secret 
news  which  if  kept  out  of  the 
headlines  the  next  day  would 
probably  send  them  into  a 
relapse. 

When  Evelyn  Venable  and 
Hal  Mohr  decided  to  do  some- 
thing about  it  recently,  they 
planned  the  romantic  exit  coolly 
and  carefully.  In  fact,  it's  the 
only  marital  excursion  Paul 
Mantz  can  name  as  being  ar- 
ranged for  ahead  of  time.  But 
instead  of  making  arrangements 
themselves,  they  sent  out  a 
friend  who  said  he  was  getting 
married.  And  just  to  throw 
everyone,  including  Paul  Mantz 
himself,  off  the  track  they  ar- 
ranged for  a  daylight  flight ! 

Paul  Mantz  tries  to  make  his 
customers  as  comfortable  as 
possible  in  his  splicing  special, 
which,  by  the  way,  is  exactly 
the  same  kind  of  plane  as  the 
one  used  by  Amelia  Earhart  to 
span  the  Pacific  from  the 
Hawaiian  Islands.  In  fact, 
Mantz  accompanied  her  to  Hon- 
olulu as  technical  advisor.  She 
makes  her  headquarters  in  his 
hangar  when  she's  in  town. 

But  inside  his  air  wedding 
wagon,  which  is  devoted  to  less 
epic  but  just  as  sensational 
uses,  he  has  all  the  comforts  of 
home  so  the  fugitive  lovers 
can't  blame  him  for  any  head- 
aches that  might  possibly  fol- 
low.   The  seats  are  big  and  soft, 

and  [  PLEASE  TURK  TO  PAGE  102  ] 


Marlene   Dietrich   en   famille — husband   Rudi   Sieber,    Maria,    holding    her    fascinating    mother's    hand.      If 
Marlene  does  not  gain   new  inspiration,  revive  her    enchanting   freshness   now,   it  will   be  her  own  fault 

What  Is  Dietrich's  Destiny? 

Will  this  still   potential   great  star  at   last 
return  to  the  heights  without  Yon  Sternberg? 

By  WARREN   REEVE 


HOLLYWOOD'S  greatest  Svengali-Trilby  alliance  is 
ended — and  Marlene  Dietrich  remains  the  screen's 
premier  problem  actress  and  its  major  mystery  star. 

The  problem  is  what  to  do  with  her  in  pictures.  The  mystery 
is  her  destiny  on  the  screen. 

Josef  Von  Sternberg  spent  five  years  trying  to  solve  the  first 
and  attain  the  second.  In  that  time  he  dedicated  his  entire 
art  and  energy  to  the  task.  But  now  the  Von  Sternberg- 
Dietrich  saga  has  been  sung.  It  was  the  saga  of  an  intelligent, 
artistic  man's  unbounded  faith  in  the  promise  of  a  woman. 
It  was  the  story  of  a  woman's  reverence  for  her  maestro. 

When  Von  Sternberg  recently  said  bluntly  to  a  dazed 
Dietrich:  "We  have  gone  as  far  as  we  can  together,  I  shall 
direct  you  in  no  more  pictures,"  it  was  as  if  he  had  confessed, 
"I  have  failed  to  steer  you  to  the  fulfillment  of  the  promise 
I  saw  in  you  when  I  found  you  in  a  Berlin  musical  show  and 
dropped  everything  to  guide  you  to  greatness.  I  have  failed 
to  discover  the  jewel  which  I  know  hides  somewhere  within 
you.  I  don't  know  which  way  to  go  with  you  from  here.  Five 
years  have  proved  that  I  am  not  your  man  of  destiny.  Let  us 
forget  these  years  and  start  over  again — with  someone  else." 

There  are  two  sides  to  the  pathos  of  the  situation:  There  is 
the  pathetic  spectacle  of  an  artist  cheated  of  his  masterpiece. 
There  is  the  sad  sight  of  a  pupil  repudiated  by  her  teacher. 

And  then  there  is  the  tragic  picture  of  a  potentially  great 


career  wavering  helpless  on  a  precarious  ledge  in  the  shadow 
of  the  summit. 

Stars  are  rare  in  Hollywood.  You  can  count  the  great 
screen  stars  on  your  fingers.  Marlene  Dietrich  from  the  start 
has  been  a  potential  great  motion  picture  star.  Von  Sternberg 
recognized  this  when  he  first  saw  her  in  Berlin.  After  he  had 
worked  with  her  in  "The  Blue  Angel"  he  was  sure  of  her 
promise. 

He  brought  to  Hollywood  a  lovely,  Dresden  doll  Dietrich 
as  fresh  and  as  exhilarating  as  the  first  breath  of  Spring.  He 
knew  what  he  had — the  chance  for  a  supreme  creation — the 
opportunity  to  mold  his  screen  masterpiece. 

He  has  been  sincere  and  untiring.  She  has  been  loyal  with 
an  unquestioning  devotion.  Circumstances  made  this  teacher 
and  his  pupil  closer  than  any  such  ordinary  professional 
alliance.  He  was  practically  a  countryman  of  hers,,  the  only 
one  whom  she  could  depend  on  in  a  foreign  and  critical  land. 
She  leaned  on  him  for  help  in  her  tiniest  problems.  He  found 
houses  for  her,  helped  her  adjust  herself  to  the  new  life.  He 
coached,  tutored,  advised  and  jealously  guarded  her.  She  was 
tucked  under  his  wing  completely.  Dietrich  has  made  but  one 
picture  without  him — Rouben  Mamoulian  directed  her  in 
"Song  of  Songs." 

If  Von  Sternberg,  after  being  professionally  wedded  to 
Dietrich  for  five  years,  still  does      [  please  turn  to  page  95  | 

29 


DIAMOND  JIM 


Binnie  Barnes  and  Arnold  in  a  daguerro- 
type  pose  as  Lillian  Russell  and  Diamond 
Jim  Brady  for  Universale  picture.  Brady 
once  offered  Lillian  a  million  dollars  if 
she'd  marry  him.  but,  of  course,  she  didn't 


ODD  how  things  come  about. 
One  night  in  New  York  when  "Mid-Channel"  was 
running  there  Diamond  Jim  Brady,  in  all  his  dazzling 
splendor,  went  back-stage  at  the  Empire  Theater  to  see  Ethel 
Barrymore  and  was  introduced  by  her  to  a  shy  young  man 
serving  as  assistant  stage  manager.  Into  that  great  paw  of 
Broadway's  most  picturesque  figure  slipped  a  trembling  hand 
to  be  squeezed  against  precious  stones  encrusting  all  four 
fingers,  not  to  mention  a  carbuncled  thumb.  Meanwhile  star- 
ing eyes  were  fixed  on  blinding  studs  that  turned  an  expansive 
shirtfront  into  a  glittering  jewelry  display. 

A  year  or  so  later  the  same  diffident  youth  was  again  pre- 
sented to  the  coruscant  Brady,  this  time  by  Maxine  Elliott,  at 
whose  theater  he  was  playing  the  juvenile  in  "The  Chaperon." 

"Well,  young  man,"  boomed  the  patron  of  out-shone  stars, 
"I  hope  that  some  day  you'll  have  a  big  part." 

30 


The  famous  Jim  Brady,  who 
dazzled  Broadway  and 
squired  Lillian  Russell,  lives 
again,  and  brilliantly,  in  the 
person    of   Edward   Arnold 


Now  at  last  that  day  has  come,  with  Edward 
Arnold  in  no  less  a  part  than  that  of  the  huge 
Diamond  Jim  himself.  Seeing  Mr.  Arnold  in 
make-up,  I  was  amazed,  for  from  head  to  foot 
he  was  to  the  life  the  same  renowned  New 
Yorker  I  had  met,  curiously  enough,  at  the  same 
Empire  Theater. 

"Yes,"  admitted  Mr.  Arnold,  "in  this  picture 
'Diamond  Jim  Brady,'  I  have  the  biggest  part 
I've  ever  played.  And  it's  the  strangest  thing 
that  ever  happened  to  me,  for  when  Miss  Barry- 
more,  and  then  Miss  Elliott,  introduced  me  to  the  man  himself 
I  never  dreamed  that  one  day  I'd  be  playing  him.  My  only 
feeling  on  both  occasions  was  that  of  paralyzed  awe.  When 
Diamond  Jim  suddenly  loomed  up  before  me  I  just  stood  there 
cockeyed." 

Since  that  distant  time  Edward  Arnold  has  gained  assurance 
as  one  of  the  finest  character  actors  in  Hollywood,  though  he 
still  confesses  to  confirmed  shyness.  A  man  of  good  sense  and 
good  cheer,  he  is  an  actor' of  wide  range.  From  an  alcoholic 
millionaire  to  Secretary  of  War,  he  has  given  one  the  power  of  a 
dynamo,  the  other  all  the  persuasiveness  of  a  skilled  diplomatist. 
Reigning  as  a  gangster  overlord  or  an  imperious  Louis  XIII,  he 
has  held  full  sway. 

But  a  deprecating  smile  playing  across  the  table  of  a  Holly- 
wood cafe  was  his  only  answer  to  my  opinion  of  his  uncommon 
gifts.    They  might  well,  it  seemed,  have  run  in  his  family 


COMES  BACK 


Edward  Arnold  admits  he's  not  as  good  as 
Brady,  who  could  eat  three  dozen  oysters, 
then  order  and  consume  a  full  meal.  How- 
ever, he's  doing  his  best  to  live  up  to 
Diamond    Jim's     reputation — for    the    film 


Mr.  Arnold,  between  scenes  of  the  film,  is  here 
carrying  on  a  custom  the  real  Diamond  Jim 
made  famous  on  Broadway:  surrounding  him- 
self with  attractive  show  girls  (extras  here) 
who  drink  a  toast  to  him.    He  never  drank  liquor 


By    CHARLES    DARNTON 


"No,"  he  remarked  with  a  glint  of  humor, 
"the  only  one  in  the  theater  was  an  uncle  who 
played  bass  fiddle  at  Tony  Pastor's." 

Somehow,  that  amusing  bit  of  intelligence 
strengthened  my  feeling  he  was  German. 

"Of  German  descent,"  he  said,  "and  born 
down  on  New  York's  East  Side.  My  full  name 
was  Edward  Arnold  Schneider.  But  like  the  dog 
of  that  name  I  had  the  tail  cut  off." 

"Not  so  good  for  an  actor?" 

"A  good  name  and  my  own,  but  somewhat 
wanting  in  dramatic  fire,"  he  chuckled.  "Not  that  it  mattered 
at  first,  for  I  started  out  to  be  a  stationary  engineer.  That  is, 
I  tried  to  work  my  way  through  Columbia  at  that  job  for  sixty 
dollars  a  month.  But  one  day  I  let  the  engine  run  hot,  and  they 
threw  me  out.  I'm  afraid  I  wasn't  keeping  my  mind  on  my 
work.  You  see,  I'd  already  had  a  taste  of  amateur  acting  at 
Settlement  House  in  East  76th  street,  where,  with  all  the  fervor 
of  my  fourteen  years,  I  played  Lorenzo  in  'The  Merchant  of 
Venice.'  So,  at  a  friend's  desperate  suggestion — he  probably 
was  afraid  I'd  starve  to  death — I  went  back  there  and  acted  for 
coffee  and  cakes.  After  a  year  or  more  Ben  Greet  took  me  into 
his  Shakespearean  company  at  twenty-five  dollars  a  week  and 
I  went  on  the  road.  I  spoke  my  first  line  on  the  professional 
stage  at  Trenton,  New  Jersey,  as  Philostrale  in  'A  Midsummer 
Night's  Dream' — a  momentous  event  for  me,  but  not  for  any- 
one else." 


Lightly  as  Mr.  Arnold  dismissed  his  early  efforts,  he  now  had 
heavy  work  to  do,  and  I  wondered  how  his  weight  compared  to 
that  of  Diamond  Jim. 

"Brady  was  two  hundred  and  twenty,  I'm  two  hundred  and 
twelve  pounds,"  he  said.  "But  unlike  him,  I  never  ate  three 
dozen  oysters  for  an  appetizer,  then  went  to  Churchill's  for  a 
full  dinner.  However,  I'm  doing  my  best  in  the  picture  to  live 
up  to  him  in  the  matter  of  clothes,  for  I  have  twenty-one 
changes.  Getting  measured  for  those  suits  was  a  big  job  in 
itself.  Diamond  Jim  as  you  know,  was  a  most  extravagant 
dresser.  It  was  an  important  part  of  his  scheme  of  life  to  look 
overpoweringly  affluent.  He  once  said  to  a  friend  of  mine,  'I 
wish  I  was  rich  enough  to  be  taken  for  a  sucker.'  He  probably 
meant  that  he  would  then  'take'  the  other  fellow.  Certainly  he 
was  far  from  one  himself.  He  proved  that  by  the  wholesale 
way  he  sold  steel  cars  and  other        [  please  turn  to  page  96  | 


You  C 
Get  On 
These  Sets! 


To  PHOTOPLAYS  knowledge,  this  is 
the  first  candid  picture  of  Greta  Garbo 
taken  on  her  set.  In  "Anna  Karenina," 
Greta  plays  croquet  with  Fredric 
March,  and  enjoys  it  so  much,  she  plays 
it    between    scenes.     It's    a    mean    game! 


32 


-J  Kite 


*.''•• 


Xfi 


7^; 


/i 


"V 


All  visitors,  while  the  vital 
scenes  of  "Anna  Karenina" 
and  "The  Flame  Within"  are 
being  shot,  are  forbidden, 
or,   at   least,   kept   distant 


Take  one!  Greta  Garbo's  first  scene,  with 
Basil  Rathbone,  for  "Anna  Karenina."  Direc- 
tor Clarence  Brown  is  in  a  pensive  mood. 
He  has  done  six  of  Garbo's  pictures,  which 
is  a  world's  record.  But  Cameraman  Daniels 
has  handled  nineteen  of  Garbo's  twenty  films! 


The  emotional  scenes  in  "The  Flame  Within" 
are  being  photographed  to  the  tempo  of  the 
musical  score,  instead  of  scoring  the  picture 
after  it  is  completed,  as  customary.  Edmund 
Goulding  (in  white  trousers)  directs  a  scene 
with  the  aid  of  Jerome  Kern,  dean  of  Ameri- 
can composers  (with  script  in  hand).  In  the 
scene  are  Margaret  Seddon,  Herbert  Mar- 
shall, Maureen  O'Sullivan,  Louis  Hayward,  a 
stage    "find,"    and    the    blonde    Miss    Harding 


K/% 


V. 


// 


THE  LADIES  SAY, 

Hes  Got  What  It  Takes! 

Nelson  Eddy,  opera's  gift  to  the  screen,  has 
captured  feminine  hearts  with  his  "wooing" 
voice  and  the  charm  of  his  sturdy  masculinity 


// 


I  KNEW  him  first  when  he 
didn't  have  a  movie  fan- 
mail  letter  to  his  name, 
when  he  was  just  an  ambitious 
young  singer  trying  to  get  along 
on   concert's  small-time  trail. 

San  Diego,  California,  was 
the  place.  San  Diego  would 
hate  those  words,  "small  time" 
— especially  this  year  when  the 
great  fair  makes  her  one  of 
the  crowded  capitals  of  the 
world — but  the  fact  remains 
that  the  city  of  aviators  and 
theosophists  is  the  one  place 
in  Southern  California  where 
young  singers  and  players  are 
glad  to  go  when  they  can't 
quite  "make"  Los  Angeles. 

"You  must  hear  him,"  said 
a  woman  friend  of  mine.  "  He's 
got  what  it  takes." 

How  often  have  I  heard 
women  say  that  of  him  since! 
But  this  first  time  in  San 
Diego,  the  remark  meant  little 
to  me  because  I  hadn't  seen 
Nelson  Eddy. 

Since  I  have  seen  him,  I 
have  been  able  gradually  to 
break  down  that  most  com- 
mon of  all  feminine  remarks 
about  him  into  understandable 
terms  of  personality,  tempera- 
ment, presence,  physique,  vi- 
tality, poise,  voice  technique. 
It's  not  difficult,  so  far  as  it 
goes,  because  Eddy  has  them 
all  in  clearly  defined,  easily 
recognizable  quantities.  But 
none  of  these  things  accounts 
for  what  the  blond  young  giant 
did  to  the  crowd  of  sophis- 
ticated women  who  had  gath- 
ered languidly  from  homes  and 
hotels  in  San  Diego  and  Coron- 
ado  and  La  Jolla  to  hear  an 
almost  unknown  singer  on  this 
softly  beautiful  California 
night. 

The  boy  had  something  else, 
something  I  must  find  out 
about.  He  had  to  have  it  to 
"get"  me,  along  with  the 

34 


By  FREDERICK   L.   COLLINS 


women;  for  I  don't  care  much 
for  itinerant  opera  singers;  es- 
pecially I  don't  care  for  am- 
bitious ones  trying  it  out  on 
the  concert  dog.  The  pro 
gram  notes,  an  institution  de- 
signed to  tell  concert-goers 
why  and  how  they  should  like 
the  performers  of  the  evening 
— fortunately,  this  device  has 
not  yet  reached  the  motion 
picture  theater! — did  not  re- 
assure me.  According  to  the 
program,  Mr.  Eddy  was  ex- 
uberant, expansive,  vivacious, 
eager.  It  looked  like  a  terrible 
evening.  Then,  suddenly  but 
without  undue  exuberance,  ex- 
pansion, vivacity  or  eagerness, 
there  strode  out  from  the  wings 
the  most  disarming  young  male 
person  these  old  eyes  have  ever 
seen. 

From  down  in  front  he 
looked  eight  feet  tall.  He  is  six. 
In  the  glaring  stage  lights  his 
hair  looked  almost  white.  It  is 
whitely  blond.  His  dress  coat, 
superbly  tailored,  hung  almost 
loosely  from  his  massive  shoul- 
ders. His  wide,  white  tie 
gleamed  brightly  below  his 
clean-cut,  slightly  florid,  in- 
dubitably  masculine  features. 

He  stood  thus  for  a  brief 
moment  of  what  seemed  a  con- 
scious effort  at  friendly  com- 
munion, during  which  those 
boyish  blue  eyes  smiled  in- 
gratiatingly down  on  us  in  a  con- 
tagion of  enthusiasm.  I  thought 
he  was  going  to  croon  But 
he  didn't.     Instead,  he  opened 

[  PLEASE  TURN    TO  PAGE  87  ] 


Actually,  in  person,  movie- 
dom's  latest  singing  sensation 
appears  to  be  a  most  dis- 
arming young  man.  But  when 
he  sings,  he  pulsates  with  the 
authority  of  a  great  artist 
not  to  be  denied.  In  the 
pictures  at  the  right  can  be 
seen  his  strong  personality. 
That's    June    Knight    with    him 


sr 


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WW 


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Wallace  Reid,  his  wife,  Dorothy, 
with  their  baby  son  lived  happily 
n  this  home  which  they  had  lov- 
ngly  planned  and  built.  After 
Wally's  death,  Dorothy  lost  the 
property,  and  for  a  long  while 
couldn't  bear  to  go  past  the  empty 
house  where  so  many  of  her  dreams 
were  buried.  Since  then  various 
occupants     have     come     and     gone 


HEART-BREAK  HOUSES 


HOLLYWOOD  has  more  of  them  to  the  square  mile  than 
any  other  city  in  the  world  .  .  . 
Houses  of  broken  dreams. 

Houses  that  once  were  homes,  that  sheltered  romance  and 
love — even  peace  and  contentment.  Now  deserted  and  forlorn, 
they  have  that  tragic  look  peculiar  to  lonesome  houses.  Or 
they  are  lived  in  by  strangers  who  know  nothing  of  the  dreams 
that  were  drawn  with  the  plans. 

There  are  depression  houses  everywhere — built  by  the  stock 
market  and  sunk  the  same  way.  At  least  one  must  be  in  your 
town  and  you  are  familiar  with  its  history.  You  pass  by  it 
often,  perhaps  you  once  went  to  gay  parties  there,  in  happier 
days — and  it  always  revived  memories  and  a  sigh. 

In  Hollywood,  a  seasoned  villager  can  drive  past  twenty  such 
houses  in  an  ordinary  day.  But  these  are  not  places  vacated  by 
high  finance — they  are  homes  broken  by  swiftly  changing 
emotion! 

If  you  came  here  for  a  season  and  inspected  houses  to  rent, 
you  would  be  amazed  at  the  agent's  frequent  "this  is  where  so- 
and-so  lived  when  she  (or  he)  was  married  to  so-and-so." 


There  are  few  houses  without  histories  in  all  the  town  of 
Hollywood. 

In  every  gathering  of  old-timers,  when  the  reminiscences 
begin  to  run  riot,  they  invariably  start  with  some  such  state- 
ment as  "remember  that  big  party  at  King  and  Eleanor  Vidor's 
house — the  one  Jack  Barrymore  bought — etc.,  etc." 

And  now  Dolores  Costello  Barrymore  has  just  moved  out  of 
the  same  house — anticipating  her  husband's  return  to  Holly- 
wood after  a  long  absence.  Speculation  goes  the  rounds,  as 
always  on  these  occasions.  The  gossips  say  Jack  sent  word  to 
her  to  leave.  .  .   .  That  the  divorce  is  only  a  matter  of  minutes. 

And  the  palatially  comfortable  big  house  that  rambles  over  a 
mountain  and  was  enlarged  to  contain  the  Barrymore  treasures 
from  all  over  the  world — what  happens  to  that?  Will  Jack 
return  there  to  live?  Or  will  new  and  alien  voices  mingle  with 
the  echoes? 

Out  on  Sunset  Boulevard  is  the  place  Rudy  Yallee  bought 
three  years  ago  to  be  his  honeymoon  house  with  Fay  Webb. 
That  marriage  ran  its  course  so  rapidly  they  never  lived  in  it, 
even  for  a  dav ! 


No  domicile  was  ever  more  famous 
than  the  home  Doug  Fairbanks  and 
Mary  Pickford  built.  At  Pickfair 
Hollywood's  famous  visitors  were 
entertained,  and  the  elite  of  filmdom 
gathered.  To  be  married  from  here 
was  regarded  as  the  perfect  begin- 
ning for  long  happiness.  Yet,  of  all 
the  marriages  performed  here,  only 
one  lasted,  Sonny  and  Verna  Chalif's 


Hollywood    is    full    of    homes    built   with    happy 
dreams  and  broken  by  swift  and  tragic  changes 


By   RUTH 
RANKIN 


"Before  I  had  time  to  come  back  to  Hollywood  and  move 
into  the  house,  my  marriage  went  on  the  rocks,"  Rudy  told  a 
friend. 

So  all  this  hundred  thousand  dollar  roof  has  ever  sheltered  is 
a  caretaker  in  the  servants'  quarters. 

The  house  had  just  been  built  and  the  decorations  were  not 
completed  when  Rudy  signed  the  papers.  He  chose  decorations 
to  be  suitable  background  for  the  exotic  Fay.  He  thought  they 
were  coming  to  Hollywood  to  remain  permanently.  But  he 
made  one  picture  for  RKO  at  that  time,  "Vagabond  Lover," 
and  it  was  not  a  success.  He  returned  to  New  York,  to  his 
broadcasting  and  night  club  work. 

Fay  commuted  between  New  York  and  her  parents'  home  in 
Santa  Monica.  Then  came  the  definite  separation  and  Fay 
signed  an  agreement  to  accept  a  hundred  dollars  a  week  from 
Vallee. 

With  such  a  sum  it  would  be  impossible  to  keep  up  an  estab- 
lishment of  the  size  Rudy  had  bought.  The  idea  of  Fay  taking 
the  house  over  would  obviously  have  been  absurd.  And  even 
if  Rudy  had  a  divorce  and  the  house,  it  is  probable  he  would  not 


want  to  live  in  it  with  another  wife,  should  he  marry  again. 

So  there  it  stands — a  house  that  has  never  been  lighted.  A 
magnificent  mausoleum  for  a  lost  love. 

We  drive  on  out  through  Beverly  Hills  to  the  picture  colony's 
most  celebrated  residence — Pickfair. 

Probably  no  private  domicile  ever  became  as  internationally 
famous.  Certainly  no  other  in  Hollywood  has  succeeded  it  in 
social  prestige.  Belonging  to  the  "superlative"  era  when  all 
America  had  a  Sweetheart,  and  the  Sweetheart  was  Mary 
Pickford,  her  home  became  a  magnet  to  attract  distinguished 
visitors  from  all  over  the  world. 

Many  say  Doug  and  Mary  were  happier  in  the  less  preten- 
tious place  at  the  entrance  to  Laurel  Canyon,  before  their  "big 
house"  days  and  before  their  home  became  a  sort  of  hotel  for 
titles.  But  for  many  years,  Pickfair  presented  at  least  the  out- 
ward appearance  of  a  serene  and  happy  home. 

Since  Doug  and  Mary  were  the  ideal  couple,  to  be  married 
from  their  house  was  regarded  as  the  perfect  beginning  for  last- 
ing happiness.  .  .  .  Several  ceremonies  took  place  there — but 
onlv  one  of  them  still  holds! 


17 


Victoria  and  Tom  Mix 
lived  happily  until  she  in- 
sisted on  their  building 
this  palatial  home. 
Shortly  after,  their  ro- 
mance broke  up.  Tom 
said  there  was  no  place 
in  the  house  where  he 
could  put  his  feet  up 
and      read      his      paper 


Mary's  brother  was  married  twice 
at  Pickfair,  the  first  time  to  Marilyn 
Miller,  the  second  to  Mary  Mul- 
hern.  (Previously  he  had  married 
the  unfortunate  Olive  Thomas.) 
Eddie  Sutherland  and  Margery 
Daw  (now  Mrs.  Myron  Selznick) 
were    married    at    Pickfair.       And 

Sonny  and  Yerna  Chalif  (he  is  Mary's  cousin)  who  were  married 
with  the  blessings  of  the  house  have  been  the  only  pair  whose 
marriage  did  not  meet  disaster.  Doug  Jr.,  and  Joan  Crawford 
were  married  in  New  York,  contrary  to  the  general  impression 
that  they  were  married  at  the  home  of  Fairbanks  Senior.  .  .  . 
So  there  is  one  which  cannot  be  counted  up  against  the  house! 

Just  before  the  separation  of  Mary  and  Doug  became  public, 
Pickfair  was  put  up  for  sale.  In  fact,  it  was  the  house  which 
"broke"  the  story  of  a  rift  between  filmdom's  most  famous 
couple.  At  that  time,  Mary's  plans  were  unsettled,  Doug  was 
away,  and  Mary  consulted  a  real  estate  dealer  to  see  whether 
or  not  there  was  a  market  for  the  place  should  she  decide  to  sell 
it.  The  dealer  assumed  a  great  deal,  and  immediately  put  the 
story  in  circulation  that  the  house  was  actually  for  sale.  The 
denouement  followed. 

For  a  time  it  was  a  sad  and  lovely  place,  full  of  ghosts  and 
echues  .  .  .  but  recently  its  spirit  has  considerably  revived. 
Mary  is  living  there  now,  permanently,  she  says,  and  she  does 
not  want  any  one  to  get  the  idea  she  is  languishing  with  a 
broken  heart. 

On  the  contrary,  there  is  a  new  festive  atmosphere,  a  great 
deal  of  activity.  Every  week  sees  a  large  dinner  party  for  fifty 
or  more  persons.  Almost  every  person  of  consequence  who 
visits  Hollywood  is  again  entertained  at  Pickfair.    But  there  is 


a  conspicuous  absence  of  titles  among 
them.  The  recent  exception  was  Lord 
and  Lady  Byng — Canadians  who  knew 
Mary  as  a  child  actress  when  Lord 
Byng  was  Governor-General  of 
Canada,  and  Mary  lived  there. 

Pickfair  is  one  of  the  few  "broken 
dream"  houses  that  have,  in  a  meas- 
ure, redeemed  themselves  Several 
others  could  have  the  same  thing  said 
of  them.  .  .  The  house  Florence  and 
King  Yidor  built  together  and  left  — 
tWt       m  1  separately — is    now    the    harmonious 

UjM       ■jbjfll  dwelling  of  Fay  Wray  and  John  Monk 

^Sr        ^£r  Saunders.    The  famous  old  Ince  estate, 

sold  by  Mrs.  Ince  when  Thomas  Ince 
met    with    tragic    death,    is   now    the 
Laemmle  home  where  Junior  and  his 
father  entertain  lavishly. 
Nazimova's  once-celebrated  menage, 
a  point  of  interest  for  every  sightseer,  became  the  site  of  an 
apartment  hotel,  the  Garden  of  Allah,  where  Charles  Laughton, 
Maureen  O'Sullivan  and  many  other  stars  live.    The  big  com- 
fortable place  at  the  entrance  of  Beverly  Hills,  where  "Polly" 
Frederick  once  reigned  supreme,   was  later  occupied  by  the 
Irving  Thalbergs  when  they  were  first  married.     It  is  now  the 
home  of  Harpo  Marx — with  a  harp,  illuminated  by  Neon  light- 
ing, in  the  front  window! 

The  Charles  Ray  house,  with  its  exquisitely  fragile  French 
decorations  and  its  gold  dinner  service,  was  once  a  Hollywood 
show  place.  So  much  has  been  written  about  the  footmen  back 
of  each  chair  in  the  dining  room,  the  black-and-gold  Chinese 
playhouse,  that  you  know  all  about  that  sad  story.  The  house 
was  bought  several  years  ago  by  a  middle  Western  family 
named  Smith,  who  are  not  associated  with  pictures. 

Valentino's  lonely  "Falcon's  Lair"  stands  unoccupied  since 
his  death.  There  were  legal  entanglements  involving  the  estate. 
Recently,  Pola  Negri  was  supposed  to  have  bought  the  place. 
She  found  it  so  badly  in  need  of  restoration — termites  had 
undermined  an  entire  wing — that  no  deal  was  made.  Just  the 
other  day  we  passed  by  it  and  saw  Yalentino's  brother  and  his 
wife  out  working  in  the  yard  It  was  the  first  sign  of  life  seen 
around  the  place  in  years. 

The  beautiful  house  in  Bel  Air     [  please  turn  to  page  86  ] 


Randy  goes  over  a 
script  with  Nigel 
Bruce.  They  are  un- 
shaven for  their  roles 
in  RKO-Radio's  "She" 


By  ELLEN 
GRANT 


The  RISE  of  RANDOLPH  SCOTT 


Hollywood  turned  this  Virginia  gentleman  into  a 
cowboy.  But  he's  back  in  the  drawing-room  now. 


ALL  the  Cinderella  stories  don't  happen  to  little  girls. 
Sometimes  they  happen  to  great  big,  blond  six-footers. 
For  instance,  once  upon  a  time — if  you'd  like  it  that  way 
— there  was  a  lad  named  Randolph  Scott  and  he  lived  in 
Virginia  with  his  very  fine,  cultured  family.  He  went  to  Georgia 
Tech,  he  played  football,  he  took  out  girls,  he  enjoyed  life,  and 
practically  any  time  he  was  ready  to  go  to  work  for  his  father 
who  had  a  large,  flourishing  business.  However,  he  never  got 
to  do  the  latter  because  along  came  the  magic  fairy  with  her 
wand,  and  Orange,  Virginia,  became  Hollywood,  California, 
through  the  medium  of  Randy's  best  friend  who  had  once  been 
to  movieland  and  wanted,  more  than  anything  else,  to  get  back 
there.  So  Randy  went  with  him  and  they  both  had  themselves 
loads  of  fun  which  included  dabbling  with  the  movies — in  a 
strictly  social  fashion. 

Then  came  a  game  of  golf  with  Howard  Hughes,  the  million- 
aire playboy  producer,  and  they  told  him  they  thought  it  would 


be  interesting  to  see  a  studio  before  headin'  for  the  old  South 
again.  Hughes  thought  so  too.  He  called  up  Fox  and  had  the 
two  young  men  all  lined  up  for  a  day's  extra  work,  so  they'd 
have  something  to  tell  the  folks  back  home. 

Next  morning,  bright  and  early,  they  got  themselves  but- 
toned up  in  swanky  Austrian  uniforms,  had  greasepaint  daubed 
on  their  faces  and  joined  the  mob  of  extras.  Here  we  pause  to 
allow  the  aforementioned  magic  fairy  to  appear  again.  This 
done,  we  now  allow  both  the  Fox  studio  and  Mr.  Cecil  B. 
DeMille  to  see  the  big,  blond,  handsome  Randy  in  the  smartly 
fitting  uniform  and  both,  simultaneously,  to  ask  him  to  take  a 
test! 

The  Southern  gentleman,  in  the  midst  of  his  mingled  joy  and 
surprise,  took  both.  Fox,  on  seeing  it  immediately  offered  him 
a  part  in  a  picture  then  ready  to  leave  on  location.  But  the 
great  C.  B.  made  him  such  glorious  prophecies  he  declined  the 
Fox  offer.     But  the  prophecies     f  please  turn  to  page  103  1 

39 


CAL  YORK'S  GOSS 


D 


CLOSE    friends    of    Janet    Gaynor's    are 
worrying  about  her  and  prescribing — of 
all  things — a  nice  romance! 
Janet,  for  the  first  time  in  a  long  time,  is 
making  a  picture  without  a  romance  in  her  life. 
She  and  the  New  York  doctor  decided  to  call  it 
quits  a  few  months  ago  and  since  then  she  has 
been,  and  still  is,  "heart  whole  and  fancy  free." 
But  her  friends  say  she's  not  half  as  sparkling 
and  peppy  without  romance  as  she  is  with  it — 
so  they're  looking  around. 

IIENRY  FONDA,  Margaret  Sullavan's  ex- 
'husband  is  playing  with  Janet  in  "The 
Farmer  Takes  a  Wife" — and  there  have  been 
whisperings  that  perhaps  he  and  Janet  would 
drift  into  love-in-bloom.  Just  because  of  these 
very  whisperings,  both  Janet  and  "Hank" 
have  been  steering  clear  of  each  other  warily — 
but  those  who  know  say  if  people  wouldn't  talk 
about  it  all  the  time  and  give  them  a  chance  to 
get  together  in  their  own  way — that  might  be 
the  right  combination. 
It  has  possibilities. 


(Right)  When  Eddie  Lowe  gives  a  party 
the  stars  turn  out!  Here  are  Bruce 
Cabot.  Adrienne  Ames,  Anita  Louise, 
and    Tom     Brown      hiding     behind     Anita 


(Left)  It's  a  boy  at  Andy  Clyde's  house! 
And  his  name  is  John  Allan.  This  family 
group  picture  of  John,  his  mother,  the 
former  Elsie  Tarron,  and  Papa  Andy 
Clyde,  was  taken  on  the  day  the  heir 
to    the    estate    was    just    ten    days    old 


COMEBODY  out  at  Warner's  told  us  in  all 
^seriousness  the  other  day  that  Ross  Alex- 
ander has  goats.  The  only  answer  we  can 
think  of  is,  whose? 


W! 


'INI  SHAW  has  announced  her  engage- 
ment to  Louis  Stone — and  it  keeps  her 
pretty  busy  explaining  how  he  isn't  the  M-G-M 
actor,  but  a  Detroit  linen  merchant.  And  any- 
way, our  Lewis  is  spelled  that  way,  which 
should  be  distinction  enough  for  all  you  ob- 
serving good  spellers. 

niTY  poor  little  Micky  Rooney,  a  tough  guy 
'  who  has  his  own  baseball  team  He  had  to 
submit  to  having  a  curl  put  in  his  hair  and  lip- 
rouge  on  his  mouth  for  his  part  in  a  recent 
picture.  "Hey,"  he  yelled  in  despair,  "you're 
making  me  look  like  a  sissy'" 


OF    HOLLYWOOD 


A  f.L  the  rumored  unpleasantness  about  het 

^husband's  estrangement  didn't  keep  Dolores 

Costello    Barrymore   away   from    the   annual 

Dominos  frolic,  nor  did  it  keep  her  from  being 

iust  about  the  most  beautiful  lady  there. 

Dolores  appeared  with  a  brand  new  and 
completely  stunning  coiffure  a  la  Empress 
Eugenie.  She  was  with  the  Arthur  Ryron 
party  which  included  Edmund  Breese  and 
Joseph  Cawthorn,  all  old  stage  veterans  Dis- 
creetly, there  were  no  young  men  in  the  party 
to  allow  any  speculation  whatever  to  arise 

A  T  first  Mae  West  was  amused,  then  she  be- 
'  Vame  a  little  irritated — and  when  this  was 
written  she  was  pretty  much  on  the  warpath 
about  her  supposed  past  marriage. 

Quoth  Mae  to  me:  "Last  year  they  had  me 
married  to  Jim  Timony,  my  manager,  this  year 
they  have  me  married  to  several  guys  named 
Wallace — I  suppose  next  year  they'll  have  me 
arrested  for  bigamy!'' 

Which  sort  of  sums  up  her  attitude  on  the 
subject. 


(Left)  Eddie's  hungry — at  his  own  party. 
That's  Sally  Blane  by  his  side  and  Marian 
Marsh.  Eddie's  party  was  in  honor  of 
the    very    social    Countess    of    Warwick 


Don't  know  who  owned  that  bottle  of 
soda  pop  first,  but  Leo  Carrillo  and 
little  Colleen  Mclnerney  are  certainly 
sharing  it  in  a  friendly  fashion.  Colleen 
is  an  admirer  of  Carrillo's.  They  were 
together  at   the   Hollywood   polo   games 


l/AY  FRANCIS  embarked  for  Europe,  to  be 
'^gone  two  months  this  time.  By  the  strangest 
coincidence  (or  is  it?)  Maurice  Chevalier  is  also 
over  there — as  he  was  on  the  occasion  of  her 
last  trip. 

There  is  also  an  Italian  count,  I  hear  tell, 
who  is  in  the  running.  Well,  gentlemen,  at 
least  she  meets  you  on  your  own  ground! 

THE  Countess  of  Warwick  did  a  few  days' 
1  extra  work  on  "Black  Sheep"  with  Adrienne 
Ames  and  Eddie  Lowe — just  to  prove  she  had 
been  to  Hollywood  no  doubt.  She  lined  up 
every  evening,  along  with  the  extras  who 
needed  the  work,  to  get  her  check.  It  was  a  gay 
lark,  a  charming  caprice,  but  an  extra  girl  with 
a  three  or  four  days'  check  can  live  on  it  for  a 
month — if  she  has  to.  And  frequently  she  does 
have  to. 


41 


Merle  Oberon  and 
David  N  i  v  e  n  are 
lunching  together 
on  the  sunny  front 
porch  of  her  little 
Santa  Monica 
Beach  cottage  be- 
tween scenes  of 
"The     Dark     Angel" 


Pippo,  the  cat,  throws  a  nasty 
left  hook — but  it's  all  in  fun. 
Skippy  the  Scotty  is  really  a 
pal  of  hers.  They  are  the  pets 
of  Phillip  Reed,  young  Warner 
Brothers'     player    doing     nicely 


Don't  know  what  Norman  Foster 
sees,  but  Sally  Blane  is  cer- 
tainly looking  at  Norman!  The 
two  young  players  have  been 
seen  going  around  together 
socially     quite     a     lot     recently 


W/E  heard  Pat  O'Brien  chatting  with  a 
V*  chatterer  at  a  party  not  long  ago  .  .  . 
like  this:  "But  why  did  they  separate?"  the 
chatterer  wanted  to  know  of  a  certain  much- 
discussed  divorce.  "Nobody  knows,"  said 
Pat,  playing  on  the  safe  side.  "Oh,  how  ter- 
rible!" answered  the  gossip,  and  Pat  is  still 
wondering  if  he  said  the  right  thing. 


IF  you  can  figure  how  a  man  can  keep  a  three- 
'day  beard  for  ten  days,  communicate  with 
Clark  Gable.  He's  that  dithered  about  it. 
And  all  suggestions  about  a  slight  going-over 
with  the  lawn  mower  every  morning  are  out. 
It's  for  a  sequence  in  "China  Seas"  with  Jean 
Harlow — and  the  beard  must  look  three  days 
old.  no  matter  how  grown-up  it  gets. 


THE  future  of  Barbara  Stanwyck  has  at  last 
'  been  settled.  She'll  start  a  new  career  at 
RKO-Radio  after  having  had  her  ups  and 
downs  at  Warner  Brothers  for  years.  Barbara 
has  never  been  able  to  get  along  at  the  Burbank 
studio,  which  has  a  reputation  of  being  awfully 
good  for  the  careers  of  male  stars  but  often 
awfully  bad  for  those  of  women. 

The  vast  following  that  once  belonged  to 
Barbara  is  still  loyal,  but  they  haven't  had 
much  of  a  chance  to  see  her  at  her  best  recently. 
Maybe  with  her  new  deal  and  hoped  for 
harmonious  surroundings,  she'll  come  back  to 
the  old  Stanwyck  of  "Illicit."     Let's  hope  so 

THOSE  who  have  been  pulling  for  Jack  Mul- 
'  hall,  favorite  actor  of  the  silent  days,  to 
stage  a  screen  comeback  will  be  happy  to  know 
that  Warner  Brothers  have  recognized  the 
smiling  Irishman's  charm  which  adversity  has 
never  defeated.  He's  got  a  brand  new  contract 
and  is  all  set  to  go  places. 

WHAT  is  one  star's  temperament  is 
another's  good  fortune — or  something. 

Anyway,  when  Myrna  Loy  disappeared  right 
in  the  middle  of  production  of  "Masquerade" 
and  hied  off  to  lose  herself  in  the  mountains 
without  even  letting  Irving  Thalberg  know 
where  she  was,  the  executives  went  into  a 
huddle  and  the  result  was  that  Luise  Rainer 
was  put  into  the  big  part. 

Think  of  what  a  chance  it  was  for  the  little 
Viennese  actress'  first  part  in  Hollywood— to 
play  with  Bill  Powell  in  a  big  part  ordered  for 
Myrna  Loy. 

Miss  Loy,  who  has  become  more  and  more 
Garbo-ish  and  retiring  of  late,  is  saying  "yes" 
and  "no"  to  a  lot  of  things  lately.  But  this  is 
the  first  time  she  has  run  away  right  in  the 
middle  of  a  picture. 


42 


IMPORTANT  fashion  note!  Perfume  for 
'dogs!  All  the  lighter  floral  scents — hyacinth, 
rose,  lily-of-the-valley,  violet — all  the  flowers, 
in  fact,  but  dogwood.  For  the  smaller  dogs  we 
suggest  any  of  the  aforementioned  scents.  For 
mastiffs,  perhaps  a  spray  of  hydrangea  would 
heighten  his  personality.  These  perfumes  are 
manufactured  by  a  Hollywood  concern. 
Another  company,  not  to  be  outdone  in  canine 
fripperies,  has  put  out  a  pink  paw-nail  polish! 

\VOU'VE  heard  a  lot  about  Palm  Springs. 
It's  the  desert  hot  spot  of  the  stars.  But 
one  of  the  best  stories  to  come  out  of  the  cholta 
cactus  belt  is  the  one  about  Lou  .Alter,  who 
earns  his  daily  bread  writing  songs  for  the 
movies  to  make  the  nation  sing. 

Mr.  Alter,  who  likes  the  Great  Outdoors,  was 
camping  with  some  Hollywood  pals  out  on  the 
open  sand.  During  the  night  he  couldn't  go  to 
sleep  because  of  the  brightness  of  a  full  desert 
moon. 

It  gave  him  an  idea  and  he  wrote  a  song 
— "Moon  Crazy." 

Several  hours  later  clouds  piled  up  and  rain 
routed  him  out  of  his  pristine  peace.  "I  Was 
Taken  by  Storm"  was  the  result.  It's  in 
Marion  Davies'  "Page  Miss  Glory." 

/^NE  Sunday  morning  at  nine  Fred  Astairc 
^-^was  driving  down  to  Palm  Springs  .  .  . 
that  is  he  started  to,  but  he  never  got  there. 
A  dance  step  suddenly  flashed  into  his  mind, 
and  immediately,  before  anything  would  inter- 
fere to  blur  the  vision,  he  turned  back — pell 
mell  for  RKO  and  practiced  until  four  in  the 
afternoon.  That  is  typical  of  how  the  dance 
genius  creates  his  numbers.  Sometimes,  how- 
ever, he  works  an  entire  day  and  gets  no  results, 
which  proves  that  his  work  is  truly  inspira- 
tional. 


"  A  MERICA'S  Sweetheart"  playing  charm- 
'  \ng  hostess  to  "America's  Boy  Friend." 
Such  is  the  Hollywood  social  note  of  the  month. 
For  Buddy  Rogers  and  his  mother  have  been 
the  guests  of  Mary  Pickford  for  some  time  now 
at  "  Pickfair" — and  Buddy  can  look  forward  to 
re-adopting  Hollywood  as  his  permanent  ad- 
dress.    RKO,  refusing  to  believe  that  Buddy 


Whatever  Alice  Faye  and  Phil 
Regan  are  saying,  they  have 
an  interested  audience  in 
Mickey  Rooney!  The  three 
were  at  the  Pantages  Theater 
for    a     benefit    performance 


Without  famous  moustache, 
cigar  or  goggles — but  Groucho 
Marx  still  makes  eyes  at  the 
blondes.  The  girl  is  one  of 
the  beauties  with  the  Marx 
Brothers    on    their    coast    tour 


was  all  washed  up,  made  a  test  of  the  handsome 
ex-star  band  leader  and  promptly  signed  him  to 
a  comeback  picture.  It  will  be  a  musical  and 
as  such  should  be  right  down  Buddy's  alley. 
Incidentally,  there  seems  to  be  no  indication 
that  his  proximity  to  Mary  Brian  will  start  up 
the  old  romance.    They're  just  friends. 

[  PLEASE  TURN  TO  PAGE  98  1 

43 


HAPPINESS  FOR 


Every  Type  of  Gir 


Sylvia  (left)  has  no  pa- 
tience with  women  who  be- 
lieve they  are  handicapped 
by  their  appearance. 
"Change  it!"      She   advises 


Lacking  the  ravishing  beauty  of  a  great 
many  actresses,  Katharine  Hepburn  has 
pushed  herself  to  the  top  rung  of  the 
ladder,  leaving  a  lot  of  girls  with 
classic    features    way   down    at   the   bottom 


HOW  many  times  I've  heard  girls  complain:  "If  my  eyes 
were  as  beautiful  as  hers,  I'd  be  able  to  have  a  lot  of 
boy  friends,  too,"  or,  "If  I  had  a  beautiful  figure  like 
So-and-So's  I'd  look  grand  in  a  bathing  suit!" 

Your  waistline  may  be  too  high  or  too  low.  Your  eyes  may 
be  small.  Your  mouth  may  be  too  wide.  You  may  be  able  to 
walk  down  the  street  without  having  a  dozen  sculptors  chasing 
you  like  Marathon  runners,  begging  you  to  pose  for  them.  But 
no  matter  what  your  defects,  no  matter  if  you  have  as  many 
as  Garbo  has  eyelashes  you  can — and  you  must — be  attractive. 

You  can  remodel  your  figure.  If  you  don't,  then  you  deserve 
to  be  spanked  and  sent  to  bed  without  your  supper  (and  that's 
not  a  bad  idea).  The  spanking  would  help  reduce  your  hips 
and  a  few  of  you  fat  girls  could  miss  a  meal  or  two  without 
doing  yourself  a  bit  of  harm.  Help  yourself  to  my  routine  of 
sensible  eating  and  exercises  and  you  can  be  free  from  lumps 
and  bumps.  You  can  make  your  figure  rival — and  even  excel 
■ — that  of  your  favorite  movie  star      How  do  you  like  that? 

44 


Furthermore,  you  will  be  healthy.  That  is  the  main  thing. 
You  will  be  attractive  and  happy  and  so  full  of  vitality  that 
when  you  walk  into  a  room  every  head  will  turn  to  look  at  you. 

But  first  I  want  you  to  look  at  some  of  the  Hollywood  girls 
who  are  really  attractive — girls  who  have  had  handicaps  and 
defects  to  overcome  but  who,  in  spite  of  them,  give  the  illusion 
of  loveliness. 

Take  Norma  Shearer,  for  instance.  When  she  arrives  at  a 
party  you  know  that  somebody  is  there.  Men  and  women  both 
flock  around  her.  She  is  one  of  the  most  attractive  women  in 
any  room.    Yet  Norma  is  far  from  an  artist's  idea  of  perfection. 

She  has  overcome  many  obstacles,  and  bravas  to  her  for 
being  honest  and  genuine  enough  to  admit  to  her  public  that 
she  has  handicaps  and  that  she  must  constantly  work  to  rise 
above  them  if  she  is  to  keep  her  place  in  the  realm  of  beautiful 
women.  Believe  me,  many  of  our  "gigantic,"  "colossal," 
"stupendous,"  "terrific,"  "glamorous"  Hollywood  stars  could 
take  a  lesson  on  that  score  from  Norma     Many  of  them  detest 


Sylvia  says  no  matter 
what  your  defects  are, 
and  no  matter  how 
many  handicaps  you 
have  you  can  be  at- 
tractive and  charming 


Cloudette  Colbert's  beauty  is  great  but  it 
is  not  perfect.  She"  has  overcome  her 
defects  by  the  sheer  force  of  her  person- 
ality and  vitality.  Today  she  is  known  as 
one      of      the      screen's      loveliest      actresses 


being  told  they  are  flesh  and  blood  and  have  to  work 
at  being  beautiful  just  like  you  and  you  and  you.  But, 
take  it  from  me,  they  have  to  be  beautified.  If  it  gives 
you  any  hope  or  is  of  any  comfort  to  you  girls  who  are 
striving  for  beauty  remember  this:  The  stars  work  for 
beauty,  just  as  you  work  for  it.  Just  being  in  the 
movies  doesn't  mean  that  you  automatically  become 
a  gorgeous  touch-me-not  and  God's  gift  of  perfection 
to  an  ugly  world.  Because,  babies,  fat  plays  no 
favorites  and  it  creeps  up  on  movie  stars  with  just  as  much 
devastation  as  it  does  on  anyone  else.    Ask  the  box-office  man! 

So  if  you  envy  the  beauty  you  see  on  the  screen,  make  up 
your  mind  that  if  those  girls  can  achieve  the  beauty  you  would 
like  for  yourself — so  can  you! 

Now  look  at  Claudette  Colbert.  She  has  handicaps,  too, 
but  she  overcomes  them  by  the  sheer  force  of  her  personality, 
her  alertness,  her  vitality.  I  want  to  impress  upon  you  that 
vitality  creates  ambition  and  ambition  gives  you  your  rightful 


J?9"  you  see  G 

re  Physical  perZrj!ed 


place  in  the  world.  And  it  will  get  you  a  salary  raise  quicker 
than  whining  to  your  boss  that  you  are  over-worked.  Vitality  is 
the  keynote  of  good  health,  happiness  and  success. 

Katharine  Hepburn!  What  a  personality!  She  is  bubbling 
over  with  vitality.  You  know  she's  on  the  right  track  Lacking 
the  ravishing  beauty  of  a  great  many  actresses  she  has  pushed 
herself  to  the  top  rung  of  the  ladder,  leaving  a  lot  of  girls  with 
classic  features  'way  down  there  doing  nothing  but  admiring 
themselves  in  the  mirror      f  please  turn  to  page  91  I 


»5 


The  RANCHO  in 


Ranching  is  no  mere 
hobby  for  Joel  and 
Frances,  it's  work,  a 
career!  With  several 
hundred  hens  on  the 
place,  egg-gathering  is 
a  bit  more  than  chore 


Joel  himself  milks  the 
finest  bovine  in  the 
herd  for  the  milk  that 
year-old  Baby  Joel 
drinks.  Bet  you  never 
before  saw  a  movie 
star     milking     a     cow! 


"There's  no  greater 
thrill,"  says  Joel, 
"than  to  own  land  and 
work  it."  He  was  pre- 
paring the  land  for 
spring  planting  the 
day     we     dropped     in 


46 


the  MOUNTAINS 


m 


The  permanent  home  of  the  Me- 
Creas,  it  commands  a  view  of 
their      three      thousand      acres 


When  Joel  and  Frances 
decide  to  go  for  the 
mail  sometimes,  this 
*s  how  they  travel. 
They  must  ride  many 
miles  before  they 
reach     the     post-office 


The  son  of  early  Cali- 
fornia ranchers,  he  has 
an  honest  love  of  the 
soil.  Here  is  Joel 
discing  land  in  prep- 
aration for  a  long  and 
very  extra  dry  summer 


Millions  of  poppies 
bloom  in  the  McCrea's 
front  yard.  Frances 
gathers  fresh  bou- 
quets each  morning. 
Her  watch-dog  sus- 
pects the  cameraman! 


47 


// 


I  WANT 

To  Be  A 

CLOWN 


That  has  been  Bob  Young's 
plea —  while  Hollywood 
kept  him  weeping.  But 
he's   dried   his   tears   now 

By  MILDRED  MASTIN 


// 


p 

I ti 


'VERY  time  they  had  a  script  that  called  for  a  juvenile 
'  who  had  to  weep,  they  gave  me  the  part.  Especially  if 
there  was  a  mother  in  the  picture.  Half  the  women  on 
the  Metro  lot  have  been  my  parent  at  one  time  or  other.  I 
often  didn't  know  who  papa  was,  but  mama  was  always 
there!" 

It  was  Robert  Young  speaking.  It  was  Robert  Young 
complaining.  The  boy  who,  for  four  years,  has  been  forced 
to  face  the  cameras  with  tears  in  his  eyes  while  his  heart  was 
bursting  with  laughter. 

But  all  is  changed  now.  And  Mr.  Young  is  on  the  way  to 
being  happy.  Hollywood  yielded  to  his  plea,  "  I  want  to  be  a 
clown! "  Now  you  may  see  him  in  his  first  rip-roaring  comedy 
role — that  of  the  young  scalaway  in  "  Vagabond  Lady  " 

Bob  Young's  trouble  began  because  he  made  a  success 
with  his  first  important  role — that  of  the  son  in  Helen  Hayes' 
film,  "The  Sin  of  Madelon  Claudet." 

Hollywood,  like  history,  repeats  itself.  Bob  had  clicked 
right  off  the  bat  as  a  serious  young  juvenile,  so  he  was  cast 
in  those  roles  over  and  over  and  over.  With  each  picture 
prophecies  came:  "Robert  Young  is  rapidly  climbing  into 
the  star  class  .  .  ."  "Robert  Young  moves  another  notch 
toward  stardom  .  .  ."    But  somehow,  Bob  didn't  get  there. 

He  had  none  of  the  alibis  most  ambitious  young  actors  at 
a  stand-still  have:  poor  roles,  too  little  work,  unimportant 
pictures.    During  those  four  years  he's  been  cast  in  twenty- 
four  pictures — an  average  of  one  film  every   two  months 
And  most  of  them  were  important  productions,  cast  with 
Hollywood's  leading  dramatic  stars.     For  he  has  played  in 
films  with  Joan  Crawford,  Katharine  Hepburn,  Ann  Hard- 
ing, Helen  Hayes,  Norma  Shearer,  Loretta  Young,   Myrna 
Loy,  and  a  number  of  others. 

No,  his  difficulty  was  that  he 
couldn't  convince  the  studios 
Bob    and     his    high-  that  serious  juvenile  stuff  was 

school     sweetheart,  all  wrong  for  him,  and  that  he 

Betty    Lou.    now    Mrs.  would  never  have  reaj  success 

Young.      She  d     rather  ...      .  ...     ,    ,  .        . 

have    Bob    play    the  untl1    they    Permitted    him    to 

clown    than    the    hero  f  PLEASE  TURN  TO  PAGE  107  | 


DON'T  LOVE  ME! 


People  believed  she  was  like  her  film  charac- 
terizations: "The  other  women  in  my  pictures 
played  the  girls  engaged  to  men  I  lured  away. 
Sometimes   they   were    long-suffering    wives/' 


(Synopsis  oj  preceding  installments) 


^HE  rvas  a  nurse.  Two  men  came  under  her  care.  Gregory 
O  Cooper  loved  her.  Sam  Wcrks  coveted  her.  Cooper  asked 
her  to  marry  him,  and  he'd  live.  She  married  him,  out  of  com- 
passion. But  Cooper  died  under  suspicious  circumstances. 
Her  name  was  cleared  on  Werks'  testimony,  but  when  she 
was  handed  a  $10,000  check  by  Werks,  also  Cooper's  lawyer, 
he  asked  her  to  sign  it  over  to  him — for  the  giving  of  false 
testimony.  She  tore  up  the  check  and  ran  away — to  Holly- 
wood, and  a  break  in  the  movies. 

The  director  assigned  to  her,  the  most  famous  in  Holly- 
wood, tried  to  inveigle  her  into  his  home.     She  refused,  and 


waited  outside  while  he  went  in  for  coals.  He  never  came 
out,  but  she  saw  a  mysterious  woman  enter.  Soon,  chilled 
and  angry,  she  went  home. 

The  next  day  she  learned  the  director  had  been  murdered. 
She  met  her  new  director,  Scott  Deering,  and  Lanny  Barnes, 
sound  technician.  Deering  drove  the  cast,  even  through  an 
earthquake.  Lanny  Barnes  was  injured  by  a  falling  light. 
She  saied  his  life  only  to  learn  Scott  Deering  knew  her 
identity.  But  he  said  he  would  protect  her.  Then  her  picture 
was  previewed.  "It's  in  the  bag,  Darling.  In  the  bag," 
Deering  said. 


HELL  RAMPAGES"  was  only  the  first  of  the  pictures 
in  which  Scott  Deering  directed  me.  There  were  five 
of  them  in  all  and  they  met  with  mounting  success. 
There  was  something  about  Scott's  delicate  handling  which 
softened  the  outlines  of  what  might  have  been  merely  cheap 
and  sensational  sex  stories  and  made  them  seem  rather  lovely 
poetic  dramas.  George  Fitzmaurice  did  the  same  thing  with 
Mae  Murray  in  the  silent  days. 

"Sohlki  never  could  have  done  with  you  what  Deering  gets 
away  with,"  was  Uncle  Lou's  comment  on  my  success.  "Honest, 
we  ain't  been  censored  but  just  a  little,  even  in  Ohio  and 
Pennsylvania." 

I  was  featured  at  first  and  then  starred.  If  you  don't  know 
the  difference,  it's  all  in  the  way  the  billing  reads.  When  it 
says  "  'Worlds  Without  End' — with  Rochelle  Adair"  that 
means  that  I  am  being  featured.  But  when  it  reads  "  Rochelle 
Adair  in  'Dusk  to  Dawn'  ,"  that's  starring. 

For  leading  men  during  my  first  year  I  was  teamed  with 
three  of  the  male  stars  on  the  Inter-Stellar  lot  and  two  loan  or 
exchange  players  borrowed  from  other  studios.  The  other 
women  in  my  pictures  were  almost  invariably  character  ac- 
tresses or  colorless  ingenues.  The  latter  always  played  the 
parts  of  the  girls  engaged  to  the  men  I  lured  away  from  them. 
Sometimes  they  were  long-suffering  wives. 

I'm  sure  that  Scott  Deering  always  directed  those  "vamp 
operas"  with  his  tongue  in  his  cheek.  No  man  of  his  intelligence 
could  have  done  it  any  other  way.  And  no  one  but  a  dead-pan 
Englishman  could  have  gone  about  the  business  of  gilding 
tarnished  Lilies  as  he  did  without  ruining  the  sound  track 
occasionally  with  hoots  of  derisive  laughter. 

He  attacked  his  job  with  a  sort  of  twinkling  seriousness  that 
endeared  him  to  me.  Without  saying  so  outright  he  gave  me 
the  feeling  that  he  was  sharing  a  delightful  joke  with  me — a 
joke  which  I  fear  was  on  you  and  you  and  perhaps  even  you. 
If  I  had  ever  had  any  inclination  to  strut  a  little  and  graduate 
to  a  larger  head-size  in  hats  his  expression  of  amused  tolerance 
when  he  worked  with  me  would  have  deflated  me  like  a  pin  in  a 
toy  balloon. 

"In  this  scene,"  he  would  say,  "you  turn  on  about  five 
hundred  watts  of  allure,   Miss  Adair.     Just  a  soupcon,  you 


might  say, — not  enough  to  give  Mr.  Hays  the  slightest  un- 
easiness, but  still  plenty  to  keep  you  from  ever  being  invited 
to  any  of  the  best  homes  in  Dubuque." 

All  this  would  be  conveyed  to  me  in  a  very  low  voice  as  he 
sat  teetering  back  and  forth  in  his  director's  chair.  No  one 
else  ever  heard  what  he  said  except  the  actor  working  in 
the  shot  with  me  or  the  man  at  the  microphone  The  days  of 
megaphones  and  shouting  are  gone  forever — except  in  the  case 
of  C.  B.  DeMille  who,  when  he  directs  a  big  spectacle,  uses  a 
sound  amplifying  svstem  such  as  is  employed  in  convention 
halls. 

Deering  was  a  really  great  director.  He  made  you  feel  what 
he  wanted  done  without  any  lengthy  explanations.  Often  I 
had  the  sensation  of  being  merely  an  extension  of  his  own  per- 
sonality— when  I  said  a  line  it  was  sometimes  as  if  he  were 
using  my  lips  to  speak.  It  is  a  little  hard  to  explain  and  perhaps 
only  actresses  who  have  worked  with  men  like  David  Belasco 
on  the  stage  or  Frank  Borzage  on  the  screen  will  know  what  I 
mean.  There  is  a  fine  sensitiveness  set  up  between  a  directorial 
genius  and  the  puppets  he  works  with  which  is  similar  to  the 
relation  between  a  symphony  orchestra  conductor  and  his 
musicians.  As  I  have  admitted  before,  I  was  a  pretty  dumb 
actress  but  Scott  Deering  certainly  made  me  do  things  that 
came  close  to  winning  the  Academy   Award  for  both  of  us 

His  influence  extended  to  the  other  members  of  the  cast  and 
to  the  technical  crew  With  the  latter,  Deering  got  results 
without  bluster.  The  men  idolized  him.  One  of  his  very 
staunchest  admirers  was  Lanny  Barnes,  entirely  recovered 
from  the  injury  to  his  leg  and  returned  to  active  duty  with 
Adair  productions. 

My  relations  with  Scott  Deering  were  almost  entirely  pro- 
fessional. He  seldom  took  me  places  off  the  set.  I  noticed 
it  a  little  because  I  would  have  liked  him  to  pay  attention  to 
me.  The  recollection  of  his  easy,  careless  courtesy  the  night  of 
the  Long  Beach  earthquake  was  very  pleasant.  He  had  said 
I  would  be  safe  with  him  and  I  was — always. 

Once  I  invited  him  to  dinner  at  my  house  in  the  hills.  He 
accepted,  but  he  seemed  preoccupied  and  unhappy.  When  I 
asked  him  again  he  made  excuses. 

"Why?" 

49 


"I  can't  tell  you  why,"  he  said,  almost  impatiently.  Then  seeing  my  look  of  dis 
appointment  he  added,  "You're  not  exactly  what  you  seem  to  be  yourself.  Allow 
me  the  same  privilege.  I'll  tell  you  what — I'll  take  you  to  dinner  at  the  Clover  Club 
instead." 

I  didn't  think  he  really  wanted  me  to  accept,  so  I  declined.  Apparently  he  didn't 
mind  working  with  me  at  the  studio  or  being  with  me  anywhere  that  there  were  crowds. 
It  was  only  intimacy  that  he  shied  away  from.  That  made  him  exactly  the  opposite 
of  almost  every  other  man  I  had  ever  met.  I  wasn't  hurt — because  I  felt  pretty  sure 
he  understood  and  liked  me — but  I  was  puzzled. 

I  wasn't  in  love  with  him — at  least  not  in  the  ordinary  sense  of  the  word.  I  proved 
that  to  myself  by  the  discovery  that  I  didn't  mind  seeing  him  around  at  the  night  spots 
occasionally  with  other  women.  My  feeling  was  rather  one  of  deep  devotion,  some- 
thing like  the  loyal  affection  that  Louella  lavished  on  me.  If  he  did  not  want  me  for 
the  companion  of  his  holiday  hours  I  had  no  complaint. 

50 


X 


"Too  much  talk,"  Scott  said.  "The  sequence 
needs  action — comedy  action."  He  put  his 
hand  over  Sylva's  face  and  pushed.  She  fell 
into  the  pond,  splashing  around,  making  weird 
noises.  I  didn't  wait  to  listen  to  her  curses. 
I   started   the   car   and   backed   it  to   the   drive 


ILLUSTRATION    BY    JAMES    MONTGOMERY    FLAGG 


Between  pictures  Scott  Deering  disappeared  completely.  That  troubled 
me  also. 

Lanny  Barnes  explained  it.  "Mr.  Deering  never  drinks  a  drop  when 
he's  working." 

"But  makes  up  for  it  when  he's  not?" 

"Something  like  that." 

"I've  never  heard  about  it,"  I  doubted. 

"He  goes  away  somewhere — hides  out  What  he  needs  is  a  vital  in- 
terest to  steady  him — like  marriage." 

"Have  you  suggested  that  to  him?" 

"No.     I  thought  I'd  speak  to  you  about  it  first." 

"Thanks,  Cupid.    But  Mr.  Deering  never  thinks  of  me  that  way." 

"Then  he's  crazy." 

"No,  Lanny — it's  just  that  he's  a  fine  gentleman." 

-5J_ 


"And  you're  a  fine  lady,  Miss  Adair." 

He  said  it  with  a  little  boyish  jerk  of  his  head.  I  liked  it. 
Maybe  because  no  one  had  ever  mads  exactly  that  remark  to 
me  and  meant  it. 

Even  if  Scott  Deering  did  seem  to  forget  my  existence  out- 
side working  hours  I  couldn't  complain  that  I  lacked  in- 
vitations and  escorts  for  my  spare  time.  I  had  too  many  of 
them.  Whenever  a  visiting  celebrity  arrived  in  town  I  was 
dragged  out  to  meet  him — usually  because  he  asked  for  it. 
I  always  felt  like  a  freak  on  exhibition  in  those  cases. 

But  I  trotted  out  and  did  my  little  bag  of  tricks  because 
Uncle  Lou  wanted  me  to. 

"Garbo  has  got  a  patent  on  hiding,"  he  said.  "You  got  to 
be  different.  I'll  have  a  man  with  a  candid  camera  trailing  you 
wherever  you  go,  and  some  day  we'll  get  a  picture  of  you  and 
the  President  of  the  United  States  maybe,  or  anyhow  the 
Prince  of  some  country  or  other." 

I  didn't  really  mind  so  much  being  on  exhibition  at  parties, 
previews  and  things  like  that.  But  it  did  get  a  little  em- 
barrassing to  be  recognized  everywhere  I  went.  Like  most 
women  I  like  to  shop  whether  it  is  for  a  new  hat  or  merely  a 
soup-bone.  Try  to  do  that  out  here  if  you  are  fairly  well 
known.  Some  of  the  stars  wear  dark  glasses  almost  con- 
stantly.    I  experimented  with  that. 

Louella,  who  imitated  me  unobtrusively  in  nearly  every- 
thing I  did,  also  took  to  wearing  them.  The  effect  was  in- 
describably funny.  Take  away  the  whites  of  the  eyes  from  a 
colored  lady's  expression  and  you  leave  nothing  but  a  flat 
black  mask.    So,  partly  for  her  sake,  I  abandoned  the  disguise 

The  scenario  writer  from  whom  I  rented  the  shack  in  Holly- 
wood came  back  and  I  had  to  move.  It  w7as  about  time  any- 
way. A  lot  of  money  was  wandering  into  my  bank  account 
every  week  and  Uncle  Lou  wanted  me  to  live  up  to  it.  So  I 
bought  a  house  in  Beverly  Hills,  complete  with  tennis  court 
and  swimming  pool.  It  was  not  far  from  the  place  where  I 
had  waited  so  long  outside  William  Sohlki's  front  door  the 
night  he  was  killed.  That  seemed  an  age  ago.  Time  is 
recorded  with  a  high  speed  camera  in  Movieland. 

A  new  car  seemed  indicated  to  go  with  the  swank  mansion. 
I  selected  a  moderately  expensive  one  of  American  man- 
ufacture. The  Rolls-Royce  era  in  the  picture  colony  seems  to 
to  be  in  temporary  eclipse.  Louella  found  a  chauffeur  for  me 
— a  young  man  of  her  own  race — by  the  name  of  George 
Lincoln  Washington. 

I  asked  him  how  Lincoln  got  into  the  line-up  and  he  an 
swered,  "  My  mammy,  she  called  me  just  plain  George  Wash- 
ington, but  I  didn't  want  nobody  to  think  I  was  figgerin'  to 
be  president,  so  when  I  growed  up  I  stuck  in  Lincoln  myself 
just  to  throw  'em  off  the  track." 

George  was  a  couple  of  shades  darker  than  Louella,  which 
made  it  practically  impossible  to  see  him  after  nightfall,  but 
he  turned  out  to  be  a  good  chauffeur,  and  he  could  substitute 
for  the  butler  in  a  pinch,  although  I  could  never  quite  trust 
him  to  mix  cocktails  without  supervision.  He  seemed  to  think 
that  all  the  other  ingredients  were  superfluous  as  long  as  there 
was  plenty  of  gin.  George's  mixed  drinks  had  authority  but 
they  lacked  finesse. 

My  move  to  Beverly  Hills  took  place  the  same  season  that 
M-G-M  produced  "The  Thin  Man"  and  Columbia  burst  out 
with  "It  Happened  One  Night."  Marie  Dressier  died,  leaving 
a  vacancy  that  can  never  be  filled.  Charles  Chaplin  started 
making  a  picture  called  "Production  Number  Five"  and  is 
still  at  it.  The  Purity  Seal  began  appearing  on  screen  plays 
— even  mine. 

It  was  during  that  season  also  that  Dr.  Khanandi  mysterious- 
ly arrived  in  Hollywood  and  began  predicting  the  future  with 
such  uncanny  accuracy  that  he  became  the  rage  among  studio 
people.  Professionals  of  the  stage  and  screen  are  notoriously 
superstitious  and  easy  marks  for  any  kind  of  fortune-telling 
racket.  It  became  an  apprehensive  fashion  to  call  on  him 
regularly  before  making  any  important  move.  I  did  not  go 
myself  but  from  what  I  heard  his  vogue  was  based  partly  on 
the  fact  that  he  did  not  always  tell  his  clients  pleasant  things 
about  themselves.    It  was  a  novel  variant  of  the  usual  method 


and  even  the  morbid  visited  him  to  learn  the  worst.  He  tore 
cast  several  suicides  and  the  customers  went  out  and  obliginglv 
made  his  predictions  facts.  Strangely  enough,  this  only  in 
creased  his  business. 

I  made  a  lot  of  friends  during  that  year  and  a  few  enemies 
— mostly  women.  There  were  exceptions  among  my  own  sex. 
of  course. 

Sometimes  I  was  invited  to  Lanny  Barnes'  home  for  Sunday 
dinner  and  I  always  went.  Lanny's  mother,  after  she  dis- 
covered that  I  meant  her  boy  no  harm,  thawed  out  to  me 
I  got  her  recipe  for  sour  cream  doughnuts. 

I  mention  such  a  homely  and  commonplace  occurrence  and 
friendship  to  show  that  life  was  not  all  hectic — even  for  me 
The  background  of  people  in  the  motion  picture  business  is 
about  the  same  as  that  of  any  other  rather  small  community. 
Most  of  the  homes  and  the  people  in  them  are  as  conventional 
as  those  in  your  own  town. 

Uncle  Lou  Mueller  himself  lives  in  a  sort  of  an  overgrown 
palace  that  doesn't  seem  to  fit  him,  but  his  family  life  is  about 
the  same  as  it  must  have  been  when  he  was  selling  ready-made 
clothing  in  a  little  shop  years  ago.  He  adores  his  roly-poly 
wife  who  is  exactly  the  same  size  as  Uncle  Lou  himself  and  he 
has  two  sons  going  to  school  who  fill  his  heart  almost  to  burst- 
ing with  pride  when  they  spend  their  week-ends  at  home. 

All  in  all,  the  history  of  Hollywood  would  be  very  dull  and 
uninteresting  reading  if  it  were  not  for  a  few  people  like  me 
who,  either  by  intention  or  by  accident,  get  into  scrapes  that 
make  front   page  copy  for  the  newspapers  of  the    world. 

Not  that  the  newspapers  have  ever  published  all  the  facts 
in  regard  to  the  next  thing  that  happened  to  me.  I  think  that 
some  of  the  reporters  on  the  assignment  guessed  pretty  close 
to  the  truth  but  they  were  either  muzzled  or  were  too  good 
sports  to  tell  all  they  suspected. 

CHAPTER  XX. 

It  was  between  pictures  for  me  and  1  had  been  at  Palm 
Springs  for  ten  days  accumulating  an  expensive  but  becoming 
coat  of  tan.  It  was  in  the  latter  part  of  December  when  most 
of  the  studios  are  purposely  inactive  so  that  shooting  schedules 
will  not  be  upset  by  the  holidays  and  the  hangovers  thereafter. 

I  came  back  to  Beverly  Hills  a  week  or  so  before  Christmas 
to  do  a  little  shopping.  There  were  a  lot  of  parties  to  which  I 
was  invited;  some  of  them  quiet  in  the  English  manner  and 
others  hilariously  noisy.  I  guess  I  was  lonesome,  having  no 
family  of  my  own,  and  I  threw  myself  into  the  festivities  with 
a  sort  of  feverish  abandon. 

Freddie  Gay  gave  a  cocktail  tea  which  started  out  at  five 
o'clock  one  afternoon  and  continued  until  noon  the  next  day. 
Freddie  himself  said  "Good  night"  along  about  eleven  o'clock 
and  went  away,  forgetting  that  he  was  in  his  own  house,  but  a 
friendly  policeman  brought  him  back  in  a  couple  of  hours  and 
scarcely  anybody  had  missed  him 

Scott  Deering  arrived  at  the  party  shortly  before  midnight. 
He  was,  I  think,  pretty  tight — I'd  never  seen  him  that  way 
before — and  with  him  was  Sylva  Velasquez.  You  may  have 
forgotten  Sylva — many  people  have.  She  was  one  of  the 
Mack  Sennett  bathing  beauties  along  with  Phyllis  Haver. 
Gloria  Swanson  and  Louise  Fazenda.  She  graduated  from 
the  custard  comedies  to  the  playing  of  vamp  roles  in  the  Theda 
Bara  manner.  When  that  style  of  passion  went  out  and 
flappers  came  in,  Sylva  didn't  have  the  right  kind  of  legs,  I 
guess.  Some  critic  said  she  had  thighs  all  the  way  to  her 
ankles.  Sylva  could  doubtless  have  found  a  spot  in  the  sun 
playing  character  parts,  but,  like  a  good  many  others  who 
have  lived  even  briefly  in  the  spotlight,  she  could  not  be  cured 
of  the  role  of  American  Beauty.  She  still  tried  for  the  love 
interest,  both  on  and  off  the  screen,  and  people  secretly  laughed 
at  her. 

She  felt  that  the  breaks  had  gone  against  her  and  that  it 
was  only  a  question  of  time  until  she  would  make  a  glorious 
comeback.  A  chance — that  was  all  she  needed.  To  provide 
that  chance  she  cultivated  directors  and  producers.  She  once 
had   been   a   star  and   because,    I  please  turn  to  page  109  1 


52 


MID-SUMMER 


FORECAST 


Opinions  of  Adrian  and  Bernard   Newman, 
Based  on  Important  Productions 


w: 


'HENEVER  Hollywood  fashions  are  men- 
tioned, the  names  of  Adrian,  M-G-M  stylist, 
and  Bernard  Newman,  RKO-Radio  designer, 
whose  clothes  in  "Roberta"  drew  oh's  and  ah's 
from  the  audience,  male  and  female,  flash  flatter- 
ingly through  conversation.  These  men  know 
how  to  take  a  few  yards  of  fabric  and  from  it 
create  fashions  that  leave  an  impression  and  a 
yen  in  the  feminine  heart.  They  know  what 
women  can  wear,  what  women  like,  and  combine 
the  two  ideas  with  facility. 

With  forthcoming  M-G-M  productions  in 
mind,  Adrian  has  chosen  the  following  style  notes 
as  important  fashion.  From  "No  More  Ladies," 
with  Joan  Crawford:  [  please  turn  to  page  101  ] 


This  white  crepe  dinner  gown  was  designed  by 
Adrian  for  Joan  Crawford  in  "No  More 
Ladies,"  and  is  typical  of  the  fashions  to  be 
seen  in  this  picture.    Unusual,  box-like  neckline 


MID-SUMMER    PAGEANTRY 

with 


Carole  Lombard,  "best 
dressed"  star  of  Hollywood, 
brightens  the  Summer  scene  in 
a  sports  frock  of  heavy  ribbed 
silk,  buttoned  down  the  front, 
and  a  nasturtium  linen  coat, 
with  full,  pleated  back.  Smart, 
those    shoes    of    braided    kid 


Fashion  looks  upward.  An  air 
travel  costume,  suggested  by 
Miss  Lombard.  Beige  silk  ga- 
bardine three-piece,  swagger 
coat,  blouse,  trousers.  Pig- 
skin belt  and  buttons  and  a 
beret  complete  an  idea  that 
is     as     original     as     practical 


The  genius  of  Travis  Banton  is 
evident  in  every  detail  of 
Miss  Lombard's  dinner  gown, 
designed  for  her  personal 
wardrobe.  The  upper  part  is 
entirely  one-piece,  skirt  is 
tiered,  with  a  tie  neck  and 
belt  and   great  pearl   buttons 


,*  * 


X. 


Z 


Tahitian  •  influence     in     a 

costume  of  navy-blue  lin- 

en.  Tie-aboutskirt  banded 

with  white  and  red  linen. 

No   sense,    of  course,   to 

that  wicker  coolie  hat,  ex- 

cept  that   it   adds   a    fil- 

lip   to    a    tropical    theme 

Extreme    severity   for   ex- 

treme chic!  Beach  costume 

of    navy-blue    with    white 

dots,   sweeping  white  lin- 

en coat  with  blue  revers, 

broad-brimmed     Leghorn 

sun   hat,   for  an  outfit  to 

command  much  attention 

-    t 

!T^ 

- 

0 

'  v                *'     ' 

■ 

I 


Good  morning  to  you, 
Miss  Shirley  Temple,  up 
there  on  your  seesaw. 
We  like  you  in  that  white 
broadcloth  dress  with  its 
gay  do,  re,  mi's  hand- 
painted  in  red.  It's  an 
idea  that  should  make  a 
very  young  lady  sing 
with  joy.  A  doting 
grandmother  or  aunt 
might  want  to  embroidei 
the  first  bar  or  so  from 
a  favorite  song,  per- 
haps    for     a     birthday! 


It  was  like  Rene  Hubert, 
Fox  Film  stylist,  to  use 
as  much  imagination  and 
fine  designing  in  Shir- 
ley's clothes  for  "Our 
Little  Girl,"  as  he  does 
for  grown-up  stars.  Blue 
and  white  linen,  for  ex- 
ample, cut  in  bolero 
effect  with  back  and 
front  panel,  a  neck  draw- 
string of  braided  wool 
with  cuddly  balls,  the 
touch  to  delight  any 
very    young    lady  of   six 


The  alphabet  broke  loose  over 
Shirley's  white  broadcloth 
dress,  spilling  the  various  col- 
ored letters  any  old  place,  so 
that  Shirley  might  give  a  little 
serious  thought  to  her  P's  and 
Q's.  Horizontal  pleating 
forms  the  yoke  and  extends 
beyond  for  the  perky  sleeves 
Inverted  pleats  at  either  side 
give  plenty  of  room  for  romp- 
ing, which  we  are  told  is  a 
favorite  pastime  with  our  fa- 
vorite  young    Hollywood   star 


Shirley's  affections  are  torn  between 
the  two  play  costumes  shown.  Right  is 
a  pink-checked  broadcloth  frock  boast- 
ing its  own  pink  jacket.  In  center, 
pleated  skirt  and  maize  sweater  with 
tie  and  buttons.  Above,  we  find  Shirley 
looking  very  formal,  obviously  with 
some  place  to  go.  The  top-coat 
and  poke  bonnet  are  pink  flannel  with 
red-checked  ribbons,  and  the  coat 
collar  and  cuffs  are  red-checked  ging- 
ham. The  small  gloves,  adored  by 
all  very,  very  sub-debs,  are  white, 
matching  her  childish  shoes  and  socks 


v 


« 


i: 


Net  for  evening,  pink,  of  course,  and 
a  harem  note  in  the  skirt.  Miss  Angel 
likes  the  detachable  cape,  a  frou-frou 
of  net  ruffles,  and  the  fine  tucking 
all  over  the  gown.  Easy  to  pack,  for 
wrinkles  shake  out  and  net's  durable. 
A    very   wise    vacation    baq    selection 


A  real  inspiration  in  linen  and  an  idea 
for  the  country  morning  costume.  Red 
linen  forms  the  jumper  with  monogram 
and  white  linen  neckerchief.  The  skirt 
is  red  and  white  checked,  with  small  slits 
here  and  there  on  jumper  and  skirt.  A 
bit    of    exceedingly    clever    designing 


No  color  combination  could  be  better 
than  white  and  navy-blue  or  navy-blue 
and  white.  White  crepe,  two-piece, 
opposite,  a  Heather  Angel  selection. 
Nice  touches  in  the  half  stitched  down 
pleated  peplum,  the  heavy  neck  cord- 
ing and  the  blue  pompon  and  buckle 


Holiday  Thoughts  — 
Tahitian   Ideas 
Net  for  Evening 
Linens  for  Day 

BY  COURTENAY  MARVIN 


An  insouciant  lounging  affair  with  an 
atmosphere  of  the  Left  Bank.  Very 
roomy  white  pique  slacks  topped  by  a 
scarlet  shortened  smock  with  wide  bars 
of  white  and  two  great  white  buttons. 
Miss  Angel  thinks  this  is  a  bright  vaca- 
tion   idea    for    all    gay    young    things 


And  how  would  the  old-fashioned 
duster  theme  go  with  your  new  road- 
ster? Grand,  if  you  want  something 
amusing  and  with  practical  uses,  too, 
as  Miss  Heather  will  tell  you.  Of  red 
and  yellow  plaid  with  a  gay  matching 
hat,   generous   pockets,   wood    buttons 


A  flowery  beach  outfit  with  a  trick  or 
two  in  that  third  member  that  Miss 
Heather  is  holding.  About  your  shoul- 
ders, it  is  a  cape.  About  your  hips,  a 
skirt,  sarong  style.  Vivid  blue  ground 
with  large  flowers.  All  costumes  are 
from  Connie  and  Marian's,  Hollywood 


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For  an  evening  of  informal  dining 
or  dancing,  Patricia  Ellis  wears  this 
crisp  navy-blue  dotted  Swiss  or- 
gandy with  white  trim  and  generous 
skirt  godets  to  swirl  as  you  turn 
in     the    dance.       Cool     and     fresh 


Anchors  aweigh!  And  away  to  a 
very  nautical  idea,  when  you  find 
yourself  garbed  in  white  pebble 
crepe  with  navy-blue  tie-on  collar, 
cord  and  anchors  to  spare.  These 
designs    all    from    Catalina    Frocks 


Opposite,  a  suggestion  of  the  middy 
blouse  in  Miss  Ellis'  dotted  Swiss 
organdy,  white  with  red,  and  red 
touches,  of  course.  Cool  thought 
for  a  warm  evening.  The  wide 
choker  and  the  wristlets  are  of  ivory 


Opposite,  Miss  Ellis,  next  to  be  seen 
in  "Stranded,"  illustrates  a  clever 
idea  in  a  sports  frock.  White  peb- 
ble crepe  with  a  tie-on  yoke  and 
other  accents  of  navy-blue.  Em- 
broidered sea  horses,  a  salty  touch 


MORNING- 
AFTERNOON- 
EVENING 


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This  is  the  Summer  of  tailleurs.  Ann 
Dvorak,  now  appearing  in  "G  Men," 
wears  white  in  an  acetate  fabric 
with  a  brown  satin  blouse.  But- 
toned-on     pockets,     mannish     detail 

Gray  cotton  lace,  smartly  designed, 
pink  pique  bows  with  jeweled  clips, 
and  Miss  Dvorak  starts  out  for  her 
tea  engagement,  cool,  lovely,  chic. 
Small    black    hat    with    field    flowers 


Miss  Dvorak's  gracious  gown  scatters 
blue  tulips  over  a  green  ground  and 
ties  with  a  heavy  blue  cord.  Miss 
Dvorak's  costumes  are  from  Martha 
Deane's     Shop,     Beverly     Hills,     Cal. 


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"Hooray  for  Love!"  Everybody's  saying  it.  Above,  Maria  Gambarelli, 
famous  dancer  and  her  ballet  saying  it  with  dancing.  Left,  Gene  Ray- 
mond laughing  while  he  tells  Ann  Sothern,  who  isn't  sure  at  the  moment 
whether  she'll  join  in  the  cheering  or  not!  Even  the  chorus  girls  at  RKO- 
Radio  shout  it — and  they  certainly  make  it  look  pretty  inviting  too! 


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When  ebony-faced  Bill  Robinson  and  little  Jeni  Le  Gon  tap  it  out, 
you're  sure  to  be  convinced!  "Hooray  for  Love"  is  an  eyeful  and  ear- 
ful of  sparkling  enthusiasm  for  what  a  young  man's  fancy  lightly  turns 
to  in  the  Spring.  Lower  right  you  see  Maria  Gambarelli  conferring  with 
the  dance  director,  Sammy  Lee  (seated),  and  his  assistant,  Sam  White 


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I  ONG  recognized  as 
■-  one  of  the  most 
beautiful  stars  in  films, 
Loretta  Young  is  at 
her  loveliest  as  the 
famous  English  queen 
of  the  Middle  Ages, 
Berengano,  in  Cecil 
B.  DeMille's  produc- 
tion, "The  Crusades." 
With  light  from  the 
tall  candle  on  her 
long  golden  hair,  and 
wearing  a  filmy,  white 
robe-like  gown,  Miss 
Young  is  a  picture 
of  rare  beauty  in 
the  Paramount  drama 


Time  Out 


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TWINS 


The  wife  of  the  world's 
most  famous  crooner  is 
back  at  work,  to  make 
a     career    of    her    own 

By 
REGINALD  TAVINER 


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OF  course,  everybody  knows  that  Dixie  Lee  has  another 
youngster  besides  the  twins — and  that  makes  it  all 
the  more  remarkable.  To  look  after  Bing  Crosby  and 
the  three  little  ones  would  be  about  enough  for  most  women, 
without  a  screen  career  of  their  own. 

But  then,  Mrs.  Bing  Crosby  is  different — in  many  ways 


Above,  Dennis  watches  his  twin 
brother  Phillip  get  finger-printed. 
It's  one  sure  way  of  telling  the 
twins  apart.  Left,  Dixie  Lee  with 
her  oldest  child,  Gary.  His  second 
birthday  is  in  June.  The  twins  will 
be  one  in  July.  And  Dixie  still  looks 
like  an  ingenue,  and  can  act  one,  too 


You  wouldn't  expect,  for  instance,  that 

the  wife  of  the  world's  most  famous  crooner 

would  hand  him  the  surprise  Dixie  handed 

Bing.    You  wouldn't  expect  that    three 

youngsters   would   be  exactly   an   asset   to  a 

movie  leading  lady.    You  wouldn't  expect  that 

the  mother  of  such  a  family  would  look — and 

act — like  an  ingenue. 

Well,  for  the  matter  of   that  Paramount   didn't 

expect  Dixie  to  step  out  and  go  to  town  like  she  did 

in  "Love  in  Bloom,"  either.    And  Bing  thought  that  wine 

was  all  settled  down.     Most  women  would  be,  what  with  a 

famous  husband  whom  she  had  and  all  the  rest  of  the  girls 

wanted,  a  beautiful  home,  lots  of  money — and  twins.     That 

would  have  settled  almost  anybody    in   fact,   it  even  settled 

Bing. 

But  Dixie  Lee  had  really  only  taken  time  out  tor  those  twins. 
All  those  things  that  Hollywood  wouldn't  expect  began  quite 
a  while  ago,  when  Dixie  first  came  here. 

Dixie  came  to  Hollywood  for  a  [  please  turn  to  page  93  ] 

65 


WHAT  WAS  THE  BEST 


Picture  of  1934? 


Here's  your  chance  to  express 
your  choice  at  the  ballot  box 


FIFTY  OUTSTANDING  PICTURES 
OF  1934 


Previous  Winners  from    1920 

to  Now 

1920 

"HUMORESQUE" 

1921 

"TOL'ABLE  DAVID" 

1922 

"ROBIN   HOOD" 

1923 

"THE   COVERED   WAGON" 

1924 

"ABRAHAM   LINCOLN" 

1925 

"THE  BIG  PARADE" 

1926 

"BEAU  GESTE" 

1927 
"7TH  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

"ALL  QUIET  ON  THE 

WESTERN   FRONT" 

1931 

"CIMARRON" 

1932 

"SMILIN'    THROUGH" 

1933 

"LITTLE  WOMEN" 

66 


Affairs  of  Cellini,   The 
Age   of   Innocence,  The 
Barretts  of  Wimpole 

Street,  The 
Belle  of  the  Nineties 
British   Agent 


Broadway  Bill 
Bulldog    Drummond 

Strikes  Back 
Catherine  the  Great 
Chained 
Cleopatra 
Count  of  Monte  Cristc. 

The 
Death   Takes  a    Holiday 
Evelyn   Prentice 
Flying    Down   to   Rio 
Gallant   Lady 
Gay  Divorcee,  The 
George  White's  Scandals 
Great   Expectations 
Handy   Andy 
Here  Comes  the  Navy 
House  of   Rothschild,  The 
It  Happened  One  Night 
Judge   Priest 
Kid    Millions 
Life   of  Vergie  Winters, 

The 
Little    Miss   Marker 
Lost  Patrol,  The 


Madame    Du    Barry 
Men   in  White 
Merry    Widow,    The 
Mrs.    Wiggs   of    the 

Cabbage  Patch 
Music  in  the  Air 
Nana 

No  Greater  Glory 
Now   and    Forever 
Of  Human  Bondage 
One    Night   of   Love 
Operator    13 
Painted  Veil,  The 
Oueen   Christina 
Sadie    McKee 
She   Loves   Me   Not 
Thin    Man,  The 
Treasure    Island 
Twentieth  Century 
Viva  Villa 
We    Live   Again 
What    Every   Woman 

Knows 
Wild     Cargo 
Wonder    Bar 


T'S  voting  time  again — time  for  you,  the  movie-goers  of  the  nation,  to  choose  the  best 

motion  picture  produced  during  1934. 

Each  year  the  readers  of  Photoplay  decide  which  film  of  the  hundreds  released  shall  be 
honored  by  receiving  the  Photoplay  Gold  Medal.  During  the  course  of  the  year  critics 
and  small  groups  give  various  honors  to  stars,  to  films  and  those  who  made  them.  But  the 
final  verdict,  the  grand  prize,  is  the  Medal  you,  the  picture  audience,  awards. 

Think  back  over  all  the  1934  pictures  that  you  saw  and  enjoyed.  List  the  ten  or  twelve 
that  you  liked  best.  Then  after  considering  carefully,  choose  one  of  them  and  send  in  your 
vote.  In  selecting  the  Gold  Medal  film,  you  will,  of  course,  remember  outstanding  per- 
formances by  one  or  more  of  the  film's  stars.  But  you  will  also  consider  the  expertness  of 
direction,  the  beauty  and  effectiveness  of  photography,  the  settings,  the  screen  story,  and 
the  work  of  the  supporting  cast. 

Above  is  a  list  of  fifty  outstanding  pictures  released  in  1934.  This  list  will  help  call  to 
mind  many  of  the  year's  best  pictures.  But  your  choice  is  not  limited  to  these.  If  you 
want  to  refresh  your  memory  on  all  the  pictures  released  during  1934,  here's  a  tip:  Each 
issue  of  Photoplay  contains  brief  reviews  of  all  pictures  reviewed  for  the  past  six  months. 
Thus  if  you  get  out  your  January,  1935,  issue,  beginning  on  page  ten  you  will  find  brief 
reviews  of  pictures  released  from  July,  1934,  through  December.  [  pleasf.  turn  to  page  105  I 


PHOTOPLAY  MEDAL  OF  HONOR  BALLOT 

EDITOR,   PHOTOPLAY  MAGAZINE 
1926  BROADWAY,  NEW  YORK  CITY 

In    my   opinion   the    picture    named    below   is  the 
best  motion   picture   production   released   in    1934 

NAME  OF   PICTURE 


NAME 


ADDRESS 


The  Co/one/  in  "Lives  of  a  Bengal 
Lancer"  gives  a  good  idea  of 
what  Sir  Guy  Standing  might  be 
like,  for  his  own  life  has  carried 
him  into  tight  places.  In  reality, 
he  is  reserved,  kindly,  and  de- 
voted    to     his     hobby — painting 


THE 

Trackwalker 

WHO 

Was  Knighted 


Guy  Standing  literally  fought 
his  way  up.  But  it  wasn't  from 
a  desire  for  a  life  of  adventure, 
it  was   from    a   desire   to   eat! 


H 


By  WILLIAM  A.  ULMAN,  JR. 


M-M!  It's  a  nice  day,"  said  the  Englishman  looking  at 
the  sun-dappled  downs,  "let's  go  out  and  kill  some- 
thing!" 

We  were  sitting  around  the  fire  in  Sir  Guy  Standing's 
mountain  home  chewing  the  rag  to  shreds.  I  had  just  accused 
him  of  having  been  an  adventurer — in  the  nice  sense  of  the 
word — all  his  life.  He  snorted  from  the  comfortable  depths  of 
a  huge  chair.  He  always  snorts  in  a  deprecating  manner  when 
his  innate  modesty  is  imperiled. 

"You  don't  even  know  what  adventure  is.  You  think  of  it 
in  terms  of  Spanish  galleons  and  princesses  in  distress.  That 
old  jibe  at  Englishmen  going  out  to  kill  something  comes 
nearer  the  truth  than  you'd  imagine.  They  don't  have  to 
take  life,  actually,  but  there  is  adventure  in  the  hunt." 

He  swung  up  on  one  elbow,  suddenly  intent.  "Real  ad- 
venture is  something  you  seek,  something  you  have  to  go 
forth  and  hunt.  It  never  comes  to  you.  Give  a  sportsman  a 
gun,  a  good  dog,  a  pipe  and  fifteen  miles  of  country  and  he'll 
have  a  jolly  good  time  by  himself  all  day.  He's  as  apt  to  come 
in  without  having  fired  a  shot,  pour  himself  a  B.  and  S.,  give 


his  dog    a  pat    and  say,    'A  good   day's    shooting,    that,   eh 
Laddie?'  and  mean  it. 

"Some  people  wouldn't  be  satisfied  with  that,  it  wouldn't 
be  thrilling  enough.  But  then,  they  haven't  lived  enough  to 
know  that  adventure  is  all  in  the  point  of  view.  Hang  it  all,  a 
man  doesn't  know  he's  having  an  adventure  half  the  time! 
He  may  be  doing  some  stupendous  thing,  but  while  he's  doing 
it  he's  just  meeting  a  situation  that  came  up  in  the  every  day 
run  of  life.  Who  ever  heard  a  man  say  'Dash  it,  but  this  is 
adventure!'  while  he  was  piloting  a  plane  through  a  heavy 
snow  a  couple  of  hundred  feet  above  a  mountain  range — and 
the  everlasting  life  scared  out  of  him?  Nobody!  But  in  a 
year  or  in  ten  years  that  man  looks  back  on  that  situation  as 
the  greatest  adventure  of  his  life. 

"That's  why  adventure  is  over-rated  as  an  accomplishment 
It's  not  like  winning  a  fortune  in  the  Sweeps.  It's  doing  your 
job  when  somebody  pulls  the  strings.  You  called  me  an 
adventurer.  In  a  sense  I  am.  I  have  had  an  adventurous 
life.  But  I  wasn't  an  'adventurer'  while  it  was  going  on. 
I  was  trying  to  earn  a  living  "  f  please  turn  to  page  92  | 

67 


THE    NATIONAL    GUIDE    TO      MOTION     PICTURES 


Th 


e 


<fr  THE   SCOUNDREL— Hecht-MacArthur-Paramount 

BEN  HECHT  and  Charles  MacArthur  have  made  an 
exceptional,  magnificently  executed  character  study 
picture  with  this  practically  flawless  drama  of  a  super-cynic 
who  scoffed  at  everything  decent  until  death  taught  him. 

It's  arty,  but  if  this  is  art,  let's  have  more  of  it!  It's  fan- 
tastic, but  you  won't  find  yourself  challenging  logic.  Some 
will  say  it's  too  sophisticated,  but  that's  a  matter  of  personal 
viewpoint.  The  fact  is  that  Noel  Coward  in  the  cold  role 
of  a  heartless,  philandering  publisher  gives  one  of  the  great- 
est performances  ever  recorded. 

Julie  Haydon  is  lovely  and  moving.  Hope  Williams, 
Martha  Sleeper,  Stanley  Ridges  and  Alexander  Woollcott 
are  stage-perfect.  But  it  is  Noel  Coward  who  affords  the 
new  screen  experience  which  you  must  not  miss. 


^  THE  DARING  YOUNG  MAN— Fox 


THERE  is  plenty  of  refreshingly  different  material  and 
comical  dialogue  to  make  this  picture  stand  as  a  most 
satisfying  piece  of  entertainment. 

The  main  story  thread  concerns  itself  with  the  romance 
of  Jimmy  Dunn  and  Mae  Clarke,  a  swell  pair  of  kids,  who  are 
good  reporters  on  rival  papers  and  constantly  get  them- 
selves into  mad  situations  trying  to  outwit  each  other  on 
hot  tips!  Fancy,  please,  how  you  would  feel  if  your  beau 
left  you  waiting  at  the  church  while  he  dashed  off  to  track 
down  a  newspaper  yarn! 

William  Seiter  has  directed  this  with  a  feeling  for  lightness 
and  mirth,  and  many  individual  players,  Warren  Hymer, 
Jack  LaRue,  Sidney  Toler  and  Arthur  Treacher,  are  ex- 
cellent.    So,  too,  are  the  leads. 

68 


OW 

Staqe 

A  Review  of  the   New   Pictures 


^  THE  INFORMER— RKO-Radio 


IF  you  wish  to  see  some  of  the  finest  performances,  direc- 
tion and  photography  ever  achieved  in  Hollywood,  don't 
miss  this.  It's  a  dramatic,  unforgettable  experience  for  a 
thoughtful  and  intelligent  audience. 

Victor  McLaglen  as  Gypo  Nolan,  "the  informer,"  gives  an 
Academy  performance — and  every  player  in  the  superb  cast 
was  born  to  play  his  particular  role.  Written  by  Liam 
O'Flaherty,  the  picture  maintains  the  integrity  of  his  Ireland 
— the  Ireland  that  is — and  plunges  one  into  the  midst  of 
the  Irish  rebellion. 

Gypo,  a  big  slow-witted  giant,  betrays  a  pal  to  the  English 
for  the  twenty-pound  reward.  Between  then  and  dawn, 
never  has  a  man  suffered  remorse  and  shame  more  vividly. 
And  McLaglen's  portrayal  is  stirring.  Through  drink  and 
battle,  he  tosses  away  the  blood-money  and  relentlessly 
his  doom  catches  up  with  him.  Magnificent  is  the  word  for 
this  performance. 

The  entire  production,  which  was  directed  by  John  Ford, 
dares  to  be  different  and  powerful.  Deserving  of  more  than 
this  mention  are  Preston  Foster,  Wallace  Ford,  Margot 
Grahame  (going  places,  this  one),  Una  O'Connor,  Joseph 
Sauers,  Heather  Angel  and  others.  Photography  by  Joseph 
August  is  superb.  If  you  are  not  satisfied  with  mere  amuse- 
ment, this  one  was  made  for  you.  And  you  may  be  sure  it 
will  be  a  film  long  discussed  and  remembered. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


THE  BEST  PICTURES  OF  THE  MONTH 

THE  INFORMER  THE  DARING  YOUNG  MAN 

CALL  OF  THE  WILD  OIL  FOR  THE  LAMPS  OF  CHINA 

THE  SCOUNDREL  G  MEN 

DOUBTING  THOMAS 

THE  BEST  PERFORMANCES  OF  THE  MONTH 

Victor  McLaglen  in  "The  Informer" 

Margot  Grahame  in  "The  Informer" 

Noel  Coward  in  "The  Scoundrel" 

Julie  Haydon  in  "The  Scoundrel" 

Pat  O'Brien  in     Oil  for  the  Lamps  of  China" 

Josephine  Hutchinson  in    'Oil  for  the  Lamps  of  China" 

James  Cagney  in  "G  Men" 

Mae  Clarke  in  "The  Daring  Young  Man" 

Ernest  Thesiger  in  "The  Bride  of  Frankenstein" 

Charles  Grapewin  in  "One  Frightened  Night" 

Casts  of  all  photoplays  reviewed  will  be  jound  on  page  117 


A     CALL  OF  THE  WILD— 20th  Century 
*•*  — United   Artists 

IACK  LONDON'S  novel,  "Call  of  the  Wild,"  comes  to 
J  the  screen  a  vigorous,  red-blooded  picture  that  you  are 
sure  to  enjoy.  The  refreshing  backgrounds  of  deeply 
gleaming  snow,  towering  mountains  and  wild,  rushing 
rapids,  are  exciting  in  themselves.  And  when  you  put  four 
fine  actors — Clark  Gable,  Loretta  Young,  Jack  Oakie  and 
Reginald  Owen  against  these  backgrounds,  you  have  top- 
notch  entertainment. 

The  familiar  story  has  been  changed  in  spots,  but  the 
revisions  make  for  stronger  screen  fare.  And  all  the  hu- 
manness,  the  drama,  of  the  novel  have  been  retained. 

You  will  rise  and  cheer  when  Buck,  the  dog,  in  an  almost 
death-dealing  race,  pulls  one  thousand  pounds  of  sled  for 
one  hundred  yards,  winning  one  thousand  dollars  for 
Gable,  who  trained  him,  so  he  can  outfit  himself  for  a  trip 
to  the  fabulous  mine  where  untold  golden  riches  are. 

The  romance  in  the  film  is  between  Gable  and  the  lovely 
Miss  Young.  And  it's  a  tenderly  told  story  on  the  screen. 
Reginald  Owen  plays  perfectly  the  role  of  the  heavy  ob- 
sessed with  the  idea  of  killing  the  faithful  dog,  Buck.  And, 
Jack  Oakie  is  one  rip-roaring  howl  after  another.  (You  will 
tell  your  friends  about  those  scenes  when  Oakie  rolls  the 
bones!) 

The  direction  of  William  Wellman  deserves  high  praise, 
and  Charles  Rosher's  photography  is  top-notch. 


* 


OIL  FOR  THE  LAMPS  OF  CHINA 
— First   National 


THIS  fine,  sincere  story  of  an  idealist's  unwavering 
faith  in  his  job  will  remain  long  in  your  memory. 
Pat  O'Brien  is  the  American  oil  company  employee  who 
subordinates  everything — his  wife,  his  home,  his  friends, 
even  his  own  life — to  an  inordinate  loyalty  to  "the  com- 
pany," and  dedicates  himself  to  supplying  oil  for  the  lamps 
of  China,  firm  in  the  belief  that  the  Company  "takes  care 
of  its  men."  '  But  his  wife,  Josephine  Hutchinson,  has  more 
practical  ideas.  It  is  their  superb  acting  and  Mervyn 
LeRoy's  direction  that  lift  this  picture  well  above  the  aver- 
age level.  Subordinate  characters  played  by  Arthur 
Byron,  Lyle  Talbot,  John  Eldredge,  Jean  Muir  and  Willie 
Fung  are  A-l.  This  picture  leaves  you  with  a  lifted  faith, 
and  as  such  is  well  worth  vour  time. 


& 


G  MEN— First  National 


AT  least  twenty  more  rounds  of  ammunition  are  fired 
in  this  than  in  any  previous  picture.  If  it's  action  you 
want,  this  is  your  dish  You  will  get  Jimmy  Cagney's 
finest  performance  since  he  has  been  shooting  from  the 
other  side  of  the  fence,  in  this  first  Department  of  Justice 
picture  to  be  released.  You've  read  it  all  in  the  headlines, 
but  the  resume  is  well  motivated,  fastmoving  and  packs  a 
wallop. 

Margaret  Lindsay  and  Ann  Dvorak  are  well  cast.  Robert 
Armstrong  gives  a  grand  performance  as  the  hard  boiled 
"G"  breaker-inner;  Regis  Toomey,  Barton  MacLane,  Ed- 
ward Pawley,  Russell  Hopton,  William  Harrigan  and  others 
are  A-l.  Not  for  the  kiddies,  but  it  is  a  page  re-lived  out  of 
current  American  history.     See  it — if  your  nerves  are  good. 


SELECT     YOUR      PICTURES     AND     YOU     WON'T 


DOUBTING 
THOMAS— 
Fox 


THE  BRIDE 
OF 

FRANKEN- 
STEIN— 
Universal 


ONE  of  the  best  Will  Rogers'  pictures,  and  a  howl  from 
start  to  finish.  This  time  Will's  wife,  played  by  Billie 
Burke,  gets  the  acting  bug.  The  "little  theater"  stuff  will  slay 
you.  Will  cures  her  by  turning  crooner.  Alison  Skipworth, 
Frances  Grant,  Frank  Albertson,  Sterling  Holloway  and  the 
others  are  all  excellent. 


BORIS  KARLOFF  rises  from  the  flames  again  and  Dr 
Pretorious  talks  Frankenstein  into  creating  a  mate  for  the 
restless  what-is-it.  The  production  reaches  a  peak  in  fantastic 
imagination  and  photographic  effects.  Ernest  Thesiger,  as 
Dr.  Pretorious  and  Karloff  contribute  impressive  performances 
Elsa  Lanchester,  0.  P.  Heggie,  Una  O'Connor,  Valerie  Hobson 


THE  CASE 
OF  THE 
CURIOUS 
BRIDE— 
First  National 


S&^B  .  »  ^^B 

-  £p^L       ^M 

*>'v''^ 

ty&M 

'-W0C 

Mm  >/\^^1  im  /  /    \^. 

\ 

*j  M 

,  ^wj^Ssf^r 

['  <    f.~»: 

V 

THE 

COWBOY 
MILLION- 
AIRE—Fox 


WARREN  WILLIAM  is  the  lawyer  and  amateur  sleuth 
who  loves — of  all  things! — to  cook.  Margaret  Lindsay 
is  the  bride  whose  curiosity  is  aroused  when  a  husband  she 
thought  safely  buried,  turns  up  after  she  marries  another 
one.  Everything  is  handled  in  the  casual  manner  movie 
audiences  enjoy.     Claire  Dodd,  Allen  Jenkins,  Donald  Woods. 


AN  hilarious  light  comedy  with  Western  trimmings  in  which 
George  O'Brien  displays  a  brand  new  talent  for  delightful 
nonsense.  Edgar  Kennedy  (graaand  performance)  and  George 
"local  color"  on  a  dude  ranch.  Evalyn  Bostock  is  the  snooty 
English  girl,  Maude  Allen  a  swell,  snorting  aunt.  Entire  cast 
help  to  make  this  Western  for  sophisticates  a  joyous  evening 


THE  UN- 
WELCOME 
STRANGER- 
Columbia 


LADIES 
LOVE 
DANGER 
—Fox 


RACING  men  usually  have  strong  superstitions  and  Jack 
Holt's  are  orphans.  Little  Jackie  Searl  plays  the  crippled 
orphan  who  wins  everyone's  affections  around  the  race-track, 
but  the  boss  himself  blames  the  youngster  for  his  streak  of 
bad  racing  luck.  Scenes  around  the  turf  are  very  good.  So  is 
the  cast,  including  young  Searl,  Mona  Barrie,  and  Mr.  Holt 

70 


HERE  is  a  murder  mystery  that  is  sprightly,  thanks  to 
Samson  Raphaelson's  screen  play.  It's  fun  with  plenty  of 
chills,  too.  Gilbert  Roland  is  the  playwright,  who,  solves  the 
mystery  and  wins  the  lady  of  his  heart — all  with  sophisticated 
ease.  Miss  Barrie  and  Roland  play  with  a  fine  casual  charm. 
Herbert  Mundin,  Donald  Cook.  Adrienne   Ames  are  good. 


HAVE     TO     COMPLAIN      ABOUT     THE     BAD     ONES 


EIGHT 

BELLS— 

Columbia 


DINKY— 
Warners 


TAKE  a  boat  trip  in  this  one — from  San  Francisco  to 
Shanghai — and  watch  Ralph  Bellamy,  a  demoted  sea  cap- 
tain, save  the  day  in  a  maritime  crisis.  Of  course,  he  wins 
pretty  Ann  Sothern  when  his  manliness  shows  up  her  fiance. 
Just  "medium  well  done"  as  they  say  in  the  better  restaurants 
But  you'll  find  it  worth  an  evening's  entertainment 


THE  youngsters  will  enjoy  Jackie  Cooper  and  a  group  of 
young  actors  in  this  one.  Jackie,  in  a  snooty  military  acad- 
emy, moves  into  the  orphanage  next  door  when  his  mother, 
Mary  Astor,  goes  to  prison  falsely  accused.  Roger  Pryor  is 
excellent  as  the  young  lawyer  and  Jackie's  pal.  Henry  Armetta 
lends  splendid  comedy  relief     For  the  family 


PARTY 

WIRE— 

Columbia 


VILLAGE 

TALE— 

RKO-Radio 


YOU'LL  have  a  world  of  healthy  laughs  at  this  unpretentious 
little  picture.  It's  about  the  havoc  gossip  can  stir  up  in  a 
small  town  by  people  who  "listen  in"  on  party  lines.  Jean 
Arthur  takes  the  tongue-wagging  "rap"  from  a  host  of  small 
towners.  But  Victor  Jory  gives  them  a  dose  of  their  own 
medicine.    Helen  Lowell,  Charley  Grapewin,  Maude  Eburne. 


A  SOMEWHAT  sordid  drama  of  rural  hates,  jealousies  and 
thwarted  loves.  Randolph  Scott  is  the  "good  blood"  of 
the  hamlet,  Robert  Barrat  is  the  "bad  blood."  A  group  of 
rustics  team  with  him  against  Randy  and  Kay  Johnson, 
another  farmer's  wife  with  whom  he  is  in  love.  Good  perform- 
ances bv  Edward  Ellis,  Arthur  Hohl  and  Guinn  Williams 


ONE 

FRIGHTENED 
NIGHT— 
Mascot 


SPRING 

TONIC- 

Fox 


WHEN  grumpy  old  millionaire  Grandpa  (Charles  Grape- 
win)  picks  out  a  wildly  storming  night  to  dispose  of  his 
millions  he  lets  his  heirs  in  for  murders,  missing  heiresses, 
creepy  music,  banging  doors  and  the  usual  fol-dorol  of  mystery 
stories.  This  particular  one,  however,  doesn't  quite  click. 
Only  Grandpa  Charley  Grapewin  comes  through. 


JUST  so-so  entertainment,  with  Claire  Trevor  running  away 
from  Lew  Ayres  on  their  wedding  eve  and  getting  mixed  up 
with  animal-trainers,  bootleggers  and  what-not,  in  the  persons 
of  Walter  King,  Mitchell  and  Durant,  Tala  Birell,  Jack  Haley 
and  ZaSu  Pitts  All  the  actors  are  valient,  but  the  situations 
whip  them  [  please  turn  to  eage  104  ] 

71 


Mitzi  grins  joyfully 
— w  i  t  h  Wally  on 
one  side  and  Mr. 
Gable  on  the  other. 
Wouldn't  any  lady 
smile  with  Clark 
and  Beery  seated 
beside  her?  Mitzi 
was  visiting  them 
on  a  set  at  M-G-M 


Burning  the  Bright 


DEAR  JOAN: 
Yoicks,  female,  I  went  and  done  it!    Popped  a  party! 
Good?     Now,  child  could  /  be  the  one  to  say  it  was  a 
humdinger! 

Lessee.  There  were  the  Pat  O'Briens,  Lyle  Talbot,  the  Jean 
Hersholts,  Ted  Healy,  Marian  Marsh,  Eddie  Lowe,  Mr.  and 
Mrs.  George  Converse  (Anita  Stewart),  Mady  Christians  and 
Paul  Cavanagh  amongst  the  fifty  or  sixty  whom  you  would 
know.  It  all  started  because  my  dear  mama  was  telling  Mrs 
O'Brien  about  some  grand  Russian  dishes  she  cooks,  and  Mrs 
O.,  with  tongue  practically  lolling  out,  said  please  to  ask  her  for 
dinner  some  night  soon.  So,  we  gave  the  dinner,  but  in  the 
course  of  things  managed,  somehow,  to  invite  half  a  hundred 
ladies  and  gents. 

An  exquisite  basket  of  flowers  came  from  Louise  Fazenda  who 
couldn't  get  over.  Louis  B.  Mayer,  who  was  at  Palm  Springs 
seeing  his  wife,  sent  an  enchanting  silver  vase  with  many  dozens 
of  yellow  roses.  I  hung  the  cards  in  a  prominent  place,  I  was 
that  stuck-up! 

The  prominents  I  mentioned  in  paragraph  two  were  all  a 
bunch  of  piggies,  much  to  mama's  delight.  They  gobbled  up 
rolled  cabbage  and  sundry  delicacies,  not  once,  but  many  times 
And  you  can  make  shamey-shame  at  Mrs.  O'Brien.  She  took 
home  a  big  bag  of  home-made  coffee  cakes  so  Patrick  could 
dunk  next  morning! 

I  skipped  from  card-table  to  card-table  and  ate  a  bit  from 
everyone's  plate,  just  to  be  sociable-like.  Eddie  Lowe  and 
Marian  Marsh,  who  were  having  a  very  fine  time,  being  awful 

72 


fond  of  each  other,  saw  me  right  through  two  skewers  of  flaming 
schashlik  (a  Hungarian  tidbit)  and  many  melting  sighs.  These 
were  erased,  though,  when  Mister  Healy,  standing  at  the  piano, 
made  everyone  hysterical  with  impromptu  songs  and  dances 

I  would  say,  under  coercion,  that  everyone  had  themselves  a 
high  time.  I  would  also  say  that  it  must  have  been  four  in  the 
ante  meridian  when  Mrs.  O'Brien  came  down  the  steps  with 
hat  and  coat.  And  Pat,  waiting  for  her,  took  one  look  at  her 
jaunty  little  white  silver  cap  and  piped:  "Heave  to,  my  lads, 
the  Admiral  is  coming!" 

Next  day  I  set  sail  for  the  "China  Seas,"  which  picture  is 
being  made  at  M-G-M.  But  first  I  had  food  with  brother  Jack 
(he  produces  at  M-G-M)  in  the  studio  commissary.  In  the 
midst  of  a  dirt-dishing  session  about  the  party  the  night  before, 
my  attention  was  caught  by  the  most  ecstatic  red  mouth  of  the 
century,  Irene  Hervey's.  But  it  was  a  very  expensive  mouth, 
Irene  told  me  forlornly,  since  the  luscious  lipstick  had  come  in  a 
fitted  dinner  bag,  had  no  name,  and  when  it  wore  out  she 
would  have  to  purchase  fifteen  dollars'  worth  of  pocketbook 
before  she  could  replace  the  lipstick! 

I  finally  got  under  way  for  my  destination  but  hove -to  at 
Director  Van  Dyke's  office  This  happy  chappie  had  just 
returned  from  his  first  holiday  in  several  years,  during  which 
time  he  had  got  himself  married  to  the  lovely  Ruth  Mannix 
niece  of  one  of  the  Vice-Presidents  of  M-G-M  This  happened 
in  New  Orleans  and  was  supposed  to  be  kept  a  secret,  but  you 
know  "the  best  laid  plans  of  mice  and  men,"  etc.  Van,  himself, 
inadvertently  spilled  the  Bostons  when  he  gave  the  officiator  at 


party.       Five     hundred     people     attended 


Lights  With  Mit 


z 


It's  been  a  giddy  social 
whirl  in  Hollywood  this 
past  moon,  with  life  get- 
ting  merrier  day  by  day 


the  ceremony  the  largest  tip  he'd  seen  in  his  life.  The  dazed 
gentleman  went  about  telling  everyone  he  "wished  Van  Dyke 
would  get  married  every  day  in  the  year." 

If  you're  quivering  to  know  how  the  much  sought-after  but 
hard-to-get  Van  met  and  fell  in  love  with  the  lady,  I  know  the 
details.    Here  they  are: 

The  then  Miss  Mannix  did  some  extra  work  in  one  of  his  pic- 
tures and  Van's  secretary,  who  knew  her,  introduced  them  on 
the  set.  Mr.  "Esquimo  Thin  Man"  Van  Dyke  decided  to  give 
the  charming  girl  a  bit  to  do  when,  to  his  surprise,  he  learned 
that  she  had  left  the  set  and  gone  home!  Figuring  that  she  was 
a  spoiled  lady  who  was  in  the  habit  of  suiting  herself,  the  irate 
director  phoned  her  and  ordered  her  back  to  work  immediately. 
She  came — pronto!  And  apologized.  Sometime  later,  Van 
learned  that  one  of  his  assistants  had  told  her  she  was  through 
and  might  go  home,  but  the  nice  Ruth,  rather  than  have  the 
man  get  into  trouble  for  his  mistake,  took  the  blame  herself 
And  that,  little  kiddie,  is  what  started  Love. 

Up  anchor  and  really  set  sail  this  time  for  the  "  China  Seas" 
set.    Clark  Gable,  in  rubber  trousers,  hip  boots  and  sweat  shirt 


had  just  finished  a  scene  and  came  down  the  gang-plank.  He 
joined  me  and  Mr.  Wallace  Beery  on  a  couch  in  the  sunshine. 
Clark  was  teasing  Wally  about  the  Hindu  Princess  who  was 
fond  of  him.     She  came  all  the  way  from  Bombay  to  see  him! 

"She  may  come  from  a  hot  country,"  laughed  Wally,  "but  I 
call  her  'No,  No,  Nooky  of  the  North!'  " 

"To  a  princess!"  I  cried,  shocked. 

"She  loves  it!"  laughed  Wally.  And  then  he  told  us  how 
he'd  been  a  guest  at  one  of  her  dinner  parties  and  when  the 
Indian  rice  and  curry  was  brought  on,  the  Princess  blushingly 
told  him  she  had  prepared  it  with  her  own  little  jeweled  fingers. 
"Fine!"  said  Wally,  and  took  a  healthy  mouthful,  and  nearly 
burned  the  lining  out  of  his  throat!  He  coughed,  sputtered  and 
grabbed  for  water,  then  furtively  looked  around  to  see  how  the 
other  guests  were  standing  it.  There  they  sat,  all  those  Hindus, 
calmly  eating,  with  tears  rolling  down  their  cheeks! 

Wally  has  a  certain  whistle  that  summons  little  Carol  Ann 
She  was  around  the  corner  of  the  set  listening  to  her  nurse  read 
"Little  Red  Riding  Hood"  when  she  heard  it.  She  hopped  up 
from  her  chair,  excused  herself,  and  flew  around  to  Wally's 
arms.  There  was  no  special  reason  for  the  summons.  Mr. 
Tough  Guy  Beery  only  wanted  to  kiss  her.  Then  back  she 
trotted.  Wally's  dressing  room  is  filled  with  her  books  and 
toys,  and  the  tiny  Carol  Ann,  who  has  her  first  part  with  daddy 
in  this  picture,  even  shares  the  star's  dressing  ioom! 

It  was  very  touching  when  her  little  double,  who  was  stand- 
ing in  front  of  the  camera  while  it  was  lined  up,  burst  out  crying 
because  she  had  to  step  aside  while  [  please  turn  to  page  99  1 

73 


A  short  session  with  olive 
oil  before  Marian  Marsh 
faces  the  sun  and  salt 
water.  She  applies  it 
with  cotton,  a  good  way 
to  use  your  sun-tan  oil  or 
lotion.  Do  use  some- 
thing, whether  you  want 
to  prevent  tan  entirely  or 
acquire  a   rich,  satiny  tan 


Florence  Rice  thinks  that 
your  only  jewels  for  the 
beach  should  be  gaily 
lacquered  fingers  and 
toes.  And  very  rightly. 
Practically  all  sandals  are 
toeless  and  demand  a 
jewel  touch,  and  of  course 
your   fingers    must   match 


W! 


'HY  is  it  that  when  we  put  on  a  bathing  suit 
or  beach  costume  for  the  first  time  in  the 
n,  if  we  are  frankly  honest  with  our- 
selves and  our  figure  is  reasonably  good,  we  must 
admit  that  we  make  a  nice  picture?  Then  later  on 
feel  that  that  same  picture  has  grown  so  every-day,  so 
like  every  other  one  we  see? 

This  change  of  thought  undoubtedly  is  caused  by  transforma- 
tion in  the  skin.  That  which  at  first  was  smooth,  clear,  fine,  a 
compliment  to  any  costume,  by  a  few  exposures  has  become 
discolored,  coarse,  a  little  too  masculine  for  feminine  appeal. 
The  whole  answer  to  this  predicament  is  to  protect  yourself 


BEAUTY  AND 


with  one  of  the  good  oils,  creams  or  lotions  perfected  for  just 
the  purpose  of  keeping  you  smooth  and  lovely  yet  allowing  a 
warm,  even  tint  from  the  sun.  The  trick  is  to  apply  these  to 
every  part  of  the  body  that  is  exposed.  Many  of  you  know  that 
insteps  and  thighs  burn  as  painfully  as  shoulders,  that  it  is  no 
fun  to  go  around  with  every  movement  of  your  clothing  sheer 


PHOTOPLAY'S      HOLLYWOOD      BEAUTY      SHOP 


74 


y*8ik 

I"  ^  fl 



f  f 

-   XZr 

• 

J 

) 
/ 

■ 

A  great  white  beach 
towel  with  waving  green 
•palm  fronds  permits 
Geneva  Mitchell  to  take 
her  tan  where  she  wants 
it,  or  prevent  it  entirely. 
Timing  your  tan  in  this 
manner  gives  you  a  tone, 
without  burn,  that  others 
will    sincerely    rave   about 


"A  modest  powder  puff," 
says  Ida  Lupino  of  this 
fluff  concealed  in  a  sports 
handkerchief,  and  not  too 
conspicuous  when  you're 
concentrating  on  golf  or 
tennis.  It's  easier,  lighter 
to  carry  on  such  occasions 
than   your   usual    compact 


THE  BEACH 


agony  and  that  there  is  no  reason  to  mar  your  skin.  Marian 
Marsh  uses  a  square  of  cotton  to  spread  her  oil  or  lotion,  and 
this  is  an  easier  method  than  the  fingers.  If  your  skin  is  very 
sensitive,  when  you  come  out  of  the  water  find  a  shady  umbrella 
or  wrap  yourself  in  one  of  those  giant  beach  towels,  such  as 
•Geneva  Mitchell  is  rolled  in.     Freckle  types  need  all  the  pre- 


ventive cream  they  can  absorb.  Apply  what  the 
skin  can  take,  let  it  be  absorbed  for  a  little  while, 
then  apply  more. 

In  spite  of  precautions,  if  you  do  get  a  mild  burn, 
especially  on  your  face,  cleanse  with  cream  until  the 
sensitiveness  is  gone,  and  meanwhile  use  plenty  of 
nourishing  cream  together  with  a  mild  bleach  cream.  This 
general  treatment  will  soon  correct  the  skin  by  not  drying  it, 
by  resupplying  the  oil  that  it  needs  and  by  bleaching  away  the 
signs  of  discoloration.  Most  modern  sun  preparations  are  as 
easy  and  pleasant  to  use  as  they  are  effective  in  warding  off 
too  many  signs  of  Summer. 


CONDUCTED       By       CAROLYN       VAN       WYCK 


75 


WELCOME 
GUEST 


Florence  Rice,  introduc- 
ing you  to  a  grand 
sachet  idea,  four  silken 
peach  pillows,  guaran- 
teed to  retain  their  fra- 
grance for  one  year.  A 
smart  gift  thought  for 
either    hostess   or   yourself 


These  grapes  are  decep- 
tive. Actually,  they're 
guest  soap.  Each  globule 
is  cellophane  covered, 
and  each  guest  may  de- 
tach her  own  grape  for 
personal  use.  A  clever 
find     by     Nancy     Carro 


AT  this  point,  I  assume  that  your  Summer 
calendar  is  filled  with  week-end  invitations 
and  vacation  plans.    The  idea  of  the  hostess  gift 
has  grown  in  popularity  in  the  last  few  years,  and  it  is  one  of 
those  social  thoughts  that  does  seem  the  perfect  compliment 
to  the  one  who  is  entertaining  you. 

This  gift  is  usually  something  simple,  but  chosen  with  a 
very  personal  thought  for  the  one  who  is  to  receive  it.  All 
kinds  of  things,  from  books  on  up  and  down  come  to  mind, 
but  because  this  page  is  very  cosmetic-conscious  and  because 
things  for  the  dressing-table  and  bath  are  usually  adored  by 
all   women,  let's  stop  here. 

Sachet,  guest  soap  and  a  lipstick  outlining  pencil  are 
illustrated.  The  sachet  and  pencil  are  suggested  for  the 
hostess  who  is  your  old  friend,  in  which  case  you  will  naturally 
know  her  preferences  and  interests.  When  you  are  not  quite 
sure,  guest  soap  and  individual  powder  ensembles  are  always 
a  good  choice.  Every  hostess  needs  these  little  hors  d'oeuvres 
to  perfect  entertaining. 

If  there  are  small  children  in  the  family  which  is  entertaining 
you,  concentrate  on  them.  The  joy  of  any  small  child  at 
opening  a  package  is  alone  worth  the  small  effort  it  takes  you, 
between  trains  or  planes,   perhaps,  to  pick  up  some  gadget. 

76 


Tala  Birell,  deftly 
employing  a  lip- 
stick pencil  for  a 
perfect  outline,  to 
be  filled  in  with 
the  correct  shade 
of  lipstick.  This 
pencil  comes  in 
three  shades,  aid 
to      perfect      lips 


The  perfect  guest,  also  let  it  be  emphasized,  travels  with  her 
own  accessories — complete,  so  that  it  is  not  necessary  to  bor- 
row from  a  busy  hostess  a  curling  iron,  or  powder  or  the  other 
knick-knacks  we  must  have  to  appear  comfortable  and  attrac- 
tive. For  week-ends,  stroll  through  a  department  store  to  see 
the  complete  little  kits  and  boxes,  assembled  by  smart  manu- 
facturers for  your  little  visit  needs 


HERE  COMES 

THE 

BRIDE! 


Rosalind  Russell,  lovely 
reminder  that  the 
modern  bride  is  not 
pale,  but  a  vision  in 
subtle  pastels, 
achieved  by  artful 
touches  that  give  her 
a  cool,  luminous  love- 
liness. Thus  the  me- 
dieval and  modern 
traditions    compromise 


FEW  can  approach  the  moment  for  donning  the 
bridal  gown,  the  veil,  without  strangely  mixed 
emotions.  These  undercurrents  affect  the  face, 
usually  blanching  it  of  color,  leaving  eyes  bright, 
starry,  wide.  And  so  the  bride's  face  is  the  canvas 
to  which  a  few  pastel  touches  make  her  appear 
radiant,  poised,  beautiful. 

Hair,  of  course,  has  been  curled  to  perfection, 
some  faint,  lovely  flower  fragrance  has  been  lightly 
rubbed  over  her  skin  or  sprayed  on  her  satin  under* 
things. 

The  sparing  use  of  a  make-up  base  will  help  give 
the  face  that  vellum  look,  traditionally  correct  for 
our  lady  in  white.    It  is  particularly  helpful  if  the  day 
is  warm,  inclined  to  produce  moisture  on  an  excited 
brow.    If  the  skin  tone  is  clear,  both  foundation  and 
powder  should  match  exactly.     For  dull  or  sallow 
skin,  both  foundation  and  powder  should   contain 
a  faint  peach  or  rose  tint. 
Creme  rouge,  applied  after 
foundation,  before  powder, 
will  give  a  truer,  more  last- 
ing tone  than  the  compact 
type.    But  only  very  little 
must  be  used,  just  enough 
to    suggest    a    faint    glow 
over    the    upper    cheeks. 
Your  lips  must  be  roi  <*ed 
lightly  with  a. steady  hand. 
If  smudging  begins,  wipe 
off  with  cream  or  lotion 

and  start  afresh.  For  this  day,  keep  as  true  a  line  as  possible  they  need  it  and  a  very  little  mascara  to  the  upper  lashes.  By 
and  if  too  much  lipstick  is  applied,  gently  blot  up  the  surplus  using  these  aids  as  lightly  as  possible  and  employing  a  most 
with  a  cleansing  tissue  held  between  the  lips.   Powder  should  be      critical  eye,  you  may  avoid  any  semblance  of  looking  made-up, 


used  all  over  the  face  and  neck,  any  surplus  brushed  away, 
so  that  not  one  point  looks  more  powdered  than  the  other. 

Eyes  might  well  benefit  by  a  mere  suspicion  of  shadow,  the 
tone  that  you  generally  use,  a  slight  penciling  of  the  brows  if 


decidedly  wrong  for  this  moment,  yet  add  to  your  countenance 
the  outline  and  tone  to  make  you  glow  with  the  cool,  lovely 
light  of  a  star. 

(For  more  beauty  tips  turn  to  page  82) 


77 


THE  ANSWER  MAN 


Marilyn  Knowlden,  who  has  so 
intrigued  the  movie-going  pub- 
lic with  her  quaint  maturity 
in  "Les  Miserables,"  actually  * 
has  made  twenty-seven  pictures 
in     three    of    her    eight    years! 


AVERY  sweet  little  Miss  has  stolen  into 
the  hearts  of  the  movie  public  and  they 
want  to  know  all  about  her.  This  old 
Answer  Man  fell  hard,  too,  when  he  saw  her  in 
her  most  recent  picture,  "Les  Miserables." 

The  lady  in  question  is  Marilyn  Knowlden 
who  gave  such  a  grand  performance  as  the 
child  Cosette,  in  the  above  mentioned  picture. 

She  was  born  in  San  Francisco  eight  years 
ago.  Has  gorgeous  gentian-blue  eyes  and 
chestnut  hair.  She  made  her  screen  debut  at 
the  age  of  five  playing  the  role  of  Eleanor 
Boardman,  as  a  child,  in  "Women  Love  Once." 
Her  success  in  this  placed  her  in  great  demand 
and  in  her  first  six  months  in  the  picture  colony 
she  appeared  in  six  pictures.  In  the  past  three 
years  she  has  been  in  twenty-seven  pictures. 

Marilyn  has  appeared  in  child  roles,  as 
Katharine  Hepburn  in  "Little  Women," 
Madge  Evans  in  "David  Copperfield,"  and 
Rochelle  Hudson  in  "  Imitation  of  Life"  and 
"Les  Miserables." 

When  she  is  not  appearing  before  the  camera 
you  will  find  her  diligently  caring  for  her  dolly, 
who  is  her  constant  companion. 

Douglas  Carlsen,  Minneapolis,  Minn. — 
Hope  you  and  your  family  will  continue  to  buy 
Photoplay  now  that  you  have  started.     And 


thanks  for  the  nice  words  about  me.  The 
famous  picture  which  first  teamed  Janet 
Gaynor  and  Charles  Farrell  was  "  7th  Heaven." 
Later  they  appeared  together  in  "Street 
Angel,"  "Sunny  Side  Up,"  "Lucky  Star," 
"High  Society  Blues,"  "Happy  Days," 
"Merely  Mary  Ann."  and  "Tess  of  the  Storm 
Country."  Charlie  uses  his  own  name  on  the 
screen 

H.  R.  F. — Lilian  Harvey  was  twenty-six 
years  old  on  January  19th.  It  has  been  re- 
ported and  denied  time  and  again  that  the  fair 
Lilian  is  married  to  Willy  Fritsch,  German 
actor.    How  about  it,  Lilian? 

Anne  Carmine,  Atlanta,  Ga. — Thanks  for 
your  nice  letter,  Anne.  I  am  glad  you  didn't 
think  I  was  an  old  "meanie"  for  not  answering 
your  questions  while  that  contest  was  still 
open. 

I  am  sure  all  of  my  other  friends  understood 
my  position  in  the  matter. 

Theodore  Braum,  New  Haven,  Conn. — 
The  picture  "Doctors'  Wives,"  featuring 
Warner  Baxter  and  Joan  Bennett,  was  taken 
from  a  novel  of  the  same  name  by  Henry  and 
Sylvia  Lieferant.  I  am  sure  your  local  book 
dealer  can  get  it  for  you.    Ask  him! 

Netta  Collins,  Anderson,  Ind. — Jean 
Parker  is  under  contract  to  Metro-Goldwyn 
Mayer  Culver  City,  Calif.  Address  her  there 
for  a  photograph. 

Audrey  Illgen,  Fargo,  N.  D. — Lillian 
Gish  and  her  sister  Dorothy  recently  left 
America  for  a  vacation  in  Italy. 

Anthony  Colacino,  Brooklyn,  N.  Y. — 
Charles  Laughton  was  the  chap  who  gave  his 
boss  the  "razzberry"  in  "If  I  Had  a  Million." 

Helen  Wood,  New  York  City. — George 
Raft  was  born  in  New  York  on  September  26. 
1903.  Baby  Jane  and  Juanita  Quigley  are  one 
and  the  same  person.  The  studio  decided  her 
real  name  was  much  too  big  for  such  a  cute 
cherub,  so  they  shortened  it  to  Baby  Jane. 

Mary  Jane  Wagner,  Harlowton,  Mont. 
— The  lad  who  played  the  role  of  Corporal 
Teddy  May  in  "Hell  in  the  Heavens"  was 
William  Stelling.  I  have  no  address  for  him  at 
this  writing.  Dorothy  Wilson  is  5  feet,  \l/i 
inches  tall  and  has  brown  hair  and  blue  eyes. 
Her  latest  picture  is  "When  a  Man's  a  Man," 
in  which  she  appears  with  George  O'Brien. 

Helen  Hancock,  Danville,  III. — Herbert 
Somborn,  second  husband  of  Gloria  Swanson 
passed  away  in  January   1934. 

Edith  Copeland,  Wellesley  Hills,  Mass. 
— Photoilay  did  not  publish  a  fictionization 
of  "The  Unfinished  Symphony."  You  can 
probably  get  the  information  you  want  by 
writing  to  the  Gaumont  British  Corporation 
1600  Broadway,  New  York  City. 


78 


PHOTOPLAY   MAGAZINE  FOR  JULY,    1935 


79 


^/OdC4ii 


cm 


'&%  Msym&^paJL^ 


"DO  I  USE  LUX?"  says  Alice  Faye.  "/insist  on  it! 
One  of  the  first  things  I  tell  a  new  maid  is  that 
she  must  never,  never  use  anything  but  Lux  for  my 
stockings  or  sweaters  or  any  of  my  personal  things. 

"If  a  thing  is  washable  at  all,  Mabel  Luxes  it. 
She  says  then  there's  no  'luck'  about  it.  Things  keep 
their  'brand-new'  look  so  much  longer. " 

Never  are  Alice  Faye's  lovely  things  rubbed 
with  cake  soap,  or  subjected  to  ordinary  soaps 
with  harmful  alkali.  These  things  might  easily 
ruin  delicate  threads  or  fade  colors.  Lifx  has  no 
harmful  alkali! 

There's  no  end  to  the  applause  your  precious 
summer  frocks  will  get  if  they're  cared  for  this 
way.  Just  test  a  bit  of  the  material  in  clear 
water  first — if  it's  safe  in  water,  a  whisk  through 
Lux  completely  recaptures  its  crisp  perfection. 

You'll  be  wise  to  follow  this  care  for  stockings, 
too.  Lux  is  especially  made  to  save  elasticity. 
Then  threads  give  instead  of  breaking  into  runs 
so  easily.  Stockings  fit  better — wear  longer! 

Specified  in  all  big  Hollywood  studios 

"All  the  washable  costumes  in  the  Fox  studio  are 
Luxed  because  Lux  is  so  safe,"  says  ■wardrobe  super- 
visor Royer.  "It  protects  colors  and  materials,  keeps 
costumes  new  longer!  It  works  such  magic  that  I'd 
have  to  have  it  if  it  cost  five  times  as  much!" 

DON'T  TRUST   TO    LUCK- TRUST 


"Freshly  Luxed  feminine  frills 
will  melt  any  man's  heart,"  says 
ALiCE  FAYE,  petite  Fox  star, 
:  appearing  in  "Argentina." 


»f "  '  i     V     '»* 


Ann    Sothern   in    a 
Brown  Derby  cub 
c  I  e  ,    enjoying    a 
Chinese  dish  very 
much,   thank   you 


Chopsticks  take 
a  little  practice, 
then  you  frown 
at  a  fork  or  spoon, 
according   to  Ann 


FROM  the  BROWN   DERBY'S 

CHINESE  KITCHEN 

Unusual  Concoctions  That  Add  Zest  to  Luncheon,  Dinner  or  Supper 


THE  Brown  Derby  is  the  Hollywood  rendezvous.  It  is  the 
westward  Mecca  for  those  Coastward  bound.  The  Brown 
Derby  serves  delicious,  substantial  dishes.  It  is  the  place 
in  which  to  see  and  be  seen.  Seat  yourself  in  one  of  its  roomy 
cubicles,  and  sooner  or  later  Hollywood  parades  by. 

The  Brown  Derby  now  boasts  an  accomplished  Chinese  cook 
who  has  been  generous  to  us  with  his  Oriental  recipes,  which  in 
turn  have  been  pronounced  palate-perfect  by  Ann  Sothern. 
seen  above,  adroitly  plying  her  chopsticks. 

In  all  cities  and  many  towns  you  will  find  Chinese  shops 
selling    the    necessary    ingredients. 

Chicken  Chop  Suey,   Derby  Style:  Serves  four. 

24  lb.  Chinese  green  peas 

34  hb.  fresh  peeled  water  chestnuts 

J/£  lb.  Chinese  cabbage  (stems  preferred) 

80 


1  medium  size  heart  of  celery 

3^  of  one  whole  sweet  green  pepper 

34  lb.  Chinese  black  mushrooms  or  34  can  imported  French 
white  mushrooms 

\x/i  lbs.  chicken  meat  (boneless  white  meat  preferred) 

2  cups  pure  chicken  soup 

4  teaspoons  Chinese  soy  sauce 

3  or  4  drops  Chinese  sesame  oil 
}/2  teaspoon  Chinese  rice  gin 

2  tablespoons  Chinese  starch 

Cut  up  all  ingredients  into  slices  about  one  inch  long  and  one- 
third  inch  wide.  Heat  frying  pan  until  very  hot  and  put  in 
eight  tablespoons  of  cooking  oil  (imported  Chinese  peanut  oil 
preferred).     Add  two  teaspoons  table  salt. 

First,  fry  the  chicken  for  three  [  please  turn  to  page  100] 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


81 


JIFFY  KODAK  V.  P.  — gives  you  the  latest 
creation  of  Eastman  designers  ...  a 
smart,  small  camera  that  gets  good  pic- 
tures. V.  P.  stands  for  "vest  pocket" — 
and  it  really  fits.  Opens  for  action  at 
the  touch  of  a  button.  Eye-level  finder. 
Takes  ls/sx  2'/2-inch  pictures.  Costs  but  $5. 


EYE-LEVEL  FINDER 


ACTION  FRONT 


JIFFY  KODAK— Works  so  fast  it 
had  to  be  called  "Jiffy."  Touch  a 
button — "Pop" — it  opens.  Touch 
another — "Click" — it  gets  the 
picture.  Extra  smartness  in  its 
etched  metal  front.  For  2'4x314- 
inch  pictures,  $8.  For  212x414- 
inch  pictures,  $9. 

BROWNIE  — Old  reliable  of  the 
picture-making  world.  The 
finest  models  ever,  the  Six -16 
and  Six -20,  have  the  clever 
Diway  lens  for  sharp  pictures 
of  near  and  distant  subjects. 
Six-16  Brownie  makes  21-'  x  4U- 
inch  pictures,  costs  $3.75 . . .  the 
Six-20  makes  2Mx3/4-incfa  pic- 
tures, costs  $3. 


vse  newer  Mi 


show  what  your  old  camera  lacks 


YOU  SIMPLY  CAN'T  SHOW  your  picture- 
taking  ability  with  an  out-of-date  camera 
—  any  more  than  you  can  show  your  driving 
ability  with  an  obsolete  car. 

Older  cameras  simply  don't  measure  up  to 
1935  standards.  Look  at  tbese  new  models. 
Check  over  their  features.  To  their  other 
fine  points,  add  better  lenses  and  shutters 
than  yon  could  ever  before  buy  at  the  price. 

Get  behind  a  new  Kodak  or  Brownie  and 
find  how  skillful  you  really  are.  Your  dealer 
has  the  model  you  want.  Kodaks  from  $5  up; 
Brownies  as  low  as  $1.  What  other  pastime 
will  give  you  so  much  for  so  little?...  Eastman 
Kodak  Company,  Rochester,  N.  Y.  .  .  .  Only 
Eastman  makes  the  Kodak. 


LA  BELLE" 

Coiffure   Created 

By  Denis  Phillips 

for 

Blanco  Visher 


The  sunburn-freckle  situation  is  probably  serious 
at  this  point.  Our  leaflet,  newly  revised,  "Sun- 
burn, Freckles  and  Tan,"  contains  some  practical 
helps,  tells  you  what  to  use,  and  is  yours  for  a 
stamped  self-addressed  envelope.  Other  prob- 
ems  are  helpfully  solved  for  you,  too,  at  request. 
Please  write  to  Carolyn  Van  Wyck,  Photoplay 
Magazine,      1926     Broadway,     New     York,     N.     Y. 


Denis  Phillips  created 
Blanca  Visher's  hairdress 
especially  for  Photoplay, 
because  he  considers  it  an 
ideal  Summer  coiffure.  Hair 
is  kept  well  off  the  face, 
except  for  that  forehead 
curl  because  it  feels  and 
looks   both    cool    and    smart 


The  side  views  show  you  a  neat 
and  attractive  arrangement, 
with  curls  in  banked  perpen- 
dicular manner,  instead  of  a 
lateral  roll.  For  keeping  curls 
in  place,  Mr.  Phillips  suggests 
the  net  cap  above.  Arrange 
the  curls,  slip  on  the  cap  and 
sleep  in  comfort.  Light  and 
porous    for    your    scalp    health 


82 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


83 


RUBY      KEELER,    Starring   in 


Warner   Bros.    "GO     INTO     YOUR     DANCE" 


Kubif   i\geier 

Enhances  the  Radiance  of 


rrer  beaui 


Wl 


itll 


H 


Color  Harmony  Make -Up 


YOU  are  always  attracted  by  color . . . 
for  color  is  always  alive,  vibrant, 
compelling.  In  make-up,  color  is  a  secret 
of  attraction,  too. ..but  to  be  lovely  and 
appealing,  make-up  must  be  in  color 
harmony. 

In  Hollywood,  Max  Factor,  genius  of 
make-up,  captured  this  secret  and  cre- 
ated color  harmony  make-up  .  .  .  face 
powder,  rouge  and  lipstick  harmonized 


in  color  tones  to  glorify  the  colorful 
beauty  of  each  type  of  blonde,  brunette, 
brownette  and  redhead. 

Now  you  may  share,  with  famous 
screen  stars,  the  luxury  of  color  har- 
mony make-up,  Max  Factor's  Face 
Powder,  one  dollar;  Max  Factors 
Rouge,  fifty  cents;  Max  Factor's  Super- 
Indelible  Lipstick,  one  dollar.  Featured 
at  leading  stores. 


^^  vlax  Tacior  *  rrollijwood 

SOCIETY  MAKE-UP... Face  Ponder,  Rouge.  JM  ^     Lipstick  In  Color  Harmony 


Mai!  for  your  COLOR  HARMONY  IN  POWDER,  ROUGE  AND  LIPSTICK  : 


1935,  Max  Factor  &  Co. 


tor  personal  make-up 
advice  and  illustrated  book 
on  "The  New  Art  of  Society 
Make-Up",  mail  the  coupon 
to  Max  Factor,  Hollywood. 


^f-  POWDER...  Blending  softly 
with  her  creamy  skin,  Max  Factor's 
Rachelle  Ponder  is  in  perfect  har- 
mony with  Ruhr  Keeler's  brownette 
colorings.  Delicate  in  texture,  it 
creates  a  clinging,  satin -smooth 
make-up  that  remains  lovely  for 
hours  and  hours. 


^  ROUGE... Imparting  an  en- 
chanting touch  of  color  to  the 
cheeks,  Max  Factors  Blondeen 
Rouge  appears  like  a  natural  glow 
of  health.  Creamy-smooth  like  finest 
skin  texture,  it  blends  evenly  and 
beautifully. 


LIPSTICK...  Giving  to  the 
lips  an  alluring  accent  of  color, 
Max  Factor's  Vermilion  Lipstick, 
super- indelible,  harmonizes  with 
powder  and  rouge.  Smooth  in  tex- 
ture, permanent  in  color  and  mois- 
ture-proof... it  insures  for  hours  and 
hours  a  perfect  lip  make-up. 


fPowdcrand  Rouge  Samplei  "i  my  .-ok>r  harmony  shade; 

Sjuiplrr.    l-.iir     -li.nl.--.      1    i  in  li,-.     |,i ,    l.,r    |.,-(j-.- 

ny  Color  Harmony  Make-Up  Gi.in  ji,,l  IK  i„ii:. 
book,  "The  Ntm  An  cf  Socieij  Make-Up™.  .  .  FIIEE. 

1-7-81 


(OMPLEXIOKS 


Ver,  L.ght_ 
Fair O 

Creamy a 

Medium D 

Ruddy. 

Sallow 

Fretfclrd 


EYES 


Blue D 

Gray D 

HaeelZIn 

Brown □ 

Black q 


LASHESiC 
L.gl.1 


HAIR 


BLONDE 
laght..a    Dark__0 

BROWNETTE 
Lighi.-D  Daek.-O 

BRUNETTE 
Lighr._D   Dark._D 

REDHEAD 
LighcD  Dark..O 
lfH. 


Bg ; 


d  *.»-.□ 


84 


PHOTOPLAY  MAGAZINE  FOR  JULY,   1935 


Wit  my  sleep  to  h 


L 


#  ' 


You  can  use  ail  the  cosmet- 
ics you  wish,  yet  guard 
against  Cosmetic  Skin  the 
screen  stars'  way  .  .  , 

""^/"ES,  I   use  cosmetics,"  says 
X   Carole   Lombard,   "but 
thanks  to  Lux  Toilet  Soap,  I'm 
not  afraid  of  Cosmetic  Skin!" 

This  lovely  screen  star  knows  it 
is  when  cosmetics  are  allowed  to 
choke  the  pores  that  trouble  be- 
gins, tiny  blemishes  appear,  enlarg- 
ing pores — blackheads,  perhaps. 

Cosmetics  Harmless  if 
removed  this  way 

Guard  against  these  warning  sig- 
nals of  unattractive  Cosmetic  Skin 
Carole  Lombard's  easy  way.  Lux 
Toilet  Soap  is  especially  made  to 
remove  cosmetics  thoroughly  .Its 
rich,  ACTIVE  lather  sinks  quickly, 
deeply  into  the  pores,  gently  car- 


ries away  every  trace  of  dust  and 
dirt,  embedded  powder  and  rouge. 

Hollywood's  Beauty  Care 

Use  all  the  cosmetics  you  wish,  of 
course!  Rouge  and  powder  need 
not  harm  even  delicate  skin  if  they 
are  removed  the  right  way.  If 
you'll  follow  this  simple  rule,  you'll 
protect  your  skin— keep  it  always 
soft  and  smooth. 

Before  you  put  on  fresh  make- 
up during  the  day— ALWAYS  be- 
fore you  go  to  bed  at  night,  use 
Lux  Toilet  Soap.  This  is  the  same 
gentle  soap  9  out  of  10  Hollywood 
stars  have  made  their  beauty  care. 


LOMBARD 
FAM-l'lL  NEV£R 

HAVE    UG-iy 
COSMETIC  SKIN 

BECAUSE  I  USE 

Lux  Toilet  Soap 

AS  SHE  DOES. 
I  KNOW  IT  KEEPS 
SKIM  LOVELY  ' 


PHOTOPLAY  MAGAZINE   FOR  JULY.    1935 


G5 


beauty 

choke  mypon 


00^"^^ 


Qfr 


VXf"** 


says 


Carole  Lombard 


Heart-Break  Houses 


CONTINUED  FROM  PAGE  38 


where  Colleen  Moore  and  John 
McCormack  lived,  when  Colleen 
was  skyrocketed  to  fame  as  First 
National's  great  star,  has  been 
leased  to  various  tenants  for  the 
past  several  years.  Marlene  Diet- 
rich is  living  in  it  now. 

The  house  Mary  Miles  Minter 
built  for  her  mother,  'way  up  on 
top  of  a  mountain  in  the  "Out- 
post" section  of  Hollywood,  was 
under  litigation  for  a  long  time.  It 
was  redeemed  and  rejuvenated  by 
Joan  Blondell  and  George  Barnes, 
who  have  made  it  a  very  happy 
home. 

The  Conrad  Nagel  place  was  a 
nine  days'  wonder  when  Holly- 
wood was  permitted  the  first  view. 
It  looked  so  much  more  like  a  real 
home  than  most  of  the  Babylonian  palaces  that 
went  up  around  that  time.  It  was  built  for 
permanence  and  seemed  most  likely  to  endure. 
.  .  .  The  house  is  still  there — Conrad  isn't. 
When  that  marriage  dissolved,  following  closely 
on  the  Pickford-Fairbanks  break,  all  that  was 
secure  in  the  town  trembled  to  its  foundations. 

The  house  Wally  Reid  and  Dorothy  planned 
and  built  so  lovingly  to  be  their  shelter  forever, 
has  met  a  varied  fate.  Dorothy  lost  it,  a  few 
years  after  Wally's  death.  For  a  year  she 
couldn't  bear  to  go  by  the  place.  The  best 
of  her  life  was  wrapped  up  in  it.  The  house 
faded  ...  I  really  believe  houses  know  when 
they  are  not  loved  any  more,  or  does  that  sound 
too  sentimental  for  you? — anyway  it  was  a 
terrible  jolt  to  Dorothy  when  she  was  told  a 
group  of  gamblers  had  moved  into  her  once- 
treasured  home  and  were  running  an  establish- 
ment there.  .  .  . 

Actually    it  was  good  for  her.     It  snapped 


The  Kea  to  n-Tal  m  adge  marriage 
promised  to  be  an  ideal  match. 
But  Buster  and  Natalie  hadn't  lived 
in  their  Beverly  Hills  mansion  any 
length  of  time  when  the  marriage 
came  to  an  end  and  their  lavishly  fur- 
nished  "dream"   home   stood   vacant 


her  out  of  a  hopeless  and  tragic  mood,  made  the 
house  seem  less  personal.  The  gamblers,  by 
the  way,  were  soon  ushered  out  the  place  re- 
decorated, and  it  was  later  leased  by  the  Clive 
Brooks  who  restored  the  homelike  atmosphere. 
There  are  many  cases — and  not  only  in 
Hollywood — of  perfect  happiness  so  long  as  a 
couple  have  remained  in  their  modest  first 
home.  The  move  to  the  large  estate  breaks  up 
the  closeness,  scatters  some  precious  quality 
which  kept  them  together.  Tom  and  Victoria 
Mix  were  perfectly  happy  and  comfortable  in 
their    little    Carlton    Way    home.       Victoria 


wanted  to  move  to  Beverly  Hills.  Tom 
didn't — but  he  moved,  anyway.  Into 
drawing-rooms,  tennis  courts,  swimming 
pools  and  acres  of  ground.  The  romance 
ended  soon  after.  Tom  complained  that  he 
was  "supporting"  a  bunch  of  lounge  lizards, 
that  there  was  no  place  in  the  house  a  man 
could  put  his  feet  up  and  read  the  paper. 
The  "big  house"  which  caused  all  the 
trouble  is  now  vacant,  Tom  and  Victoria 
have  been  divorced,  each  married  again. 
Tom  is  on  the  road  with  his  circus;  Victoria 
divides  her  time  between  Washington  and 
South  America,  her  husband  being  a  diplo- 
'   matic  attache. 

The  Buster  Keaton  house  is  just  below 

the  Tom  Mix  place.     Buster  and  Natalie 

hadn't    lived    in    their    magnificent    new 

Beverly  Hills  home  any  length  of  time  when 

they  broke  up. 

Jack  Gilbert  lives  the  life  of  a  hermit  in  his 

mountain  retreat,  a  lonely  haciendado  within 

his    empire.      Jack    was    really    happy    with 

Leatrice  Joy  when  they  lived  in  a  vine-covered 

cottage  on  the  edge  of  Hollywood  with  an  old 

Chinese  houseman  as  their  only  servant. 

Jack  has  lived  in  the  big  Spanish  hill-top 
place  with  two  wives — Ina  Claire  and  Virginia 
Bruce.    He  lives  there  now — alone. 

There  are  dozens  of  other  heartbreak  houses 
— Betty  Compson's  beautiful  white  house  with 
the  green  roof,  on  Hollywood  Boulevard,  now 
half  concealed  behind  a  huge  sign  in  the  front 
yard. 

The  H.  B.  Warner  house — monument  to  a 
collapsed  marriage.  The  Belle  Bennett  house 
in  Toluca  Lake,  rented  by  Mary  Astor  after 
Belle's  death.  And  now  the  Mary  Astor-Dr. 
Franklyn  Thorpe  house  they  built  together, 
out  there.    Who  will  live  in  it  next? 

If  some  of  those  walls  could  only  talk  .  .  . 


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The  Ladies  Say, 
"He'sGotWhatltTakes" 

1  CONTINUED  FROM  PAGE  35  J 

his  mouth  and  gave  us  tull  in  the  teeth  the 
glorious  opulence  of  that  exciting  and,  at  the 
same  time,  wooing  voice. 

The  effect  was  electrifying,  not  only  on  the 
audience  but  on  the  singer.  As  he  sang,  there 
was  a  sudden  lusty  stir  in  him,  a  strange  new 
accent  of  command.  Underneath  the  man's 
Xordic  blondness  glowed  an  almost  tropical 
vividness.  His  sturdy,  huge  body,  which  had 
hitherto  radiated  chiefly  health  and  vitality 
and  a  sort  of  bathed-and-scrubbed  masculinity, 
pulsated  with  the  style  and  authority  of  the 
great  artist — the  artist  who  cannot  be  denied. 

From  that  moment,  it  made  no  difference 
how  exuberant  or  expansive  or  vivacious  or  eager 
this  blond  singing  god  chose  to  be — and  he  did 
choose,  especially  in  his  humorous  songs,  when 
his  ingratiating  smile  became  an  impudent  grin, 
throwing  off  a  rich,  expressive,  devil-may-care 
liveliness.  In  such  moments,  his  long  husky 
body  seems  to  unlimber  itself.  And  so  does 
his  voice.  The  diction,  style,  authority  are  still 
there;  and  the  musicianly,  well-balanced  con- 
trol; and  the  marvelous  breathing;  but  some- 
how there's  an  irrepressible  boyishness  about 
the  song  and  the  singer  which  makes  him  seem 
much  younger  than  he  is. 

I |E'S  thirty-four,  you  know — and  twenty  of 

'those  thirty-four  years  have  been  spent  in 
work;  fifteen  of  them  in  grim  preparation  for 
the  triumph  he  achieved  that  night  in  the  little 
San  Diego  theater,  for  the  triumph  he  achieved 
every  night  in  "Naughty  Marietta"  in  the 
greatest  motion  picture  theaters  of  the  world. 
The  intervening  five  years  covered  a  variety 
of  commercial  undertakings  that  ranged  from 
answering  the  telephone  in  a  plumbing  estab- 
lishment through  writing  obituaries  for  a  daily 
paper  to  writing  soup  advertisements  for  the 
monthly  magazines. 

From  most  of  these  jobs  he  was  eventually 


Our  Gang  has  its  own  Ukulele  Ike 
now.  The  newest  recruit  of  the 
comedy    kids    is    "Alfalfa"    Switzer 


If  you  are  his  fishing  pal,  let  him  fuss  with  tackle,  rod  and 
bait.  You  see  that  Pabst  Blue  Ribbon  Beer  and  Ale  get 
into  the  boat.  Along  about  noon,  when  he's  hot  and  thirsty, 
surprise  him,  with  a  bottle  of  cool,  refreshing  Pabst. 
From  then  on,  he  will  be  telling  you  that  he  would  rather 
go  fishing  with  you  than  with  anyone  on  earth  — 

—and  after  he  pulls  in  his  day's  catch-IT'S  TIME  FOR 
PABST.  How  well  Pabst  goes  with  a  delicious  meal  of 
freshly  caught  fish!  For  that  matter  —  IT'S 
TIME  FOR  PABST  at  mealtime  anywhere. 
Pabst  Blue  Ribbon  is  wholesome,  refreshing, 
satisfying — backed  by  a  ninety  year  reputa- 
tion for  highest  quality.  Look  for  the  Pabst 
Blue  Ribbon  sign— a  quality  dealer  displays  it. 

Pabst 
Blue  Ribbon 

Beer  and  Ale 

©  1935,  Premier-Pabst  Corp.,  Chicago 


fired.  And  not  without  reason.  For  his  mind 
and  heart  were  set  throughout  most  of  this 
period  on  becoming  a  great  singer.  The 
thought  was  not  a  new  one  with  the  young 
man.  In  fact,  it  may  be  said  that  the  musical 
portion  of  Nelson  Eddy's  life  dates  from  the 
supposedly  carefree  days  of  his  New  England 
childhood.  Tn  a  way  it  began  before  he  was 
born. 

His  family  was  of  the  good  old  God-fearing 
New  England  type.  His  father,  William 
Darius  Eddy,  made  submarine  gadgets  for  the 
navy;  his  mother  kept  the  modest  Eddy  house. 
But  they  were  both  musical.  His  grandmother 
on  his  mother's  side,  Caroline  Kendrick,  had 
been  a  well  known  singer  in  her  day.  So  when 
young  Nelson,  who  was  born  in  Providence, 
Rhode  Island,  and  spent  most  of  his  childhood 
in  New  Bedford  and  Pawtucket,  began  to  pipe 
a  shrill  ^>prano  in  the  Grace  Church  choir  in 
Providence  and  play  a  mean  trap  drum  in  the 
grammar  school  orchestra,  no  one,  least  of  all 
Nelson  himself,  was  very  much  surprised. 

I IIS   first   appearance  as   an   actor  on    the 

'  'amateur  singing  stage,  as  the  King  of  G<  i  ct 
in  a  play  called  "Marriage  Tax,"  occurred  in 
Philadelphia,  a  city  to  which  many  famous 
Americans,  including  Benjamin  Franklin,  have 
eventually  migrated.  He  sang  that  first  role 
with  a  breaking  heart,  for  the  printer  had  in- 
advertently left  his  name  oft"  the  program 
Imagine  his  surprise,  therefore,  when  the  next 
day  every  critic  in  town  was  full  of  praise  for 
the  mysterious  unknown  who  sang  the  part 
of  the  King.  David  Bispham,  one  of  the  as- 
cendant opera  singers  of  those  days,  who  had 
been  in  the  audience,  did  more  than  praise 
He  sought  out  the  young  actor  while  he  was 
still  in  his  grease  paint,  and  offered  to  teach 
him  all  he  knew. 

When  Bispham  died,  Eddy  continued  his 
studies  here  and  abroad  with  such  eminent 
teachers  as  William  V.  Villonet  and  Edouard 
Lippe.  There  is  nothing  to  the  press-agent 
story  about  Eddy  being  phonograph-taught. 
The  boy  took  no  short  cuts.  He  learned  to 
sing  easily  the  hard  way,  the  way  all  great 
singers  have  learned,  by  long  years  of  faithful 
and  skilfully  directed  practice,  followed  by 
grinding  years  of  actual  performance,  often  in 
small  and  thankless  roles,  on  the  comic  opera 
and  grand  opera  stage. 

Nelson  Eddy  went  through  all  that,  and 
more.  He  not  only  worked  with  the  Phila- 
delphia Operatic  Society,  with  the  Philadelphia 
Civic  Opera,  with  the  Savoy  Opera  Company, 
but  he  did  any  kind  of  musical  work  whenever 
and  wherever  he  could  get  it.  He  sang  in  the 
four-a-day,  in  prologues  and  tabloid  operas 
at  the  movie  houses,  in  obscure  radio  studios. 
He  trouped  the  continent  from  Canada  to 
Mexico,  from  Coney  Island  to  the  Golden 
Gate.  He  learned  to  sing  in  French,  Italian. 
Spanish,  Russian  and  Yiddish.  He  mastered 
thirty-two  opera  roles.  He  added  steadily  to 
his  concert  repertoire  until  it  contained  twenty 
French,  twenty-five  Italian,  thirty-five  Ger- 
man, and  more  than  a  hundred  English  songs. 
He  had  done  all  this  before  he  came  to  San 
Diego  that  Spring  evening  in  \9M. 

His  big  chance  in  Los  Angeles  followed  al- 
most immediately.  The  San  Diego  notices  were 
raves.  So  were  the  despatches  to  Los  Angeles 
They  enthused  over  his  clear  resonant  voice, 
his  perfect  control,  his  luscious  tones,  his  flaw- 
less enunciation,  his  musicianly  poise — and 
then  one  and  all,  old  men  and  youths,  they 
let  themselves  go  on  the  Southern  Californian's 
favorite  topic,  personality.  It  was,  so  they 
said,  as  fascinating  to  watch  this  exciting  per- 
son as  it  was  to  listen  to  him.     And  while  the 


solemn  big-wigs  of  the  Los  Angeles  Phil 
harmonic  Society  were  pondering  these  bits  of 
musical  news  from  the  provinces,  their  hearts 
were  suddenly  saddened  by  word  that  their 
own  soloist  for  the  succeeding  evening,  a 
famous  tenor  whom  they  had  engaged  at  great 
expense;  had  cancelled  the  booking  because 
of  a  sore  throat. 

Would  Mr.  Eddy  please  come  up  from  San 
Diego  and  substitute  for  the  great  man? 
Would  he  please?  Huh!  He  caught  the  after- 
noon plane.    Tt  happened  that  T  caught  it,  too 


He  may  be  a  prime  minister,  but 
who'd  want  to  meet  him  on  a  dark 
night?  Gustav  Von  Seyffertitz  is 
dressed     for     his     role     in     "She" 


There  he  was,  all  sprawled  out  in  a  discreetly 
striped  blue  and  black  suit,  a  red  and  blue 
plaid  tie,  plain  dark  blue  shirt,  heavy-soled 
black  shoes,  soft  gray  hat  pulled  well  down 
over  his  thick,  wavy  hair,  white  silk  scarf  with 
ends  flying  and  a  great  loose  tan  overcoat 
which  made  his  shoulders  look  even  more 
mammoth  than  they  are.  He  was  much 
handsomer,  I  told  myself,  off  than  on — and 
that  is  an  opinion  I  still  adhere  to,  even  after 
his   heroic   appearance  on    the   screen   in   the 


glamorous  wigs  and  periwigs  ot  Captain  Richard 
Warrington. 

That  night  he  won  Los  Angeles'  sulky 
sophisticates  as  quickly,  as  completely  as  he 
had  captured  San  Diego's  languid  ones.  An 
audience  of  music  lovers  accustomed  to  the 
greatest  names  in  the  concert  and  operatic 
world  and  ignorant  almost  to  a  man  and  a 
woman  of  the  identity  of  the  young  giant  who 
siood  before  them,  rose  to  its  collective  feet 
and  gave  Nelson  Eddy  eighteen  encores 

Even  Hollywood  heard  the  cheers. 

You  know  the  rest.  But  perhaps  you  don't. 
Test  followed  test  Glittering  contracts  were 
spread  before  him.  One,  which  he  signed,  was 
for  twenty-eight  weeks;  it  brought  him  more 
money  than  he  had  earned  in  two  years 
previously  Money,  but  no  work.  Not  much 
fun,  either  He  tried  living  in  a  hotel,  and 
loathed  it.  Then  he  brought  his  mother  out 
from  Philadelphia,  and  together  they  moved 
into  a  small  home  in  the  Hollywood  hills  That 
was  better.  He  began  to  go  about  a  bit: 
played  tennis  with  his  friend  Gene  Raymond; 
whom  some  people  think  he  resembles;  went 
to  musical  teas  at  Doris  Kenyon's;  sang  at 
the  big  dinner  for  the  late  Marie  Dressier: 
avoided  Hollywood  cuties. 

In  disgust,  nof  at  the  cuties  but  at  the 
idleness,  Eddy  went  back  to  his  concert  tour 
ing  and  his  now  profitable  radio  work.  But. 
as  so  often  happens,  Hollywood  called  him 
back  This  time,  M-G-M  stuck  him  tentative- 
ly into  "Dancing  Lady."  He  did  a  small  bit, 
as  did  Fred  Astaire.  As  you  may  remember, 
the  movie  critics  thought  little  of  either  of 
them!  Then  the  same  company  put  a  mous- 
tache and  sideburns  on  him  for  another  small 
bit  in  "Student  Tour  "  Here,  in  spite  of  the 
awful  disguise  and  the  more  awful  picture,  he 
began  to  click.  People  wrote  in  to  know  who 
the  unnamed  actor  was  who  sang  the  song.  It 
was  like  the  time  he  played  the  King  of 
Greece.  And  the  result  was  much  the  same, 
so  far  as  opportunity  for  study  was  concerned, 
and  development  under  expert  guidance  in 
his  newly-chosen  art 

IT  is  too  early  of  course,  to  pass  a  critical 
'judgment  on  Eddy's  work  as  an  actor  on  the 
singing  screen.  So  far,  he  has  played  only  one 
important  role,  that  of  Dick  Warrington  in 
Victor  Herbert's  immortal  "Naughty 
Marietta."  It's  a  great  part.  Carl  Brisson 
would  have  been  excellent  in  it;  Dennis  King, 
magnificent;  Lawrence  Tibbett,  terrific.  Many 
a  lesser  singing  actor  would  have  been  accept 
able.     It  is   in  fact,  a  role  that  is  actor-proof 

That  Eddy  was  a  success  as  Captain  War- 
rington, does  not,  therefore,  necessarily  mean 
lhat  he  is  a  great  actor.  And  besides  a  great 
part  to  play,  he  had  great  songs  to  sing,  and  a 
great  star  to  sing  them  to.  He  had  a  great 
director  in  W.  S.  Van  Dyke.  He  had  a  great 
supporting  cast  headed  by  that  splendid  actor. 
Frank  Morgan.  It  is  not  too  much  to  say 
that  with  Herbert's  score  and  Van  Dyke's 
direction,  and  Morgan  to  carry  the  acting 
burden  and  Jeanette  MacDonald  to  sing  "Ah 
Sweet  Mystery  of  Life!"  the  picture  would 
have  been  a  great  success  even  without  Nelson 
Eddy. 

Why  is  it,  then,  that  practically  all  the  dis- 
cussions of  "  Naughty  Marietta"  in  the  lobbies, 
on  the  sidewalks,  in  the  homes,  on  the  park 
benches,  concern  nothing  and  nobody  but  this 
six  feet  of  blond  excitement  which  is  Nelson 
Eddy? 

Well,  if  you  went  with  me  in  your  minds  to 
that  concert  in  San  Diego,  if  you  watched  the 
heavings  and  the  sighings  of  the  women  in 
that   audience  as   Eddy   squared   off   to  give 


88 


PHOTOPLAY  MAGAZINE  FOR  JULY,   1935 


89 


them,  full  strength  and  one  hundred  proof, 
the  robust  glories  of,  say,  "The  Song  of  the 
Toreador,"  you  know  why  Nelson  Eddy  dom- 
inated "Naughty  Marietta"  just  as  Clark 
Gable  has  dominated  every  picture  in  which 
he  has  ever  appeared.  He  gives  women  what 
they  most  want  from  men — excitement 

I  AM  sure  that  Jeanette  MacDonald  felt 
'  that  quality  in  Eddy  when  she  was  playing 
with  him.  She  felt  it  in  that  first  love  scene 
in  the  woods,  in  that  last  delayed  kiss  in  the 
boudoir — and,  I  daresay,  every  woman  in  the 
audience  felt  it  with  her.  Never  before  has 
Jeanette  MacDonald  been  so  artistically  stim- 
ulated, so  romantically  stimulating.  We  have 
seen  the  same  thing  happen  to  the  feminine 
stars  whose  sometimes  slipping  footsteps  have 
been  supported  and  whose  drooping  artistic 
fortunes  have  been  saved  by  the  excitement 
which  is  in  Gable.  Has  Connie  Bennett  been 
so  good  in  years,  has  she  ever  been  so  softly 
appealing,  as  she  was  in  "After  Office  Hours"? 
The  thing  these  two  men — alone,  I  think,  of 
all  the  leading  actors  in  Hollywood — do  to  the 
women  with  whom  they  play,  they  also  do  to 
the  women  for  whom  they  play,  the  great 
majority  of  the  motion  picture  fans  of  America. 
And  therein  lies  the  secret  of  their  success. 

THERE  are  many  things  about  this  blond  Eddy 
which  remind  one  of  black-haired  Gable. 
Both  boys  went  to  work  at  fifteen.  Both  took 
any  kind  of  job  that  offered  while  they  applied 
themselves  nights  and  Sundays  to  achieving 
their  real  goal  in  life.  Both  toured  the  tank 
towns  for  years  before  attracting  the  attention 
of  Hollywood  experts.  Both  finally  crashed 
the  studio  gates  by  virtue  of  sterling  perform- 
ances on  the  Los  Angeles  stage.  And  I  have 
an  idea  that  the  resemblance  will  not  cease 
now  that  Nelson  Eddy  has  made  his  first  great 
movie  success.  I  believe  that  he,  like  Clark 
Gable,  has  cracked  down  on  Hollywood  for  a 
good  long  stay.  I  believe  that  he,  like  Clark, 
will  reach  the  heights  with  his  head  firmly  on 
his  shoulders  and  comfortably  in  his  hat. 

He  is  a  good  guy,  Nelson  Eddy,  as  straight- 
shooting  and  straight-thinking  a  human  as 
ever  lost  a  game  of  tennis  or  sipped  a  Scotch 
and  soda.  Simple  without  the  affection  of 
simplicity,  reserved  without  the  paraphernalia 
of  secrecy,  he  moves  unspoiled  among  the 
spoilers.  He  has  proved  he  could  get  it.  T 
believe  he  will  prove  he  can  take  it! 


CORRECTION 

On  Page  62  of  the  May 
issue  of  Photoplay  credit 
for  the  bathing  suit  worn 
by  Maxine  Doyle,  cap- 
tion 1,  was  given  to 
Jant^en.  This  was  an 
error.  Credit  should 
have  read:  A  Catalina 
Swim  Suit 


YES.THE  RIGHT  FACE  POWDER 


emi 


Like  a  hard-focus  ph 
graph,  unsifted  powders 
throw  back  harsh  reflec- 
tions from  the  face 


New  Evenitig  in  Paris  ponder  —  sifted  3  times  through  silk 
— makes  features  look  softer  by  subduing  harsh  reflections! 


MEN  like  you  to  be  feminine,  delicate, 
young  looking.  Yet  perhaps  you,  like 
so  many  others,  are  hiding  these  very  quali- 
ties that  make  you  most  appealing  by  using 
unsifted  face  powders.  They  give  your  skin  a 
flat,  hard  surface  that  throws  back  harsh  reflec- 
tions,makes  features  look  sharp  and  overbold. 
The  first  time  you  wear  Evening  in  Paris 
powder,  you  see  a  change  that  seems  almost 
magical. 


For  Evening  in  Paris  powder  is  sifted  3  times 
through  silk.  It  has  a  new  texture  unlike  any 
other  face  powder.  It's  infinitely  finer  and 
softer— and  gives  your  skin  a  soft  depth,  never 
a  flat,  hard  surface.  It  absorbs  light  and  cannot 
throw  back  harsh  reflections  .  .  .  thus  subdu- 
ing rather  than  high-lighting  prominent  fea- 
tures and  other  bad  points. 

Try  it  before  your  mirror!  See  your  face 
grow  softer,  more  delicate,  more  appealing! 

FRAGRANCE    AFTER    THE    BATH 

Evening  in  Paris  Eau  de  Cologne 

A  stimulating,  spark- 
ling freshness  that 
makes  you  glow  all 
over.  $1.10 

Evening  in  Paris 
Bath  Powder 

Cool,  refreshing  and 
downy  soft.  $1.10 


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1 


Beauty  reigns  on  the  modern  beach!  And  from  every  sea 
breeze,  every  swooping  gull  and  every  bronzed  goddess  you'll 
hear  the  credit  line,  "Thanks  to  the  Sivim  Suits  ofB.  V.  D." 
•  Their  lovely  colors  flash  against  sun-tanned  arms  and  legs 
like  jewels.  They're  as  much  a  part  of  their  owner's  anatomy 
as  her  eyelashes.  And  from  their  evening  gown  backs  to 
their  fashioned  bodices,  they  know  every  dressmaker  art 
and  artifice  to  streamline,  to  shape  and  to  silhouette.  • 
From  Nassau,  from  Bermuda,  and  from  all  the  swimming 
South  come  tidings  of  their  triumphs.  Wherever  you  go 
this  Summer  you'll  find  the  seas  and  sands  decked  and 
adorned  by  B.  V.  D.  ©The  B.  V.  D.  Company,  Inc.,  Empire 
State  Building,  New  York.  Also  made  and  sold  in  Canada. 


COPYRIGHT    1935.   THE   B.   V.   D.  CO.,   INC. 


CONTINUED  FROM  PAGE  45  I 


For  months  Barbara  Stanwyck  had  a  plaster 
cast  on  her  back.  But  does  that  suffering  show 
in  her  face?  No!  Because  she  has  wiped  out 
those  lines  with  her  own  will-power  and 
vitality. 

Una  Merkel  certainly  isn't  a  raving  beauty, 
but  her  body  registers  energy.  And  her  per- 
sonality has  put  her  right  at  the  top. 

And  Grace  Moore.  Well,  she  has  everything 
now,  but  she  didn't  have  it  always.  She  had 
to  fight  for  what  makes  you  spend  your  good 
money  to  see  her  when  her  pictures  come  to 
town. 

"But  how,"  I  hear  you  asking  me,  "am  I 
to  acquire  the  things  that  make  me  attrac- 
tive? Where  am  I  to  find  this  energy  and 
vitality?" 

Hold  on  I'm  telling  you. 

You  must  work  for  perfect  circulation  of  the 
blood.  If  you  have  the  slightest  trace  of 
anemia,  you  must  correct  it.  In  other  words, 
darlings,  you've  got  to  have  health. 

And  listen  to  me.  I  want  no  more  alibis. 
It's  Summer.  You  can  get  all  the  fruits  and 
vegetables  you  need.  Don't  ask  me  for  a  sub- 
stitute for  turnip  tops.  Nothing  quite  takes 
their  place.  Get  the  greens.  Put  them  on  the 
stove  covered  with  cold  water.  Bring  to  a 
simmer  and  allow  them  to  cook  for  about 
fifteen  minutes,  then  press  them  through  a 
sieve.  Pour  off  the  juice  and  drink  a  glass 
of  it  a  day.  It  will  make  you  feel  as  peppy  as 
Shirley  Temple — and  almost  as  young. 


Summer  makes  even  the  most  energetic  of 
us  feel  sluggish.  So  in  Summer  you  have  to 
make  a  double  effort  to  keep  lean  and  full  of 
pep.  Do  not  eat  too  much  heavy  meat.  Cut 
down  on  everything  sweet.  Eat  lots  of  fruits 
and  vegetables  (vegetables  cooked  in  plain 
water  with  butter  put  on  cold  after  the  food  is 
off  the  fire). 

Being  attractive  depends  upon  your  per- 
sonality. You  must  develop  your  personality 
by  being  definite.  If  you  have  any  wishy- 
washy  ways,  drop  them.  Make  up  your  mind 
about  everything.  Don't  mentally  straddle 
the  fence.  Be  somebody.  Be  a  definite,  force- 
ful person.  You'll  get  a  lot  more  notice  that 
way  than  if  you're  one  of  those  little  soft, 
cuddly  blondes  with  fluttering  eyelashes  and  a 
line  of  baby  talk.  You'll  notice  that  all  of  the 
girls  I  picked  as  being  attractive  in  spite  of 
handicaps  are  definite,  vital,  forceful  per- 
sonalities. 

Take  a  lesson  from  them. 

You  can  change  your  personality  and  create 
variety  for  your  face  by  changing  your  coiffure 
every  now  and  then.  It  will  give  you  a  new 
lease  on  life.  Notice  how  often  the  picture 
stars  burst  forth  with  startling  new  ways  of 
arranging  the  hair? 

It's  a  grand  idea  and  keeps  you  from 
getting  bored  with  your  face.  Boredom  is 
the  beginning  of  stagnation.  Another  thing 
— keep  well  groomed. 

And,  of  course,  remember  that  vou  can  never 


hope  to  be  attractive  unless  you  have  a  lovely 
complexion.  You  get  that  by  proper  care  of 
the  skin  both  externally  and  internally.  For 
the  external  part  use  the  best  beauty  prepara- 
tions on  the  market.  Take  care  of  the  internal 
with  my  special  complexion  diet.  I'm  going  to 
give  it  to  you  now  because  Summer  is  the  best 
time  to  take  it,  since  you  need  make  no  sub- 
stitutions. 

Once  a  month,  for  five  days  follow  this 
routine:  Boil  slowly  a  quart  of  raspberries  or 
cherries  in  a  little  water  for  an  hour.  Then 
pour  this  into  a  sieve  lined  with  a  double  layer 
of  cheese  cloth.  Let  the  juice  drain  through 
over-night.  In  the  morning,  when  you  first 
get  up  drink  a  glass  of  the  liquid.  Two  hours 
later,  have  a  glass  of  skimmed  milk,  and  keep 
on  drinking  a  glass  of  skimmed  milk  every  two 
hours  until  you've  had  six  or  seven  glasses. 
Just  before  going  to  bed  drink  a  glass  of  grape- 
fruit juice.  After  five  days  you'll  look  at  your- 
self in  the  mirror  and  say,  "I  look  mar- 
velous!" 

Don't  mind  the  conceit.  You  can  indulge 
yourself  in  that  luxury,  because  you  will 
look  marvelous. 

When  you've  been  five  days  on  the  liquid 
diet  go  back  to  regular  food — but  don't  have 
it  rich — and  begin  the  day  with  a  glass  of 
water — hot  or  cold,  but  not  iced — into  which 
the  juice  of  half  a  lemon  has  been  squeezed. 
Include  blackberries  or  strawberries  on  your 
breakfast  menu. 


Answers  by  Sylvia 


Dear  Sylvia: 

I'd  love  to  try  your  reducing  exercises  but 
I've  always  heard  that  exercises  make  mus- 
cles. So  don't  you  think  it  would  be  better  if 
I  just  went  on  your  diets  instead? 

P.R.T.,  Lexington,  Ky. 

You  silly  girl!  Do  you  believe  what  you've 
"always  heard" — and  from  whom  I  don't  know 
— rather  than  someone,  like  me,  who  has  studied 
the  science  of  reducing  for  years  and  proved 
the  fact  that  my  routines  reduce  in  thousands 
and  thousands  of  cases?  I'd  like  to  shake  you, 
but  since  I  can't  do  that,  I'll  tell  you,  as 
calmly  as  possible,  that  my  reducing  exercises 
cannot  make  muscles.  They're  for  the  purpose 
of  pounding  the  muscles  down.  Every  time  I 
give  an  exercise  I  plainly  state  that  it  should 
be  taken  when  the  body  is  relaxed.  Do  not 
tense  your  body  as  you're  taking  the  exercises. 
Keep  relaxed  and  limber  as  you're  exercising. 
And  don't  forget  this — my  diet  and  exercises 
go-hand-in-hand.  Nothing  can  be  accom- 
plished by  diet  alone — or  by  exercise  alone. 
You'll  have  to  go  the  whole  way  with  me,  or 
not  at  all! 

Dear  Sylvia: 

Is  it  true  that  extremely  high  heels  are  bad 
for  one's  health?  I  want  your  honest  opinion 
on  this. 

Mrs.  W.  R.,  Laramie,  Wyo. 

You'll  get  my  honest  opinion.  I  always  give 
it.    I  have  never  written  a  word  which  I  did 


TETTERS,  letters,  how  they  flood  in! 
But  why  not,  girls,  when  two 
little  stamps  may  bring  you  a  lot  of 
happiness  and  health?  You'll  never 
owe  anything  to  Aunt  Sylvia  for 
whatever  advice  I  gladly  give  you. 
I've  helped  plenty  of  people  whose 
problems  may  have  seemed  worse 
than  yours.  Merely  write  Sylvia  care 
of  PHOTOPLAY  Magazine,  1926  Broad- 
way, New  York  City,  enclosing  a 
stamped,  self-addressed  envelope. 

SYLVIA 


not  believe.  Here's  your  answer.  For  day- 
time and  for  walking  a  medium  heel  is  correct. 
Extremely  high  heels  throw  you  off  balance 
and  give  you  a  wrong  posture.  And  that, 
naturally,  is  neither  good  for  your  health  nor 
your  general  attractiveness.  However,  in  the 
evening  high  heels  are  attractive  and,  since 
one  doesn't  do  any  long  distance  running  at  a 
social  gathering,  it  will  not  hurt  you  to  wear 
them. 

Dear  Sylvia: 

I'm  on  your  building  diet,  but  milk  seems  to 
disagree  with  me.     What  shall  I  do  about  it? 
G.  D.,  Chicago,  111. 

In  the  first  place,  be  sure  that  it  is  the  milk 
which  disagrees.     Or  is  it  that  you're  bolting 


your  food  or  slumping  in  a  chair  after  you  eat, 
thereby  causing  the  stomach  to  contract  so 
that  it  is  unable  to  do  its  work  of  digesting  the 
food?  Never  curl  up  in  a  chair  after  you  eat. 
Walk  around  for  a  little  while  and  give  your 
stomach  a  chance.  But  also  remember  this. 
Milk  will  agree  with  you  if  you  drink  it  slowly, 
if,  in  fact,  you  actually  chew  it.  Yes,  I  said  chew 
it,  as  you  would  a  beefsteak.  Never,  never 
gulp  milk.  That  is  the  principal  reason  why 
people  complain  that  it  does  not  agree  with 
them. 

Dear  Sylvia: 

I'd  like  to  reduce  my  ankles  quickly  and  I 
haven't  much  chance  to  exercise  at  home.  Is 
there  some  ankle  exercise  you  can  give  me 
that  I  could  do  sitting  down  in  a  spare  moment 
at  the  office? 

C.  D.  Y.,  St.  Paul,  Minn. 

Of  course,  I  can!  Sit  in  a  chair.  Push  the 
spine  against  the  back  of  the  chair.  Stretch 
the  legs  straight  out  in  front  of  you  at  an  angle 
of  forty-five  degrees  from  the  body.  Certainly, 
it's  a  strain  on  the  knees,  but  who  cares  when 
you're  reducing  those  thick,  ugly  ankles?  Then 
point  the  toes  as  far  as  you  can,  making  a 
straight  line  from  hip  to  toe.  Quickly  point 
the  toes  upward,  toward  the  ceiling.  Just  do 
that  over  and  over  again  quickly,  back  and 
forth  and  back  and  forth.  Do  it  as  many 
times  a  day  as  you  can.  Do  it  a  hundred  times 
a  day  if  you  like.  And  watch  yourself  getting 
beautiful,  slender  ankles. 

91 


The  Trackwalker  Who  Was  Knighted 


CONTINUED  FROM  PAGE  67  I 


And  earning  a  living  when  young  Guy  Stand- 
ing started  out  was  no  easier  than  it  is  today. 
Forty  years  ago  he  was  just  another  young 
Englishman  valiantly  storming  the  gates  of 
Broadway,  keeping  body  and  soul  together  by 
selling  water-color  sketches  of  his  own  for 
fifty  cents  apiece.  And  worse,  he  heartily  de- 
tested his  profession.  It  wasn't  until  the  war 
that  he  came  to  regard  the  stage  as  an  im- 
portant influence  in  life— and,  as  a  result,  an 
adventurous  calling. 

But  in  those  days  he  lived  on  crackers  and 
milk.  "Not  very  sustaining  for  a  two  hundred 
pounder,  but  neither  is  ten  cents  a  day!" 
That  was  no  adventure,  but  he  came  upon  one 
quite  by  chance  though  he  didn't  recognize  it 
as  such  until  years  later.  He  met  an  old 
friend  of  his  family's  on  Broadway — a  theatri- 
cal man  and  therefore  one  who  could  spot  the 
pinched  look  of  hunger  with  ease.  He  sur- 
veyed young  Guy  and  casually  invited  him  up 
to  his  apartment  for  dinner  the  next  night 

\ V /HEN  Guy  got  there  he  was  glad  he'd  spent 
**  a  few  cents  on  cleaning  and  brushing  up 
his  clothes.  It  was  quite  a  fashionable  party — 
well-fed  and  prosperous  people.  One,  a  man 
who  had  earned  the  title  of  an  empire  builder 
in  the  days  of  a  fast-growing  nation,  was  hold- 
ing forth  at  dinner  in  much  the  same  way  as 
men  do  today. 

"Unemployment?  Nonsense!  As  long  as 
this  country  abounds  in  untilled  soil  there'll  be 
jobs  for  everybody  who  really  wants  to  work," 
the  empire  builder  said.  "Trouble  with 
this  younger  generation  is  that  it's  fastidious. 
It  doesn't  want  to  sweat.  It  wants  to  pick 
and  choose,  or,  blast  it,  it'll  not  work!" 

Far  down  the  table  sat  a  most  hungry  young 
man  saying  nothing  at  all.  He  was  eating — 
and  listening.  The  speaker  was  head  of  com- 
panies too  numerous  to  mention — railroads, 
ships,  mines,  foundries.  He  ought  to  know 
what  he  was  talking  about,  thought  Standing 
an  amused  glint  in  his  eye. 

Next  morning  he  walked  six  miles  down 
Manhattan  Island  to  the  Great  One's  office 
and  sent  in  his  card  recalling  the  meeting  of 
the  night  before.  His  entrance  was  brief  but 
to  the  point. 

"I  want  a  job." 

"What  can  you  do?"  sniffed  the  Great  One. 

"Anything.  You  said  there  were  plenty  of 
jobs." 

"So  there  are.     Jobs  of  WORK!" 

"And  I,"  said  Standing,  "want  work." 

Without  trying  to  hide  his  sardonic  amuse- 
ment the  Great  One  replied,  "I'm  building  a 
railroad  in  Idaho.  We  can  use  big  men  on  the 
rails.  Pay's  one  dollar  and  seventy-five  a 
day  less  fifty  cents  for  keep.     Want  it?" 

Young  Guy  Standing  did.  He  was  given  a 
card  to  one  Riley,  foreman  of  a  track  gang 
headquartered  one  hundred  and  twenty-five 
miles  from  the  nearest  town.  Riley  was  boss 
of  the  toughest  bunch  of  bohunks  ever  to  drive 
a  spike  into  shivering  timber.  Riley  shifted 
his  cud,  spat  abruptly  and  allowed  his  small 
eyes  to  rove  speculatively  over  the  big  frame 
of  the  young  dude.  A  suspicion  of  a  smile 
hovered  on  his  long,  Irish  upper  lip. 

"So  it's  a  worrukman  ye'll  be  wantin'  to  be, 
eh?" 

Guy  nodded. 

"Know    anythin'    about    railroadin'?  .  .  . 


Well,  yon  bawx  car'll  be  ye're  home.  There's 
thirrty  men  in  it  to  keep  ye  company.  Kape 
ye're  back  to  the  wahll  and  watch  out  for  the 
knives  .  .  .  Get  along  wid  ye  .  .  .  Break- 
fast at  four  in  the  mornin,'  "  Riley  grinned  as 
he  filed  away  the  work  card  and  watched  the 
dude  stride  toward  his  new  home. 

That  night  proved  eventful.  Even  Riley 
heard  it  as  he  lay  peaceful-like  in  his  rolling 
office  a  hundred  yards  away.  Guy's  room- 
mates were  a  playful  and  energetic  lot.  No 
word  of  greeting  was  spoken  in  the  smelly, 
dimly  lit  bunk  car,  but  thirty  pairs  of  black 
eyes  sized  him  up  with  varying  degrees  of  un- 
friendliness as  he  stowed  his  duffle  into  a  bunk 
Warily,  Guy  seated  himself  and  waited. 

In  a  few  minutes  two  of  the  biggest  began 
wrestling,  arm-bending  and  performing  various 
feats  of  prodigious  strength.  'Seppe  of  the 
close-cropped  hair,  beady  eyes  and  vast  chest 
was  easily  the  victor.  Two  more  challenged 
him  and  were  defeated.  Then  came  the 
climax  which  they  all  knew  was  on  its  way 
from  the  moment  the  clean-limbed  Englishman 
invaded  this  Latin  stronghold. 

"I  leeka  ev'  man  in  thees  car!"  bellowed 
'Seppe,  his  fist  thudding  against  his  matted 
chest.  "Me,  'Seppe  Tontorelli,  top  man  thees 
road  .  .  .  No?"  His  voice  was  at  once  gently 
inquiring  and  pleading  as  he  peered  toward 
each  man  in  his  bunk.  His  beady  eyes  swung 
on  Guy.  With  the  grace  of  an  ape  he  swung 
forward,  insolently.  "Ha!  W'y  you  do  not  say 
somting?  You  theenk  maybe  'Seppe  not  so 
good  like  you,  ha?"  With  an  oath  he  reached 
for  Guy's  coat. 

Where  it  ever  came  from  none  of  them  could 
ever  tell  you,  least  of  all  'Seppe  Tontorelli,  but 
a  rock-like  fist  swept  out  of  the  dark  and  'Seppe 
lost  all  interest  in  being  top  man  on  any 
railroad  with  appalling  suddenness. 

For  an  instant  the  car  was  deadly  quiet,  and 
in  that  instant  Guy  got  his  back  to  the  wall. 
The  next  half  hour  he  likens  to  the  sensation 
one  would  have  of  being  sewn  in  a  gunny  sack 
full  of  wild  cats.  Three  things  saved  him  from 
the  twenty-nine  active  knives— a  long  reach, 
the  fact  that,  once  hit,  his  assailants  abruptly 
left  the  fight  except  to  howl  encouragement  to 
their  mates — and  the  cogent  advice  of  Mr. 
Riley  concerning  walls. 

For  three  days  this  brawl  went  on  in  spasms 
and  for  three  nights  Standing  slept  with  one 
eye  open.  As  suddenly  as  it  started  it  was 
over.  They  decided  to  like  him.  He  worked 
hard,  he  fought  harder  and  ate  beans,  bread 
and  beef  with  the  best  of  them.  "Dot  Stand- 
ing, 'e's  wan  line  fellar,"  said  'Seppe  and 
threatened  to  knock  the  block  off  anybody  who 
argued  with  him 

DUT  peace  didn't  bring  a  clean,  sweet  smell 
^to  the  bunk  car.  The  blankets  crawled  with 
vermin  and  the  atmosphere  was  almost  pal- 
pable with  sweat,- smoke  and  chewing  tobacco 
Guy  started  in  by  astounding  the  whole  crew. 
He  actually  washed  out  his  blankets  and 
cleansed  his  mattress.  Soap  and  a  bucket  of 
water  cleaned  his  bunk  while  the  crew  looked 
on  aghast. 

The  conversion  of  'Seppe  was  a  lot  harder. 
'Seppe  didn't  want  to  be  considered  effeminate 
by  his  fellows.  It  was  all  right,  he  argued  for 
this  strange  Englishman  to  clean  his  bunk; 
the  Eenglish  were  crazy  anyway  as  everyone 


knew,  he  said.  But  eventually  Guy  won  his 
point.  Reluctantly  'Seppe  agreed  that  no 
man  could  call  him  effeminate  if  the  whole  crew 
did  the  same  thing.  They'd  all  be  in  the  same, 
though  clean,  boat.  There  were  a  few  ardent 
protests — even  Riley  was  approached  by  the 
most  indignant  of  the  laborers,  but  he  just 
grinned  and  stayed  out  of  it — and  'Seppe 
would  growl  deep  in  his  chest. 

It  took  a  month  to  get  disinfectant  and 
whitewash  up  from  the  rail-head,  but  two  days 
later  that  bunk  house  was  as  clean  and  sweet 
as  a  ship's  sick-bay.  It  took  nearly  two  months 
for  the  road  gang  to  get  over  looking  sheepish 
whenever  they  came  into  these  spotless  quar- 
ters^— and  Riley  shifted  his  cud  and  marveled. 

Guy  had  been  on  the  road  four  months  and 
added  nearly  forty  more  pounds  to  his  bone 
and  muscle  and  a  couple  of  hundred  dollars  to 
his  reserve  when  he  asked  Riley  for  his  time 
card  and  pay.  He'd  licked  the  job  and  was 
getting  bored— and  anyway  he  was  sort  of 
anxious  to  look  the  Great  One  in  the  eye  back 
in  that  New  York  office  before  he  went  back 
to  the  stage. 

The  day  before  he  left,  'Seppe  worked  close 
at  his  side;  he  was  almost  like  a  huge  and 
affectionate  dog.  When  Guy  started  toward 
the  bunk-car  for  some  water.  'Seppe  inter- 
cepted him  and  got  the  brimming  cup  himself. 
At  the  end  of  the  day  'Seppe  again  intercepted 
him  and  asked  to  talk  alone  while  the  rest 
headed  back,  trying  to  stifle  their  broad  grins. 
Guy  suspected  something  was  afoot,  but  got 
no  satisfaction  from  'Seppe  who  had  suddenly 
grown  more  inarticulate  than  ever.  At  length 
the  dinner  gong  rang.  Instantly  'Seppe 
dropped  his  temporizing  and,  grinning  like  a 
six  year-old,  led  his  friend  back  to  the  camp — 
trying  hard  not  to  trot  in  his  eagerness. 

THAT  gang,  which  had  welcomed  Guy  Stand- 
'  ing  with  hatred  and  knives,  were  scrubbed 
and  combed  until  they  shone.  Even  Riley 
spat  an  appreciative  cud  in  his  surprise. 
"Gorry!  Ye'd  think  it  was  their  first  com- 
munion instid  o'  vittles  they  was  goin'  to!" 
But  Standing  could  hardly  eat  that  night.  A 
lump  kept  rising  in  his  throat  and  he  couldn't 
swallow.  He  had  to  try,  though.  Instead  of 
beans  and  beef  and  bread,  the  gang  had 
chipped  in  and  secretly  sent  to  the  rail-head 
for  delicacies — even  a  cake! — and  a  cake  in  a 
railroad  camp  was  synonymous  with  caviar, 
only  more  expensive. 

There  weren't  any  speeches.  There  weren't 
any  toastmasters.  but  the  silence  at  that  scrub- 
bed and  beaming  table  in  place  of  the  usual 
hilarious  jabbering  was  more  eloquent  than  a 
dozen  silver-tongued  orators.  But  at  the  end. 
after  the  last  morsel  of  cake  and  cheese  had 
been  washed  down  by  scalding  coffee,  'Seppe 
fidgeted  and  finally  rose,  red  and  gulping,  to 
his  feet.  He  started  to  speak — you  could  tell 
that  by  the  straining  muscles  in  his  great 
throat — but  his  lips  were  petrified,  immovable. 
He  got  redder  and  started  to  sweat  in  the  dead, 
expectant  silence. 

Suddenly  he  whipped  around,  his  hand  out- 
stretched to  young  Guy  Standing  who  couldn't 
see  very  well  just  then.  Their  hands  met  in  a 
bone  crushing  grip  as  'Seppe  found  his  tongue 
for  a  moment. 

"  'E's  wan  fine  feller,"  bellowed  'Seppe, 
"my  frand  Standing!" 


9? 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


93 


Time  Out  for  Twins 


[  CONTINUED  FROM  PAGE  65 


screen  career,  and  as  far  as  she's  concerned 
she's  just  resuming  it.  Don't  think  she's  one 
of  those  girls  who  put  career  before  husband, 
or  family,  and  all  that — she  isn't.  They  have 
come  first,  and  they  always  will.  There's  a 
little  matter  of  a  daughter  still  to  be  attended 
to,  but  outside  of  that  Bing  and  Dixie  could 
very  justifiably  put  up  one  of  those  stickers  in 
their  window — you  know,  "We  do  our  part." 
So  Dixie  thinks  it's  time  to  get  on  with  the 
career  again. 

"Why,  that's  what  I  came  here  for,"  she 
says  simply. 

WOU  remember,  of  course,  that  Dixie  was 
'  playing  in  "Good  News"  in  New  York  when 
Fox  scouts  first  saw  the  handwriting  on  the 
wall  in  the  shape  of  her  feet  twinkling  on  the 
boards  and  brought  her  West  to  twinkle, 
twinkle  little  star  in  the  cinema  instead.  You 
remember,  too,  how  Dixie,  then  playing  in- 
genue leads  at  Fox,  went  to  the  Cocoanut 
Grove  one  night  and  first  met  Bing.  Bing 
hadn't  clicked  then;  he  was  just  one  of  the 
Three  Rhythm  Boys — and  go  to  the  head  of 
the  class  if  you  can  name  the  other  two.  But 
there  was  romance  in  the  Grove  that  night  as 
the  toy  balloons  came  floating  down,  and  Dixie 
and  Bing  started  going  around  together. 

When  the  high  moguls  at  Fox  heard  about 
that  they  called  Dixie  into  the  Front  Office. 
You  always  put  the  Front  Office  in  capital 
letters  because  that's  the  sort  of  place  it  is. 


"Listen,  little  girl,"  said  the  high  moguls  in 
that  fatherly  way  of  theirs,  "that  guy's  only  a 
crooner,  and  if  you  don't  watch  out  you'll 
ruin  your  career  running  around  with  him. 
And  as  for  any  thought  of  marrying  him—" 

What  d'you  suppose  they  would  have  done  if 
they  could  even  have  suspected  those  twins? 

DUT  Dixie  is  one  of  those  girls  who  can 
^paddle  their  own  canoes,  so  she  told  the  high 
moguls  to  go  and  park  their  Rolls-Royces  up 
some  other  alley.  And  make  no  mistake  about 
it,  Dixie  would  say  that.  As  it  happened  just 
about  that  time,  the  high  moguls  got  an  idea 
that  the  movies  had  grown  up,  so  they  brought 
Jeanne  Eagels  and  a  lot  of  other  big  stars  from 
the  Big  Time  to  make  pictures  with,  and 
closed  their  younger  players  out.  Dixie  was 
one  of  the  youngsters,  and,  twins  notwith- 
standing, she  still  is. 

Those  big  stars  got  five  thousand  dollars  a 
week,  each,  and  that's  a  page  in  its  history 
that  Hollywood  turns  over  very  quickly  when- 
ever it  looks  over  the  book.  For  those  stars, 
with  no  exceptions,  were  gosh-awful  box- 
office  flops. 

So  Dixie  married  her  crooner  and  had  the 
twins.  Hollywood  mentally  washed  Dixie  up. 
She  was  a  mighty  talented  little  girl  who  had 
settled  down  very  sedately — and  that  let  her 
out.  Bing's  star  began  to  rise,  became  a  comet 
and  zoomed.  When  the  blue  of  the  day  meets 
the  gold  of  the  night,  or  whatever  it  is,  was  as 


nothing  to  what  the  gold  of  Bing's  pictures 
did  to  the  blue  of  Hollywood's  depression 
days.  Bing  in  a  picture  was  money  in  the 
bank. 

Incidentally,  Hollywood  gives  Dixie  Lee  a 
lot  of  credit  in  connection  with  that.  Holly- 
wood points  out  that  Bing  in  the  old  days 
didn't  sing  as  he  does  now  and  that  Dixie 
used  to  croon  on  the  stage.  There's  a  heart- 
touching  tenderness  that  Bing  has  acquired — 
and  Hollywood  says  that  he  acquired  it  when 
he  acquired  Dixie.  It's  obvious  from  the  Bing 
who  is  and  the  Bing  who  was  that  it  does  come 
from  the  heart,  anyway,  because  Bing's  mighty 
fond  of  Dixie.  You'd  never  know  him  now  as 
the  playboy  who  used  to  tra-la-la  through  the 
still  night  air  in  one  of  those  Paul  Whiteman 
roadsters. 

Dixie  doesn't  have  anything  to  say  about 
her  part  in  that,  whatever  it  was.  She  isn't 
picking  any  golden  oranges  off  Bing's  tree  for 
her  own  basket. 

"  /JETTING  married  to  Dixie  was  the  best 
^—nhing  I  ever  did,"  says  Bing  "and  boy, 
that's  no  foolin'!" 

"He  doesn't  sing  much  around  the  house," 
Dixie  says  with  a  little  smile,  "he  just  whistles. 
You  know  how  he  whistles — " 

Yes,  you  know  how  he  whistles,  all  right. 
Who  doesn't? 

Well,  the  whistling  went  right  on  in  the  big 
new  house  at  Toluca  Lake,  before  and  after 


Call  for  PH 


MORRIS 


the  arrival  of  the  twins,  and  Bing,  looking  for 
new  fields  to  conquer,  bought  a  couple  of  race- 
horses. Between  times  Dixie  poked  holes  in 
his  old  sweaters  so  he  wouldn't  wear  them  any 
more,  but  the  more  holes  she  poked  the  better 
Bing  liked  the  sweaters.  When  she  hid  that 
frightful  cap  of  his  one  time  and  sent  one  of 
the  sweaters  to  Japan  he  went  right  down  town 
and  replaced  both — with  worse  ones. 

Nobody  could  do  anything  about  Bing's 
clothes,  so  Dixie  decided  to  amuse  herself  some 
other  way. 

CHE  told  him  since  now  the  house  was  run- 
^ning  itself  and  the  three  children  were  getting 
along  fine  she  hadn't  anything  to  do  any  more, 
so  please  could  she  go  and  do  some  bits  in 
pictures? 

Bing  humored  her  in  that  idea  as  he  does  in 
everything.  Hollywood  says  it's  been  mighty 
good  for  Bing  to  humor  Dixie,  and  it  looks  as 


the  producers  didn't  suspect  was  that  she  was 
going  to  pack  'em  as  Dixie  Lee. 

That's  why  she  won't  let  Bing  have  a  thing 
to  do  with  her  pictures  or  even  let  him  come 
on  her  set  when  she's  making  them.  Bing  knows 
all  about  that  by  now.  For  when  she  was  making 
"Love  In  Bloom"  he  ambled  over  on  the  set 
the  first  day.  They  were  shooting  a  scene  with 
Dixie  and  just  as  soon  as  she  caught  sight  of 
Bing  she  stopped  short. 

"You  get  out  of  here,"  she  suggested 
politely,  "and  I'll  get  along  all  right." 

It  was  the  same  when  she  made  some  records 
from  the  songs  she  sings  in  the  picture.  Bing 
— whose  records  are  so  copious  that  you  can 
hardly  turn  on  the  radio  without  hearing  his 
tweet-tw-double-eee-tweet  on  one  of  'em — 
thought  he  might  stand  by  and  give  the  little 
girl  a  hand.    But  Dixie  would  have  none  of  it. 

"You  get  out  of  here,"  she  suggested  again 
"and  we'll  make  the  records." 


One  of  the  most  dramatic  scenes  in  Cecil  B.  DeMille's  historical 
movie-play,  "The  Crusades,"  is  that  in  which  the  Christian  women 
are    sold    as    slaves    in    the    market    place    to    traders    in    Jerusalem 


though  Hollywood  is  right  again.  For  Dixie 
went  to  Paramount  to  play  a  bit,  and  emerged 
with  "Love  In  Bloom"  on  a  platter  with  a 
bouquet  around  it. 

And  Hollywood  had  been  thinking  of  Dixie 
only  as  Bing  Crosby's  wife. 

"I  wasn't  trying  to  show  anybody  any- 
thing," Dixie  remarked  casually,  "because 
Bing  has  plenty  of  talent  for  one  family." 

That's  why  she  insisted,  of  course,  that  she 
should  use  her  own  name  and  not  try  to  trade 
on  Bing's  when  she  went  back  to  work  It  is 
expressly  stipulated  in  every  contract  she  signs 
that  she  shall  be  billed  as  Dixie  Lee,  and  not 
Mrs.  Bing  Crosby.  She  knows,  and  the  pro- 
ducers know,  that  as  Mrs.  Bing  she'd  pack 
every  movie  house  in  the  country;  but  what 


But  the  best  of  all  was  when  they  put  Dixie 
on  a  radio  program  one  night  recently  —  and 
Bing  has  some  reason  to  think  he  knows  some- 
thing about  radio. 

He  wanted  to  go  to  the  studio  with  Dixie, 
but  she  put  that  little  foot  of  hers  down  as 
firmly  as  ever. 

"Nothing  doing,"  she  told  him  flatly.  "I'll 
get  along." 

"\V/ELL,"  asked  the  irresistible  Bing,  "well, 
W  honey,  would  it  be  all  right  if  I  turned 

on  the  radio  and  listened?" 

Now,  of  course,  Dixie  is  making  "Redheads 

on  Parade" — and  at  Fox.    Mark  that — at  Fox. 

That's  where  they  told  her  that  her  career 

would  be  ruined  if  she  went  around  with  a 


crooner,  and  so  now  that  she's  married  him  and 
had  the  twins  she's  leading  lady  in  "Redheads 
on  Parade" — at  Fox.  Of  course,  at  the  time, 
film  executives  believed  that  the  romantic  in- 
terest of  any  player  was  ruined  if  it  was  so 
much  as  whispered  that  he  or  she  was  even 
married,  but  now  it  doesn't  seem  to  make  any 
difference  even  when  the  lady  is  the  mother  of 
twins, 

"It  does  make  you  feel  good,"  said  Dixie, 
"to  be  back  on  the  same  lot  where  you  started 
and  have  a  break  like  this." 

Now  those  Rolls-Royces  seem  to  be  up  her 
alley,  you  might  say. 

But  looking  at  Dixie,  you'd  never  dream  in 
the  world  that  she  could  possibly  be  the 
mother  of  those  twins.  She  looks  just  as  she 
did  when  she  first  came  to  Hollywood,  except 
that  she's  even  younger  looking  and  perhaps  a 
bit  thinner.  But  she's  still  got  that  sort  of 
giddy  ingenue  look  about  her,  like  a  fluffy 
young  miss  who  has  just  stepped  out  of  the 
bon-bon  box  in  the  last  musical  number.  She 
still  has  that  same  coquettish  curl  to  her  eye- 
lashes, the  same  sort  of  half-shy  brown  eyes, 
the  same  breezy  run  of  chatter. 

Her  toes  tap  just  as  lightly  and  she  looks 
always  as  though  she  just  wants  to  turn  on 
the  radio  and  dance. 

IN  other  words,  Dixie  is  quite  a  contradic- 
tion, in  person. 

Bing  used  to  sing  to  a  guitar  played  by 
Eddie  Lang,  who  afterwards  married  a  girl 
named  Kittie.  It  was  Bing  and  Eddie  then, 
but  Eddie  died.  Now  Kittie  is  Dixie's  stand- 
in  at  Fox,  and  it's  Dixie  and  Kittie.  That 
shows  you  more  just  what,  underneath  that 
ingenue  exterior,  the  real  Dixie  is  like.  No- 
body's success  could  go  to  her  head — not  even 
Bing's. 

Between  themselves,  and  as  far  as  careers 
are  concerned,  Bing  and  Dixie  have  figured 
things  out  very  nicely.  That's  why  Dixie 
won't  accept  a  long-term  contract  anywhere, 
although  Paramount,  Fox,  Warners  and  Col- 
umbia have  already  asked  her  to  sign  for  from 
three  to  five  years.  They  refuse  to  let  their 
production  schedules  get  crossed,  so  Dixie's 
pictures  have  to  jibe  with  Bing's.  When  he 
isn't  working,  she  won't  work  because  they 
like  to  go  places  and  do  things  together.  In 
pictures  there's  competition  in  the  family  now, 
what  with  both  mamma  and  papa  being 
crooners  in  a  big  way,  but  they  croon  together 
to  the  twins. 

DING  used  to  come  home  tired  after  a  day 
^at  the  studio  and  want  to  stick  around  the 
fireplace  with  the  slippers  and  the  pipe,  except 
that  of  late  Bing's  taken  to  cigars.  Dixie,  who 
had  been  home  all  day,  naturally  wanted  to 
get  out  and  do  something  exciting.  Now  they 
are  both  working,  and  both  want  to  stay  at 
home  at  the  same  time,  and  between  pictures 
they  go  to  the  races  and  to  the  fights  together. 
It  seems  that  a  career  fixes  the  domestic 
schedule  right  up. 

Hollywood  may  have  thought  that  Dixie 
had  forgotten  that  career,  but  Dixie  hadn't. 
She  was  happy  to  stay  home  and  raise  the 
family  while  Bing  was  the  big  breadwinner  and 
so  on,  but  always  in  the  back  of  her  mind  was 
that  career  of  her  own.  It  wasn't  altogether 
that  she  had  too  little  to  do  and  the  time  hung 
on  her  hands.  After  she  had  helped  her  hus- 
band to  success  in  the  hundreds  of  ways  that 
a  good  wife  can,  she  decided  that  the  time  had 
come  to  step  out  and  make  a  success  of  her 
own. 

Dixie  had  the  idea  all  along — it  was  only 
time  out  for  the  twins. 


94 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


95 


What  Is  Dietrich's 
Destiny? 

[  CONTINUED  FROM  PAGE  29  ] 


not  know  what  to  do  with  her,  how  to  guide 
her  toward  the  greatness  she  has  always 
promised  but  never  attained— if  he,  Svengali, 
must  throw  up  his  hands  and  admit  defeat, 
how  can  anyone  else  confidently  take  up  the 
task? 

Hollywood  knows  no  sure  answer  for  that — 
yet.  But  it  shares  Von  Sternberg's  sustained 
faith  that  Marlene  Dietrich,  while  no  longer 
fresh  and  new  to  the  screen,  has  a  destiny 
that  is  yet  unfulfilled. 

For  the  past  year  or  so  anyone  whom  you 
might  ask  would  assure  you  that  Marlene 
Dietrich  was  slipping.  "One  more  picture 
like  'The  Scarlet  Empress,'  "  they  said,  "and 
she's  through." 

She  made  that  one  more  picture,  "The  Devil 
Is  a  Woman,"  which  was  exactly  what  they 
meant  when  they  said  "Another  like  'The 
Scarlet  Empress'  " — that  is,  Dietrich  deadened 
against  a  heavily  artistic  Von  Sternberg  back- 
ground.    Then  her  contract  ran  out. 

Now,  inevitably  when  a  star  is  known  to  be 
"slipping"  in  Hollywood  around  contract  time 
there  is  only  one  thing  to  expect.  If  she  is 
re-signed  at  all,  it  is  at  a  smaller  salary,  which 
is  logical,  because  she's  worth  less  at  the  all- 
important  box-office. 

OUT  when  Marlene  Dietrich  slipped  she  slip- 
^ped  into  a  sea  of  offers  from  other  studios 
and  Paramount  had  to  argue  with  her  for 
weeks  before  she  decided  to  stay.  One  of 
their  major  arguments,  which  undoubtedly 
helped  keep  her  at  Paramount,  was  a  new 
term  contract  calling  for  $250,000  for  two 
pictures  a  year — and  under  the  terms  of  the 
agreement,  she  can  make  a  good  deal  more 
than  that. 

That's  not  bad  for  a  star  who  is  "one  picture 
away  from  the  ash  heap."  And  it  wasn't 
sentiment  which  made  Paramount  so  gen- 
erous, either. 

The  fact  is  that,  good  pictures  or  bad, 
Dietrich  carries  a  prestige  second  only  to  that 
of  Garbo.  It's  an  international  prestige. 
More  visiting  big  guns  from  Europe,  Asia  or 
Timbuctoo  seek  to  meet  Marlene  than  any 
other  actress.  Not  long  ago  when  a  radio- 
telephone service  was  inaugurated  between 
Japan  and  America,  the  editor  of  a  leading 
Tokyo  newspaper  wished  to  talk  over  it  to  a 
Hollywood  actress,  by  way  of  adding  a  little 
touch  to  the  occasion.  The  actress  he  requested 
and  spoke  to  was  Marlene  Dietrich. 

East,  West,  South  or  North  means  little  to  a 
favored  few  stars.  Garbo,  Chevaler,  Jeanette 
MacDonald  are  others  who  can  turn  the  for- 
eign balance  in  their  favor  to  make  up  for  an 
occasional  lightweight  popularity  in  this 
country. 

But  the  more  important  reason  why  Mar- 
lene Dietrich  had  to  worry  about  too  many 
good  offers  when  the  big  break  came  was  that 
Hollywood  still  feels  she  is  a  discovery  not 
yet  actually  discovered! 

And  she's  been  right  in  Hollywood  for  the 
past  five  years! 

It  seems  unfair  to  blame  Josef  Von  Stern- 
berg wholly  for  this,  or  to  indict  him  with  the 
charge,  often  hured,  of  using  Marlene  Dietrich 
as  a  professional  guinea  pig  for  his  artistic 
screen  experiments.  No  one  was  more  sincere 
than  Von  Sternberg  in  his  search  for  the  right 


SUMMER'S   HERE!    LOOK  OUT  FOR 


\\ 


// 


IT  STEALS  ROMANCE  FROM  YOUR  LIPS 


Baking  sun  and  drying  winds  make  it  hard 
enough  to  keep  one's  lure  in  summer. 

It's  no  time  to  risk  Lipstick  Parching, 
too!  The  delicate,  fine  skin  of  your  lips 
needs  special  care,  now.  Even  more  than 
facial  skin,  because  your  lips  are  so  much 
more  sensitive. 

Yet  some  lipsticks  take  that  sensitive 
skin  and  dry  and  parch  it.  They  turn  kiss- 
able   softness  to    crepe  paper  harshness! 

How  Coty  Avoids  Parching 

Coty  has  really  ended  Lipstick  Parching 
...  by  producing  a  new  kind  of  lipstick. 
Yes,  it's  indelible  . . .  and  the  colors  are 
thrilling  and  ardent,  but  it  never  dries  or 
parches!  Even  rough  lips  grow  luscious 
and  smooth  under  its  caressing  touch. 


The  secret?  Coty's  "Sub -Deb"  Lipstick 
contains  "Essence  of  Theobrom,"a  special 
ingredient  that  softens  and  smooths. 

Make  the  "Over-night"  Experiment! 
If  you  wish  to  prove  to  yourself  that  Coty 
Lipstick  smooths  your  lips  to  loveliness, 
make  this  simple  experiment.  Put  on  a  tiny 
bit  of  the  lipstick  before  you  go  to  bed.  In 
the  morning  notice  how  soft  your  lips  feel, 
how  soft  they  look.  Could  you  do  the  same 
with  any  other  lipstick? 

You  can  now  get  Coty  "  Sub-Deb"  Lip- 
stick—for just  50f5 — in  five  indelible  colors 
at  drug  and  department  stores. 

NEW— Coty  "Sub-Deb"  Rouge  in  nat- 
ural, harmonizing  colors,  50?!. 

Dance  to  Ray  Noble's  music,  Wed.,  10:30 
P.  M„  New  York  time.  NBC  Red  Network. 


SUB-DEB"  LIPSTICK 


50/ 


mirror  to  reflect  her  true  brilliant  beauty.  He 
realized  that  Dietrich  was  potentially  different 
from  any  other  star  and  he  was  convinced  that 
for  her  he  must  go  off  the  beaten  path — that 
he  must  find  something  new,  completely  dif- 
ferent. In  his  efforts  he  leaned  over  back- 
wards. 

The  result  was  the  chain  of  pictures  which 
were  the  real  grounds  for  screen  divorce: 
"The  Scarlet  Empress,"  "The  Devil  Is  a 
Woman." 

If  you  remember  Dietrich  in  "The  Blue 
Angel,"  "Morocco,"  or  "Shanghai  Express" 
you  remember  her  at  the  stage  of  her  greatest 
appeal. 

What  changed  her?  Perhaps  the  pictures 
themselves  hold  the  answer,  for  Marlene 
Dietrich,  although  no  longer  the  frightened, 
shy  little  foreign  actress  hiding  in  the  folds  of 
the  maestro' s  cape,  is  just  about  the  same  to- 
day as  she  was  in  the  days  of  her  triumphs. 

"  THE  Blue  Angel"  was  dramatic.   "Morocco" 

'  and  "  Shanghai  Express"  were  essentially 
melodramatic.  They  moved — they  had  action, 
drama,  plot,  suspense.  Dietrich  punctuated 
their  spirited,  contrived  drama  perfectly  with 
her  beauty  and  screen  spell. 

But  the  action  and  the  drama  were  as  nec- 
essary to  Dietrich's  effect  as  Dietrich's  charm 
was  to  the  picture's  effect.  All  her  best  pic- 
tures indicate  that  Dietrich  must  be  kept 
moving.  She  is  not  enough  alone.  She  is 
too  phlegmatic,  her  beauty  and  her  person- 
ality both  are  too  quiet  to  lend  life  to  a  heavy 
background. 

Von  Sternberg,  however,  was  impatient 
with  the  lessons  of  those  early  successes.  They 
made  his  star  popular,  they  brought  in  the 
money,  but  they  didn't  lead  beyond  them- 
selves to  the  destiny  which  he  was  convinced 
the  future  held  for  his  Trilby. 

He  refused  to  make  any  more  of  that  formula 
— and  Dietrich  has  never  been  the  same  since. 

Their  professional  divorce  will  justify  Von 
Sternberg's   sudden  honest    decision,    if  only 


because  it  will  give  them  both  a  clean  slate 
and  a  fresh  start. 

Marlene,  at  last,  has  become  reconciled  to  it, 
although  at  first  she  flatly  refused  to  believe 
her  director  was  in  earnest.  Her  bewilderment 
was  pathetic  and  touching.  She  kept  repeat- 
ing, "  I  shaLl  never  work  with  another  director." 

But  that  is  over  now.  She  has  said  that  she 
would  like  to  make  a  picture  under  Ernst 
Lubitsch.  Recently  she  named  Frank  Borzage 
as  another  choice.  There  are  several  directors 
in  Hollywood  who  would  like  a  chance  at  her 
—  each  one  with  something  new  and  fresh  to 
bring  to  this  star  who  has  never  fulfilled  her 
promise. 

Von  Sternberg  knew  her,  understood  her  and 
believed  in  her.  But  he  wasn't  the  right  man. 
And  he  was  man  enough  to  admit  it,  and  man 
enough  to  do  the  only  thing  that  could  recreate 
Marlene  Dietrich.  She  would  never  have  de- 
serted him. 

What  does  this  New  Deal,  dealt  her  against 
her  will,  promise  Marlene  Dietrich? 

Pages  from  Hollywood's  past  records  of 
Svengali-Trilby  set-ups  would  indicate  a 
gloomy,  even  fatal  future. 

D.  W.  Griffith  and  Lillian  Gish  were  the 
first  and  most  famous  star-director  inseparables. 
Gish  was  tops  as  long  as  she  was  with  the 
pioneer,  but  when  they  split  she  made  two  or 
three  indifferent  pictures  and  then  left  the 
screen  for  good.  Both  Lillian  and  Dorothy 
"retired"  to  the  stage  after  the  Griffith  era. 

Carol  Dempster,  Griffith's  second  Trilby, 
on  whose  professional  education  he  spent  two 
million  dollars,  quit  pictures  the  minute  he 
ceased  producing. 

Mary  Philbin,  freed  from  the  directorial 
tyranny  of  Erich  von  Stroheim,  lingered  on  at 
Universal  after  her  mentor  had  left.  But  she- 
was  never  the  same.  Von  Stroheim  had  dis- 
covered her  in  a  beauty  contest,  taken  her 
under  his  wing  as  Von  Sternberg  took  Dietrich, 
and  built  her  into  one  of  Universal's  loveliest 
stars.  She  dwindled  to  eventual  extinction 
when  her  maestro  left  her. 


The  only  star  in  Hollywood's  history  who 
has  survived  the  dissolution  of  a  directorial 
dictatorship  is  Dolores  Del  Rio.  But  it  cost 
her  two  years  absence  from  films.  Edwin 
Carewe  discovered  the  screen's  most  beautiful 
exotic  at  a  ball  in  Mexico  City  and  persuaded 
her  high  caste  family  to  let  her  undertake  a 
screen  career.  After  the  colossal  failure  of 
his  epic  effort,  "Evangeline,"  Dolores  didn't 
face  a  camera  for  two  years.  Then  "Bird  of 
Paradise"  launched  her  on  a  new  and  even 
greater  screen  career. 

Incidentally,  the  man  who  directed  Del  Rio 
in  "Bird  of  Paradise"  was  King  Vidor.  Vidor 
is  now  a  Paramount  director,  and  one  of  the 
several  men  mentioned  to  assume  a  role  in 
Marlene  Dietrich's  rejuvenation 

I IISTORY,  however,  does  not  necessarily  re- 

'peat  itself  in  Hollywood.  New  precedents 
are  established  every  day.  Certainly  from  the 
looks  of  things  Marlene  Dietrich  has  every- 
thing to  give  her  unqualified  backing  in  a 
fresh  start.  Lubitsch,  himself,  now  the  busy 
head  man  at  Paramount  studios,  will  drop 
everything  and  direct  her  personally  if  he 
finds  the  right  story. 

There  is  no  reason  for  Marlene  Dietrich  to 
follow  in  the  footsteps  of  the  other  Trilbys 
of  which  she  is  the  greatest  example.  If  she 
does  not  gain  new  life,  new  inspiration  and  re- 
vive the  old  enchanting  Dietrich  freshness. 
it  will  be  her  own  fault.  Von  Sternberg  has 
moved  away  from  the  Paramount  lot.  He  plans 
to  produce  independently,  and  while  every- 
one assumes  that  he  and  Dietrich  will  still  see 
one  another,  he  has  stated  flatly  that  he  will 
have  nothing  even  in  the  way  of  advice  to 
offer  her  concerning  her  new  career. 

The  road  has  never  been  more  open  to  the 
destiny  of  Marlene  Dietrich  in  which  Holly- 
wood has  believed  and  continues  to  believe  in. 

Still  no  one  can  tell  where  that  destiny  lies, 
what  it  is,  nor  how  to  reach  it — but  from  now 
on  Marlene  Dietrich  and  Hollywood  will 
spend  a  lot  of  time  trying  to  find  out. 


Diamond  Jim  Comes  Back 


CONTINUED  FROM  PAGE  31 


railroad  equipment.  He  knew  the  business 
from  the  ground  up.  I  met  a  man  who  got  him 
a  job  with  the  New  York  Central.  It  was  in 
the  baggage  department.  He'd  been  a  hotel 
clerk  after  working  in  his  father's  saloon  where 
Diamond  Jim  was  born  in  a  room  over  the  bar. 
He  surely  moved  up  fast,  for  when  he  hit 
Broadway  he  was  fairly  rolling  in  money.  He 
offered  Lillian  Russell  a  million  dollars  cash, 
put  right  in  her  lap,  to  marry  him.  But  she 
said,  'Why  spoil  such  a  lovely  friendship?' 

"There  was  an  early  romance,  I  believe," 
resumed  Mr.  Arnold.  "Brady  was  in  love 
with  a  young  woman  in  the  South.  Then,  you 
know,  he  was  devoted  to  that  other  beauty  and 
Miss  Russell's  chum,  Edna  McCauley,  for 
several  years,  when,  to  Broadway's  amaze- 
ment, he  and  Jessie  Lewisohn  switched  their 
affections.  Diamond  Jim's  interest  in  chorus 
girls  was  just  part  of  his  business  build-up. 
He  would  give  a  big  dinner  to  prospective 
buyers  of  railroad  accessories  in  his  gorgeous 
apartment  on  Central  Park  West,  as  I  remem- 
ber, and  have  twelve  or  fourteen  pretty  girls  up 
on  swings  and  serving  food  from  their  laps.  A 
lot  of  people  think  that  James  Buchanan 
Brady  was  a  super-salesman.  But  I  don't 
think  he  ever  really  sold  a  bill  of  goods.    What 


he  sold  was  himself.  He  capitalized  his  person- 
ality— which  was  much  easier  than  selling 
goods.  Diamond  Jim  was  an  exploiter  of  him- 
self, and  the  imposing  'front'  he  put  up  was  his 
ivory  tower." 

"How  do  you  feel  about  playing  him?" 
"If  I  can  do  Diamond  Jim  as  well  as  I  did 
that  millionaire  'drunk'  in  'Sadie  McKee'  I'll 
be  happy,"  replied  Mr.  Arnold.  "That  part  is 
the  best  I've  done.  And  Joan  Crawford  is  one 
of  the  best  troupers  I've  ever  worked  with. 
That  girl  just  hands  it  all  to  you  on  a  platter 
and  you  can't  go  wrong.  I  knew  it  was  a  good 
part  they'd  given  me,  but  I  didn't  expect  to  get 
the  response  it  brought.  The  reviews  made 
me  feel  so  uncomfortable  that  when  I  went 
back  on  the  same  lot  to  do  another  picture  I 
sneaked  through  alleys  to  avoid  meeting  Miss 
Crawford.  But  one  day  as  I  was  passing  the 
dressing-rooms  I  heard  someone  call,  'Hello, 
darling!'  Looking  up,  I  saw  Joan.  I  told  her 
I  hadn't  expected  the  notices  I  got.  She  said, 
'If  you  hadn't  got  them  I'd  never  have  spoken 
to  you  again.'  " 

"Are  you  usually  so  concerned  about  a  star?" 

"  I    WAS  scared    stiff,"  he   confessed,    "when 
'   George  Arliss  sent  for  me  to  play   Louis 


XIII  in  'Richlieu.'  To  make  matters  worse,  an 
actor  who  had  been  in  one  of  his  pictures 
warned  me,  'Don't  forget  to  go  to  the  barber's 
every  day  and  have  the  back  of  your  neck 
shaved,  because  that's  all  they'll  ever  see  of 
you.'  I  went  to  Arliss  shaking.  He  looked  at 
me  and  remarked:  'I  must  apologize.  I  don't 
remember  ever  having  seen  you  on  the  screen.' 
I  told  him,  '  I  don't  go  to  see  all  your  pictures.' 
With  a  dry  smile,  he  replied,  'I  don't  blame 
you.'  We  got  along  beautifully.  Arliss  is  a 
charming  man  and  very  generous.  He  taught 
me  what  not  to  do." 

AT  that  moment  a  man  slopped  at  our  table 
to  say,  "I  saw  a  preview  of  the  Arliss  pic- 
ture last  night,  Eddie,  and  it's  your  picture." 

"Oh,  that's  too  good  to  be  true!"  blushed  the 
good  and  modest  actor. 

Regaining  his  seat,  if  not  his  composure,  Mr. 
Arnold  assured  me: 

"I  can  get  along  with  anybody.  Nothing 
upsets  me  while  I'm  working,  because  I  feel 
I'm  doing  the  best  I  can.  But  one  day,  when  I 
was  playing  the  doctor  in  'Rasputin,'  I  saw 
Lionel  Barrymore  get  fearfully  upset.  He 
doubled  up,  groaning,  '  I  can't  do  it!  I  can't  go, 
on ! '    He  was  in  a  scene  with  John,  who  simply 


96 


PHOTOPLAY  MAGAZINE  FOR  JULY,    1935 


97 


sauntered  off,  sat  down  calmly  and  began  read- 
ing a  newspaper.  Charlie  Brabin,  who  was 
directing  the  earlier  part  of  the  picture,  be- 
lieved Lionel  to  be  terribly  ill  and  advised  him: 
'Go  to  your  dressing-room,  old  man,  and  lie 
down  till  you  feel  better.'  Lionel  tottered  off, 
apparently  in  great  distress.  Over  two 
hundred  of  us  waited.  We  waited  for  an  hour 
and  a  half.  Then  Brabin  got  him  on  the  tele- 
phone and  anxiously  inquired,  'How  are  you 
now?'  'I'm  all  right,  why?'  said  Lionel.  'I 
thought  you  were  sick.'  'No.'  'Then  what 
are  you  doing?'  'Playing  the  piano.'  'But 
why  in  the  world  did  you  leave  the  set? '  asked 
the  puzzled  director,  realizing  that  thousands 
of  dollars  had  been  wasted.  'Didn't  you  see?' 
demanded  the  irate  Lionel.  'That  brother  of 
mine  was  stealing  my  scene!'  " 

"Funny  things  happen  in  pictures,"  I 
brilliantly  observed. 

"And  out  of  them."  added  Mr.  Arnold. 
"Not  long  ago  I  had  a  letter  from  the  secretary 
of  the  Pinochle  Club  of  the  Perth  Amboy,  New 
Jersey,  Lodge  of  Elks,  asking  me  to  settle  a 
dispute.  He  wrote  that  at  the  last  meeting  of 
the  club  there  was  no  game  because  the  mem- 
bers threw  down  their  cards  over  an  argument 
as  to  whether  I  was  drunk  or  sober  when  I 
played  Jack  Brennan  in  'Sadie  McKee.'  I 
answered  that  I  was  on  the  water  wagon  at 
that  time  because  of  just  getting  over  an  attack 
of  gout,  and  that  I'd  played  it  all  in  slippers." 

We  had  a  cocktail.  Over  it  I  asked,  "Did 
you  feel  that  letter  to  be  one  of  the  penalties  of 
being  a  character  actor?" 

"  (^^   °^   tne   blessings,"    he   substituted. 

— "But  there  are  penalties,  at  any  rate  in 
the  theater.  After  eleven  years  in  stock  I  got  to 
New  York  and  was  given  the  lead  in  'The 
Storm.'  Then  I  played  the  brother,  with  Dick 
Bennett  and  Pauline  Lord,  in  'Beyond  the 
Horizon.'  That  settled  me.  There  were  no 
more  blue-shirt  leads,  and  I  was  out  of  work 
for  a  long  time.  Coming  to  Hollywood  three 
and  a  half  years  ago  I  was  darn  near  typed  in 
pictures  after  playing  gangsters  in  'Okay, 
America,'  and  'Whistling  in  the  Dark.'  I  got 
away  from  parts  of  that  kind  just  in  time. 
There's  a  wide  variety  in  other  character 
roles.  What's  more,  movie  audiences  help  you. 
People  always  know  what's  going  to  happen  to 
the  lead — that  no  matter  what  he  goes  through 
he  will  in  the  end  get  the  girl — but  they  never 
know  what  will  happen  to  the  character  man — 
whether  he'll  turn  out  to  be  a  drunk,  kill  him- 
self, or  be  hanged." 

These  delightful  possibilities  seemed  to  fill 
Mr.  Arnold  with  a  deep  contentment  as  he 
leaned  back  and  sighed  restfully. 

"Then  you've  nothing  to  worry  about?" 

"  Not  any  longer.  But  I  did  have  until  B .  P. 
Schulberg,  to  whom  I'm  under  contract,  de- 
cided that  hereafter  I'll  do  only  five  pictures  a 
year.  There's  great  danger  in  being  seen  on  the 
screen  too  often.    People  get  tired  of  you." 

As  one  who  had  felt  there  was  no  rest  for  the 
weary  movie  fan  on  this  account,  I  agreed. 

"Everything,  then,  is  going  to  suit  you?" 

"  It's  going  better  than  I'd  ever  hoped,"  was 
his  grateful  reply.  "This  is  the  first  time  in 
my  life  I've  had  any  dough.  Better  still,  I 
have  a  wife  and  three  children.  We  live  simply 
and  comfortably  on  Beverly  Crest  and  stay 
home  every  night  except  for  going  to  an  occa- 
sional play  or  symphony  concert.  Mrs.  Arnold 
was  Olive  Emerson,  a  New  York  church  singer, 
and  happily  I  share  her  love  of  music." 

Here,  by  all  the  signs  comparatively  rare  in 
Hollywood,  was  a  thankful  actor. 

"Yes,"  granted  Edward  Arnold.  "And  I 
thank  God  I'm  a  character  actor!" 


Jantzens 

ruj44?u:  ocrritkot 


It  is  the  magic  of  Jantzen- Stitch  that  gives 
you  an  amazing  degree  of  natural-line 
figure  control  in  a  Jantzen.  Because  of  this 
advanced  and  exclusive  knitting  process 
your  Jarftzen  fits  perfectly,  permanently. 
Permitting  complete  freedom,  it  firmly 
but  gently  holds  the  body  in  the  natural 
position  of  youth.  It  molds  the  body  in 
lines  of  grace  and  beauty.  Figure  control 
is  literally  knitted- in! 

THE  BRA-TUCK  [illustrated] — strikingly  combines  sim- 
plicity of  design  with  the  beauty  of  the  luxurious  new 
Kava-Knit  fabric.  There's  a  new  style  accent  in  the 
smart  tuck  design  at  the  bust  giving  a  youthful  effect  to 
the  brassiere  lines.  $5.95.  Other  Jantzen  models  $4.50 
to  $7.95.  Jantzen  Knitting  Mills,  Portland,  Ore.;  Van- 
couver, Canada;  London,  England,  Sydney,  Australia. 


'iiHtlitftl-lit 

sirimminu  suits 


Irene  Ware,  featured  in  the 
Universal  picture,  "The 
Raven,"  /rears  the  new 
Jantzen  Brit-Tuck. 


JANTZEN   KNITTING  MILLS  (  Dept.  92),  Portland,  Oregon 
Please  send  me  style  folder  in  colors  featuring  new  1935  models. 


WOMEN'S  □  MEN'S   □ 


Cal  York's  Gossip  of  Hollywood 


[  CONTINUED  FROM  PAGE  43 


THE     famous     Honeymoon     House    which 

'  Adolphe  Menjou  and  Verree  Teasdale  built 

atop  a  Los  Feliz  hill  will  have  to  be  remodeled. 

When  Adolphe  and  his  bride  carefully  and 
meticulously  planned  the  monument  to  their 
married  life,  they  neglected  to  account  for  life's 
little  surprises. 

They  forgot  to  allow  room  for  a  nursery. 

Now  the  little  surprise,  we  understand,  is  due 
to  arrive  in  the  fall.  And  Adolphe  and  Verree 
are  so  happy  they're  willing  to  tear  down  the 
house  and  build  a  whole  new  one! 

THOSE  who  pine  for  the  dear  dead  days  of  the 
'  Gay  Nineties,  have  another  pine  or  two 
coming. 

The  authority  for  this  is  Hugh  O'Connell, 
who  with  Edward  Arnold  and  Binnie  Barnes, 
has  just  finished  recreating  the  exploits  of 
fabulous  "  Diamond  Jim"  Brady  for  the  screen. 

O'Connell,  called  upon  to  bounce  a  few  gay 
Gay  Ninetiettes  on  his  knee,  showed  up  the 
next  day  on  the  set  hobbling  about  on  crutches. 
He  explained  that  bouncing  a  modern  lady  is 
no  trick  at  all — but  the  gals  of  that  era  were 
too  hefty  to  joggle  without  serious  results! 

(""HARLES  LAUGHTON  is  most  painstak- 
^— 'ing  in  studying  up  for  a  part.  When  he 
learned  that  he  was  to  play  Captain  Bligh  in 
"Mutiny  on  the  Bounty"  he  read  over  one 
hundred  books,  and  many  manuscripts  and 
other  documents  of  the  British  Admiralty 
archives,  learning  all  that  he  could  of  Bligh, 
the  individual,  as  well  as  the  sailor.  Then,  to 
cap  the  research,  Laughton  entered  the  estab- 
lishment of  a  very  old  firm  of  London  tailors, 
in  Bond  Street. 

"I  am  Charles  Laughton,"  he  said  to  the 
elderly  "dark."  "Once  you  made  a  uniform 
for  Captain  Bligh.  I  should  like  to  have  it 
duplicated." 

"Captain  Bligh?    When  was  that,  sir?" 

"About  1789,"  said  Laughton. 

"Very  good,  sir.  Just  a  moment  .  .  ."said 
the  tailor  calmly,  as  though  such  requests  came 
in,  a  dozen  a  day.  He  retired  to  a  back  room 
and  emerged  presently  with  an  old  book 
wherein  was  entered  every  detail — cloth,  but- 
tons, measurements,  braid  and  cost  of  the 
original  suit. 

CHIRLEY  TEMPLE'S  birthday  party— 
^  which  was  on  the  very  same  day  as  that  of 
William  Shakespeare,  by  the  way — was  in- 
tended to  be  a  get  together  for  all  the  lucky 
youngsters  of  the  writers  in  Hollywood.  Forty 
or  fifty  tots  were  to  assemble  in  the  Sun  Room 
at  Fox  Studios  to  have  a  feast,  see  a  Punch  and 
Judy  show  and  receive  gifts  from  Shirley — but, 
tragedy  of  tragedies,  Shirley  took  down  with  a 
bad  cold  and  the  party  was  off. 

IF  Charles  Laughton  remains  in  Hollywood 
'anything  is  quite  likely  to  happen. 

Charlie  dropped  all  his  hair  for  "  Ruggles  of 
Red  Gap,"  and  now  he  has  abandoned  no  less 
that  fifty-five  pounds  of  flesh  for  "Mutiny  on 
the  Bounty." 

A  women  dietician  turned  the  trick. 

P\ID  you  know  Jimmy  Gleason  joined  the 
'-'army  when  he  was  sixteen?  And  for  twelve 
years  he  was  an  expert  marksman  with  a  pistol 
— shooting  from  either  hip,  we  assume.     He 


was  with  the  field  artillery  and  the  cavalry. 
We  can't  understand  why  Westerns  didn't  get 
him  when  he  went  into  pictures. 

TO  his  great  surprise,  George  Burns  found 
'  himself  elected  to  the  office  of  Kentucky 
Colonel — for  "extreme  and  unusual  courage, 
above  and  beyond  the  bounds  of  ordinary 
duty." 

"Oh  well,"  was  Gracie's  reaction,  "you  may 
be  the  kernel — but  I'm  the  nut!" 

THE  chauffeur  of  a  prominent  movie  star  was 
'  complaining  of  a  distressing  misery.  He  had 
headaches  and  dizzy  spells. 

"I  don't  know  what  it  can  be,"  said  he, 
"unless  it's  the  high  attitude  out  in  Beverly 
Hills." 


A  cute  costume  and  a  pretty  girl! 
When  Cecilia  Parker  does  her  gar- 
dening she  puts  on  denim  slacks 
and  kid  gloves  with  cretonne  cuffs 


THE  call  went  out  at    Universal   to  find  a 
'  Lillian  Russell  for  theproduction,  "  Diamond 
Jim." 

Finally,  after  weeks  of  hunting  for  the  right 
actress,  the  casting  department  announced  it 
had  no  definite  results. 

Whereupon  it  was  discovered  that  there 
actually  was  a  Lillian  Russell  working  right 
on  the  studio  lot! 

She  was  a  stenographer  for  an  executive,  and 
while  she,  unfortunately,  doesn't  look  enough 
like  the  storied  actress  of  the  past  for  the  part, 
she  did  do  a  bit  of  acting  once  in  her  career, 
before  turning  to  the  safer  medium  of  the  key- 
board. 


DIGHT  now  the  whole  town  is  pronouncing 
'^and  mispronouncing  the  title  of  Garbo's 
picture — "Anna  Karenina." 

You'll  be  faced  with  the  same  problem  soon, 
so  Cal  herewith  presents  the  version  of  a  Russian 
technical  advisor.  He  says  it's  "Ah-nah  Kah- 
ray-neen-ah" — with  the  accent  on  the  "ray." 

THERE  has  been  an  undercurrent  of  real  con- 
'  cern  among  the  many  worshiping  friends  of 
W.  C.  Fields. 

The  laugh-master's  prolonged  siege  of  illness 
has  left  him  in  a  condition  of  precarious  health. 
"Bill"  almost  had  pneumonia  recently,  and  he 
can't  seem  to  completely  shake  off  the  after- 
effects and  get  back  to  full  health  again. 

He  has  been  absorbing  all  the  sun  and  storing 
up  all  the  rest  he  can  at  his  San  Fernando 
Valley  orange  ranch  home — and  everyone  in 
town  has  been  asking  everyone  else,  "  When  is 
Bill  Fields  going  to  be  back  in  form?  Tell  him 
I  said  to  hurry  up  and  get  real  well." 

No  one  has  more  friends  in  Hollywood  than 
W.  C.  Fields — and  no  one  deserves  more.  His 
place  can't  very  well  be  filled,  so  let  me  add  my 
voice  to  those  of  the  multitude, 

" Hurry  up  and  get  well,  Bill — we  need  you!" 

IF  you  think  that  Connie  Bennett  and  Gloria 
'Swanson  and  all  the  big  stars  have,  anything 
on  "Slickup,"  the  studio  bootblack  at  M-G-M 
you're  mistaken. 

"Slickup,"  who  does  all  right  shining  shoes 
for  the  stars,  has  joined  the  luxuriously  elite. 

Nowadays  he  arrives  at  the  studio  each 
morning  driven  by  a  chauffeur  in  uniform.  The 
car  isn't  exactly  the  latest  model,  but  it's  big 
and  the  chauffeur  gets  out  and  opens  the  doors 
and  everything.    Sumpin'! 

CHIRLEY  TEMPLE  is  to  have  a  twelve- 
^weeks'  vacation  and  she  will  make  her  first 
ocean  voyage.  With  her  parents,  Shirley  will 
sail  for  Hawaii — not  only  her  initial  voyage, 
but  the  first  time  she  has  ever  been  out  of  the 
state  of  California. 

\  V /ELL,  there's  bound  to  be  a  deep  dark  past 
W  in  the  life  of  every  man,  and  now  we  dis- 
cover the  facts  about  Roger  Pryor's  early 
career.  Roger  used  to  tell  bed-time  stories 
over  the  radio!  His  life  is  full  of  friendly  per- 
secutors since  the  discovery — and  some  of  the 
more  determined  entered  his  Hollywood  house 
and  covered  two  rooms  with  Mother  Goose 
wall-paper! 

CINCE  Carol  Ann  Beery  made  her  picture 
^debut  with  her  daddy,  practically  all  her 
thoughts  and  words  are  about  acting.  It's  the 
number  one  interest  in  her  life  now.  She  talks 
about  her  "career"  and  is  very,  very  serious 
about  it  all — as  no  doubt  she  should  be. 

Even  when  she  drinks  her  milk  or  eats  her 
spinach,  Carol  Ann  says  proudly — "See — I  ate 
it  all  up — now  I  can  be  a  great  actress." 

THE  actor-society  romantic  combine  of  Jack 
■  La  Rue  and  Connie  Simpson  has  started  up 
again.  They're  going  places.  But  just  to 
balance  the  ledger,  Felix  Chappelet,  who  was 
engaged  to  Genevieve  Tobin  not  so  long  ago, 
has  betrothed  himself  to  a  Los  Angeles 
society  girl. 

[  PLEASE  TURN  TO  PAGE  108  ] 


98 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


99 


Burning  the  Bright 
Lights  With  Mitzi 

[  CONTINUED  FROM  PAGE  73  ] 

C.  Ann  did  the  scene.  The  wee  Miss  Beery 
threw  her  arms  around  the  other  infant  and 
comforted  her  as  best  she  could.  She  was  so 
genuinely  sorry  that  she,  too,  burst  into  tears, 
and  Daddy  Wally  had  to  comfort  both  babes 
while  production  was  held  up! 

By  the  way,  my  chickadee,  me  and  Mr. 
Gable  has  a  secret,  and  we  won't  tell  you,  or 
you,  or  you!  We  both  know  of  a  luxurious 
ranch  in  the  desert.  He  goes  there  for  hunting. 
I  go  there  to  rest,  to  sigh  over  the  sunsets  and 
pluck  wildflowers.  I  remember  telling  you 
about  it  once  before.  David  Manners  has  a 
house  next  door.  Only  twenty  guests  can  be 
accommodated.  And  those,  pardon  the  eleva- 
tion of  my  nose,  have  to  be  recommended.  But, 
just  so  the  place  won't  be  over-run,  we've 
pledged  each  other  to  deepest  secrecy.  It's 
ever  so  much  more  beautiful  than  the  popular 
desert  resorts,  the  food  is  superb  and  the  price 
is  very  reasonable. 

"But  price,"  I  said  to  Mr.  Gable,  "wouldn't 
bother  you." 

"W/OULDN'Tit!  "exclaimed  Clark.    "Why 

*V  should  I  pay  twenty-five  dollars  a  day  to 
see  the  people  I  see  every  day  of  the  week,  when 
I  can  get  more  fun,  just  as  good  food,  a  whole  lot 
more  seclusion  and  swell  hunting  for  a  quarter 
of  that?" 

I  know  it's  mean  of  me  to  hold  out  on  the 
name,  so  I'll  be  a  biggie  and  give  you  a  clue. 
Some  years  ago,  after  a  heavy  rain,  stains  ap- 
peared on  the  dining-room  ceiling.  The  famous 
illustrator,  Tony  Sarg,  while  there  on  a  holiday, 
utilized  the  shapes  of  the  stains  and  made  them 
into  ships,  giraffes  and  giants.  Now,  Joanie, 
it's  simple,  isn't  it?  Find  that  ceiling  and 
you've  found  our  ranch! 

Ooh,  ooh,  how  my  top-knot  is  spinning  from 
the  giddy  social  whirl  this  last  moon!  I've 
tea-ed  with  the  Eddie  Robinsons;  breakfasted 
with  the  visiting  Broadway  columnist,  Louis 
Sobol;  partied  at  the  Stephen  Ames  (Raquel 
Torres);  and  went  to  Paul  Cavanagh's  tea! 
For  sixteen  cents  I'd  change  places  with  Rip 
Van  Winkle,  I'm  that  in  need  of  shut-eye! 

And  now,  I  shall  be  methodical,  start  with 
number  one,  which  is  Eddie  Robinson,  and  tell 
you  what  lovely  people  they  are.  Joan,  they 
stuff  you  with  divine  crepes  Sitzette  for  tea  (the 
millionaires!),  and  they've  got  about  the 
loveliest  home  I've  ever  seen.  It's  filled  with 
incalculable  art  treasures.  They're  always 
collecting,  those  folk,  and  between  exquisite 
china,  fine  old  glass,  pipes  and  paintings,  you 
can't  catch  your  breath  long  enough  to  say 
"Gosh!" 

I  arrived  just  as  Mr.  Robinson  was  hanging 
"Daughters  of  Revolution,"  a  painting  that 
has  aroused  a  deal  of  controversy  recently.  He 
bought  it  two  years  ago,  but  it  had  been  ex- 
hibited extensively  in  New  York  and  Chicago 
and  had  just  that  minute  arrived  in  his  home. 
The  actor  was  as  pleased  as  Judy's  husband 
over  this  new  and  famous  addition  to  his  art 
collection.  Personally,  I  felt  pretty  spiffy 
being  present  at  its  debut.  With  that,  and  the 
tremendous  colored  window  depicting  Mrs. 
Robinson's  family  crest  that  Eddie  had  in- 
stalled as  a  gift,  I  was  so  impressed  I  could 
hardly  gobble  my  tenth  crepes  Sirette!" 

Then  in  toddled  the  Robinson  treasure  of 
treasures — small    Mannie.      He    greeted    me 


W&tJ. 


■P 


June  nights  and  romance!  Those  breathless  little  meet- 
ings .  .  .  with  you  in  his  arms  .  .  .  as  he  whispers  those 
sweet  nothings  which  only  you  and  the  moon  can  hear . . . 

irritation.  It  doesn't  sting  or  burn. 

Nonspi  now  comes  in  a  new  bottle  with 
a  siphon-principle  top.  More  convenient 
and  economical  to  apply.  And  completely 
sanitary.  \ou  just  shake  it  on  gently. 
Apply  it  correctly  and  you  eliminate  the 
danger  of  staining  or  soiling  your  gown. 

This  summer . . .  use  Nonspi.  It's  35c  and 
60c  a  bottle  at  all  drug  and  department 
stores.  Get  yours  today. 

NONSPI 

APPROVED     BY     PHYSICIANS 


•  So  close,  so  intimate .  ..surely,  at  such 
times,  there  is  nothing  so  appealing  to  a 
man  as  the  delicate,  unspoiled  charm  of  a 
woman's  arms.  Don't  ever  dare  risk  offend- 
ing! When  nights  are  warm  . . .  take  care! 

Even  if  your  skin  is  sensitive  there's  a 
safe  way  for  you  to  prevent  underarm 
odor  — and  perspiration  stains.  A  way  to 
keep  yourself  as  lovely  and  unspoiled  as 
moonlight. 

That  way  is  Nonspi.  One  application 
keeps  you  free  from  underarm  perspira- 
tion from  two  to  five  days.  And  Nonspi 
is  approved  by  physicians.  Even  women 
with  sensitive  skins  use  Nonspi  without 


SPECIAL     TRIAL     OFFER 

The  Nonspi  Company  P-75 

1 1 3  West  1 8th  Street,  New  York  City 

Send  me  a  Special  Trial-Size  Bottle  of  the  new 
Nonspi.  I  enclose  10c  (stamps  or  coin).  15c  in 
Canada.  This  offer  good  only  until  June  15th,  1935. 


ADDRESS 


CITY STATE  . 


gravely,  then  toddled  ofl  with  his  Nana  to  the 
nursery  for  dinner.  Little  Caesar  looked  after 
him  with  idolizing  eyes  as  Mannie  called  out, 
"See  you  in  the  morning,  Daddy,  for  shaving." 

"He  has  a  toy  razor,"  Daddy  explained, 
"and  I  lather  his  little  face.  He  stands  beside 
me  and  imitates  every  stroke  I  make." 

I  had  lunch  at  M-G-M.  The  beauteous 
Countess  de  Maigret  (her  name  may  be 
changed)  a  composite  of  Dietrich  and  Garbo, 
who  has  just  been  signed  by  the  studio,  came 
over  to  chat.  She  was  a  sophisticated  and 
glittering  vision  in  a  skin-tight,  silver  sequin 
gown.  At  the  high  waistline  a  stiff,  sequin 
ruffle  stood  out  all  around,  almost  like  a  shelf. 
Of  course,  it  was  an  Adrian  model,  and  we 
envied  the  Countess  both  for  her  sumptuous 
shape  and  the  alluring  gown. 

IT'S  so  relieving  to  be  saying  nice  things  be- 
'hind  people's  backs  when  they  sneak  up  and 
listen  to  you.  The  famous  designer  himself 
suddenly  popped  his  head  around  the  corner, 
from  where  he'd  heard  every  word,  and  grinned 
delightedly. 

"The  Countess  looks  like  Garbo,  doesn't 
she?"  was  one  comment. 

"No,  like  Dietrich,"  thought  someone  else. 

"You're  both  wrong,"  said  Adrian,  "she's 
the  picture  of  Mickey  Mouse!"  And  the 
Countess  purred  with  delight! 

I  had  met  the  lovely  lady  shortly  before  at  a 
party.  We  all  sat  around  and  listened  de- 
lightedly to  her  accent.  The  poor  thing  had 
been  having  hairdresser  troubles  in  this  new 
Hollywood,  and  Norma  Shearer  was  helping 
her  out,  recommending  the  right  shops.  Mrs. 
Mervyn  LeRoy  sat  by  and  listened,  and  her 
husband  too.  (For  about  five  minutes!)  Also. 
Cary  Grant  (for  about  as  long)  and  the  at- 
tractive tennis  champ,  Paul  de  Ricou,  whom 
Mervyn  had  met  on  the  boat  to  Europe  and 
signed  up. 

Remember  the  party  the  comic,  Harry 
Green,  tossed?  I  told  you  he  sent  out  five 
hundred    invitations   and    everyone   was   sur- 


prised to  find  he  was  the  guest  of  honor?  It 
was  simply  dandy  when  the  guests  all  started 
comparing  notes!  Harry  threw  the  thing  at 
the  Colony  Club  and  people  kept  coming  and 
going  all  day.  I  couldn't  stay  long,  but  I  did 
get  in  hullos  to  Paul  Kelly,  Jean  Hersholt,  the 
pretty  Reine  Davies  (Marion's  columnist 
sister)  and  Virginia  Pine.  Virginia  was  wear- 
ing a  handsome  tailored  suit  and  a  cheery- 
looking  chapeau  which,  she  told  me,  she  had 
had  copied  from  her  favorite  riding  hat. 

Virginia's  baby  daughter  is  crazy  about 
George  Raft,  the  boy-friend.  The  other  day 
he  took  the  wee  one  to  the  studio,  for  the  first 
time,  and  showed  her  the  sights.  When  she 
came  home  she  was  terribly  glum.  It  took  an 
hour's  coaxing  before  she  would  reveal  the 
reason.  "I  wish,"  she  wept,  "that  I  looked 
like  Shirley  Temple!" 

Whee-ee-ee!  I  was  in  and  out  of  Paul 
Cavanagh's  party  quicker  than  that!  Not  be- 
cause it  wasn't  full  of  fun  and  frolics,  but  be- 
cause I  didn't  have  any  more  time.  Paul's  an 
old  friend,  and  he's  grander  than  thirteen 
marshmallow  sundaes.  There  were  British 
Lords  and  Ladies  and  consuls  all  over  the 
place.  (Paul  now  lives  in  the  house  Nelson 
Eddy  formerly  occupied  and  which  belongs  to 
Lois  Moran.)  Among  the  "cheerios"  was  the 
thoroughly  American  Tom  Brown  with  his 
happy  grin.  Ida  Lupino,  the  spectacular 
cutie,  was  present.  Also  Gertrude  Michael  and 
Elissa  Landi. 

I  AM  going  daffy  practicing  the  high  kicks 
'  and  whirls  every  morning  now  because  Miss 
Landi  told  me  her  mother  thought  I  was  a 
ballet  dancer  from  the  Russian  Monte  Carlo 
troupe!  At  these  words  I  turned  my  most 
toothsome  grin  on  the  lady.  She  smiled  back 
so  sweetly  that  her  daughter  exclaimed,  "  Look, 
you  can  live  with  your  mother  twenty-five 
years  and  suddenly  realize  what  a  beautiful 
smile  she  has!" 

No,  this  is  not  a  "boost  Van  Dyke"  club,  or 
anything  like  that,  but  I'm  going  to  talk  about 


that  man  again!  We  sat  together  and  munched 
squab  at  Mrs.  Stephen  Ames'  (Raquel  Torres) 
party  the  other  Sunday  night.  We  had  a 
ducky  time.  (Shame,  Mitzi!)  The  conversa- 
tion was  about  "White  Shadows  of  the  South 
Seas."  That  was  Raquel's  first  acting  role, 
and  Van  Dyke's  initial  directorial  job  of  im- 
portance. The  luscious,  black-eyed  maiden 
said,  "  Van's  a  wonderful  director.  I  was  green 
and  scared,  but  he  made  me  feel  at  home.  And 
he  turned  out  a  perfectly  beautiful  picture." 

"That,"  said  our  hero,  looking  at  the 
vibrant  Raquel,  "was  because  I  had  excellent 
material  to  work  with." 

\V/HAT?  You  want  to  hear  more  about  the 
v  party?  So  long,  Van!  The  other  well-known 
guests  present  were  Peggy  Fears,  Jack  LaRue 
Constance  Collier,  Renee  Torres,  Mona  Rico 
and  Fred  Perry,  the  racquet  champ.  It  started 
out  to  be  a  tennis  party.  But  have  you  heard 
of  the  California  sunshine?  The  liquid  sun- 
shine? We  had  it.  In  buckets-ful.  So  instead 
of  watching  tennis,  we  sat  around  and  watched 
Mr.  Perry  dodging  telephone  calls  and  re- 
porters who  wanted  to  know  just  what  his  part 
had  been  in  the  Joe  Benjamin  fracas  at  the 
Trocadero  the  night  before.  Perry  kept  saying 
nothing,  but  next  morning  the  papers  said  that 
Benjamin  said  that  he  said  (pause  for  breath!) 
American  champs  were  dreadful,  or  something 
equally  silly.  So,  they  exchanged  socks.  It 
made  the  party  lots  of  fun. 

Hey,  I  gotta  date  and  I  gotta  scoot!  But 
'arf  a  mo',  matey!  Here's  one  about  the  sad- 
faced  Sterling  Holloway  that  might  amuse  you. 
Sterling  went  with  a  pal  to  the  dentist,  to  lend 
moral  support.  And,  every  time  the  dentist 
drilled  the  friend  it  was  Holloway  who  groaned 
and  Holloway  winced.  The  climax  came,  how- 
ever, when  the  extraction  took  place.  The 
dentist  heaved,  the  friend  (a  stoic)  sat  tight — 
and  Holloway  fainted! 

Bung  ho.  lassie 

Mitzi 


From  the  Brown  Derby's  Chinese  Kitchen 


CONTINUED  FROM  PAGE  80  | 


minutes,  then  add  all  vegetable  ingredients, 
stirring  until  all  is  thoroughly  mixed.  Add 
chicken  soup,  cover  and  let  boil  for  ten  minutes. 
Season  with  soy  sauce,  sesame  oil  and  rice 
gin  and  thicken  with  the  starch  diluted  in  two 
tablespoons  of  water,  stirring  thoroughly  and 
watching  carefully  until  the  starch  is  thorough- 
ly   cooked,    forming    a    thick    brown    gravy. 

Chicken  Chow  Mein,  Canton  Style:  Serves 
four. 

'4  lb.  fresh  peeled  water  chestnuts 

Y  lb.  imported  Chinese  bamboo  shoots 
Yi  lb.  Chinese  cabbage  (stems  preferred) 

Y  lb.  Chinese  black  mushrooms  or  }A  can 
imported  French  while  mushrooms 

1  medium  size  heart  of  celery 

Y2  of  one  whole  sweet  green  pepper 

Y  lb.  Chinese  peas 

Y  lb.  bean  sprouts 

Few  slices  of  Spanish  onion 
\Y  lbs.  chicken  meat  (boneless  white  meat 
preferred) 

2  lbs.  fresh  egg  noodles 

Cut  up  the  vegetable  ingredients  (except  peas 
and  bean  sprouts)  into  very  fine  slices,  each  not 
exceeding  one  and  a  half  inches  in  length. 
Cook  in  the  same  manner  and  with  the  addi- 
tional ingredients  as  the  chicken  chop  suey 


In  a  separate  pot,  cook  the  noodles  by 
boiling  for  two  minutes.  Remove  and  put  in 
a  hot  frying  pan  containing  four  tablespoons  of 
cooking  oil  (imported  Chinese  peanut  oil  pre- 
ferred). Spread  noodles  evenly  and  let  fry 
brown,  turning  to  brown  each  side.  Watch 
carefully  and  add  more  oil  if  required.  Re- 
move noodles  and  cut  into  small  pieces  about 
one  inch  square.  Arrange  on  individual 
plates  and  cover  with  the  cooked  concoction. 

Cantonese  Rice,  Brown  Derby:  Serves  six 

Yi  cup  brown  rice 

2  tablespoons  butter 

Y  cup  strained  tomato 

2  tablespoons  chopped  onion 

2  cups  soup  stock 

1  cup  cold  diced  chicken  or  veal 

Cook  rice  in  butter  for  two  minutes  in  a 
frying  pan.  Add  tomato  and  onion  and  cook 
two  minutes  longer.  Add  stock,  meat  and  salt 
and  pepper  to  taste.  Cover  closely  and  let 
simmer  until  rice  is  tender  and  liquid  has  been 
absorbed,  about  one  hour,  ten  minutes. 

Ham  Noodles,  Pekin:  Serves  eight. 

1  package  (six   ounces)    wide   egg   noodles 

2  cups  chopped  ham 

3  eggs 

\Yi  cups  milk 


Butter 

Boil  noodles  until  tender,  drain  and  add 
ham,  eggs  well  beaten  and  milk.  Mix  thor- 
oughly. Turn  into  a  buttered  baking  dish, 
dot  top  with  small  pieces  of  butter  and  bake 
in  moderate  oven  for  one  hour  at  a  tempera- 
ture of  350  degrees.    Serve  with  tomato  sauce. 

Riee  Pudding,  Shanghai  Style:  Serves  four 

4  tablespoons  rice 

1  quart  milk 

Y  cup  sugar 

Y  teaspoon  salt 

Y  teaspoon  cinnamon  or  nutmeg 
1  cup  chopped  almonds 

Wash  rice  and  to  it  add  other  ingredients 
with  exception  of  almonds.  Pour  into  a  bak- 
ing dish  and  bake  slowly  until  thick  and 
creamy,  stirring  occasionally  during  the  first 
hour.  Cool  and  stir  in  the  chopped  almonds. 
Serve  with  molasses  sauce. 

Molasses  Sauce,  Shanghai  Style 

\Y  cups  light  molasses 

1  tablespoon  butter 

Y  teaspoon  ginger 

Y  cup  cream 

Mix  the  molasses,  butter,  ginger  and  cream 
and  cook  slowly  to  the  consistency  of  thick 
cream.    Serve  hot  over  Rice  Pudding 


100 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


101 


Mid-Summer  Fashion 
Forecast 

l  CONTINUED  FROM  PAGE  53] 

Daytime  Clothes 

In  this  picture,  Joan  Crawford  wears  a  suit  in 
rather  sheer  tweed,  navy-blue  in  small  herring- 
bone design  with  enormous  lapels  that  push 
upward  toward  the  throat  not  smoothed  out 
A  style  definitely  for  the  slender  woman,  and 
one  to  be  worn  off  and  on  throughout  the  Sum- 
mer and  well  into  Autumn. 

Sports  Clothes 

One  of  Adrian's  outstanding  contributions  to 
the  sports  picture  is  a  white  wool  bathing  suit, 
with  criss-cross  of  bright  blue  wool  down  the 
front  and  with  a  voluminous,  detachable  cape 
of  white  with  graduating  blue  stripes  A  tip 
for  manufacturers,  this  smart  beach  ensemble 
'dea. 

Evening  Clothes 

Joan's  evening  clothes  from  "No  More 
Ladies"  offer  a  wealth  of  ideas. 

Adrian  has  designed  a  very  short  evening 
wrap,  two  inches  above  the  waist,  lavishly 
trimmed  with  silver  fox.  The  idea  could  be 
adapted  in  all  fabric  or  fabric  with  less  ex- 
pensive fur.  For  Summer  dinner  and  evening 
dresses. 

Then,  there  is  a  sunburst  pleated  evening 
gown  of  silver  tissue,  which  used  exactly  thirty 
yards  of  material— at  $18  a  yard!  The  dress 
could  be  adapted  with  much  less  yardage,  be 
more  practical  and  just  as  lovely.  Adrian 
thinks  sunburst  and  accordion  pleating  is  the 
most  graceful  type  of  evening  fulness.  The 
hipline,  of  course,  is  close-fitting  with  fulness 
flaring  below 

One  of  Joan's  Adrian-designed  gowns  to 
claim  applause  is  the  white  crepe  late  afternoon 
or  dinner  creation  shown.  The  box  neckline  is 
a  very  new  note,  achieved  by  a  straight  length 
of  material,  generously  shirred,  which  shapes 
itself  into  a  square.  Shirring  also  on  the  short 
sleeve  cuffs  and  for  the  back  half-belt,  caught 
with  two  mirrors  at  back  instead  of  buttons. 

Bisque-colored  stiff  satin  makes  another 
evening  gown,  with  a  huge  jeweled  belt  buckle 
rather  like  a  stomacher,  of  emeralds  and  rhine- 
stones.  The  back  is  very  low,  but  from  the 
neckline  there  falls  a  cowl  drapery  of  satin  lined 
with  jewel  embroidery,  which  holds  it  softly 
out  from  the  back. 

Adrian  says  that  we  will  wear  wide  circular 
skirts  and  there  will  be  a  feeling  of  drapery  in 
all  afternoon  and  evening  clothes. 

When  "Anna  Karenina"  is  released,  Adrian 
thinks  Greta  Garbo's  decidedly  feminine 
clothes  will  have  a  decided  effect  on  fashions. 
The  clothes  are  fussy,  but  so  flattering  and 
feminine.  They  belong  to  an  era  when  to  be 
over-dressed,  as  we  now  consider  it,  was  to  be 
well  dressed.  Ladies  wore  fur,  feathers, 
flowers,  ribbons  and  laces,  all  at  the  same  time. 
Good  taste  now  decrees  few  of  these  fripperies 
— at  one  time.  Adrian  thinks  that  Garbo  may 
bring  about  the  return  of  these  adornments — 
many  or  all  at  the  same  time,  and  change 
modern  opinion  to  a  return  of  the  old  that  they 
are  in  good  taste.  He  anticipates  a  return  to 
furbelows  as  never  seen  before  in  the  memory 
of  the  present  generation.  Even  swooning  and 
smelling  salts  may  become  fashionable  again  to 
go  with  these  styles 


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Bernard  Newman  went  to  Hollywood  from 
Bergdorf-Goodman,  New  York,  and  made  the 
world  sit  up  and  take  notice  by  the  smart 
clothes  he  created  for  "Roberta."  He  is  also 
responsible  for  Katharine  Hepburn's  clothes  in 
"Break  of  Hearts."  His  fashion  views  are 
practical,  to  the  point. 

Sports  Clothes 

Mr.  Newman  likes  sleeveless  boleros  for 
sports  dresses.  They  offer  enough  coat  to  keep 
the  wearer  from  feeling  undressed  or  incom- 
plete in  a  shirtwaist  or  other  tailored  frock,  and 
are  comfortable. 

Dresses  for  active  sports  and  beach  wear  will 
have  detachable  skirts  and  shorts  beneath. 


Navy-blue  with  white  and  white  with  navy- 
blue  are  still  the  two  best  color  combinations, 
he  thinks.    Pale  yellow  also  is  very  good. 

Apparently,  the  less  said  of  hats,  the  better. 
Mr.  Newman  thinks  they  get  funnier  and 
funnier,  and  he  prefers  not  to  mention  them. 
By  late  Summer  he  thinks  we  will  have  to 
borrow  a  monkey  and  a  hand-organ  to  make 
the  costume  jibe  with  the  hats. 

Evening  Clothes 

On  evening  clothes,  however  he  is  more 
voluble,  and  says  the  tailored  evening  gown 
with  bright  stripes  is  an  excellent  late  Summer 
number.  All  thin  fabrics,  tailored  and  with  a 
bright  handkerchief  touch  will  be  good. 


There  will  be,  of  course,  the  usual  organdies 
and  organzas — with  this  decided  difference: 
long,  full  sleeves  and  decidedly  shorter  skirts. 
Off  the  floor  all  around  for  these! 

Mr.  Newman  does  not  subscribe  to  the  new, 
full  bell  skirt  or  the  harem  effect.  He  says  one 
woman  in  a  thousand  can  wear  them  well,  and 
does  not  think  them  important  because  they 
are  ugly. 

He  still  likes  a  sleek-fitting  skirt  and  always 
will.  Three  cheers  for  Mr.  Newman!  He 
doesn't  like  drapery  because  nine  times  out  of 
ten  he  thinks  it  looks  messy. 

He  likes  smooth,  clean  lines. 

Mr.  Newman's  great  fashion  battle  cry  is: 
Things  to  wear  must  be  wearable,  not  freak 
ish! 


Flying  the    Honeymoon  Express 


CONTINUED  FROM  PAGE  28  | 


there  are  two  pairs  of  head-phones  so  they  can 
listen  to  him  talking  back  and  forth  to  the 
ground,  or  enhance  the  mood  with  broad- 
casted sweet  music.  A  speaking  tube  connects 
with  his  pilot's  compartment,  discreetly 
walled  off  to  bar  all  normal  noises. 

On  one  trip,  however,  when  he  was  piloting 
a  Los  Angeles  playboy  and  his  actress  intended 
to  the  Arizona  nuptial  oasis,  he  heard  what  he 
thought  was  a  shot,  followed  by  a  bullet-like 
thud. 

"Good  heavens!"  he  thought,  "He's  mur- 
dered her  already — or  vice  versa."  He  looked 
around  to  face  two  wide  grins.  A  few  minutes 
later  another  shot  sounded  and  the  thud 
seemed  uncomfortably  close  to  his  ear.  This 
time  a  pair  of  even  wider  grins.  It  happened 
two  or  three  more  times,  but  after  all  he  had  to 
fly,  so  he  didn't  look  back  again  until  just 
before  he  landed.  To  his  horror,  a  pair  of 
limp  bodies  lay  stretched  back  against  the 
seats! 

MANTZ  landed,  jumped  out  and  wrenched 
open  the  door.  Then  he  saw  his  "shots." 
Empty  champagne  bottles  still  rolled  about 
on  the  floor.  They  had  been  popping  the 
corks  at  him,  but  using  the  bubbles  themselves! 

He  had  to  pour  the  prospective  groom  out 
of  the  plane  and  prop  him  up  at  the  wedding. 
And  after  he  had  winged  them  back  to  Holly- 
wood, the  happy  husband  rewarded  him  with 
a  rubber  check. 

It's  such  things  as  that  which  make  for 
never-a-dull-moment  in  the  life  of  Hollywood's 
Flying  Cupid.  Mantz  usually  officiates  as 
best  man,  witness,  and  partner  in  crime  to 
thwart  newspapermen  before  he  gets  through 
with  a  movie  nuptial  flight.  He  not  only  has 
to  fly  the  plane,  but  he  must  dig  the  veteran 
Yuma  marrying  Judge  Freeman  out  of  bed, 
arrange  for  "John,"  the  airport  manager,  to 
trundle  the  blissfully  incapable  charges  into 
town  in  his  sand-blasted  flivver,  and  do  all 
kinds  of  odd  jobs,  not  to  mention  occasionally 
risking  his  very  excellent  health. 

After  Director  William  Wellman  and 
Dorothy  Coonan  had  said  "I  do"  to  the  parson 
in  Las  Vegas,  Wellman,  who  is  an  old  friend  of 
the  aviator,  had  an  idea. 

"Let's  don't  go  back  to  Hollywood,"  he 
said.     "Let's  go  to  San  Francisco!" 

"Wait  a  minute,"  argued  Mantz.  "It's 
not  the  best  flying  weather,  you  know,  and 
to  get  to  Frisco  from  here  we  have  to  cross 
the  High  Sierras,  Yosemite  and  Death  Valley. 


Any  one  of  them  is  poison  in  case  of  trouble.' 

"That's  all  right,"  said  the  director.  "Will 
you  go?" 

"Why — sure,"  said  Mantz. 

"Well — I'll  go  anywhere  you'll  go,"  de- 
clared the  director.  Mantz  thought  such 
confidence  must  be  deserved,  so  off  they 
hopped,  and,  of  course,  made  it. 

Another  time — Mantz  laughs  as  he  tells 
this — he  was  flying  producer,  B.  P.  Schul- 
berg,  back  East,  not  to  be  married,  but  on  a 
strictly  business  trip.  They  were  nearing 
a  speed  record  when  they  hit  the  country 
around  Harrisburg,  Pennsylvania,  and  des- 
pite ominous  radio  reports  of  "zero-zero" 
ahead  they  kept  on.  In  the  thick  and  danger- 
ous weather,  Mantz  got  off  his  radio  beam. 
He  was  flying  completely  blind  and  in  a 
desperate  situation  which  grew  worse  every 
minute.  He  knew  he  had  to  land,  and  that 
any  landing  in  these  sightless  conditions 
would  probably  result  in  a  fatal  crack-up. 

Taking  his  courage  in  his  teeth  he  side-slipped 
down  through  a  low,  black  cloudbank  and  by 
expert  and  daring  maneuvering  skimmed  a 
lane  of  trees  and  sat  down  on  a  narrow  road. 

He  climbed  out  with  a  prayer  of  thanks. 
Schulberg  climbed  out.  Mantz,  realizing  his 
good  fortune,  expected  ardent  congratulations. 

The  producer  yanked  at  his  watch  and 
frowned. 

"Well,  there  goes  our  schedule  all  shot  to 
the  devil,"  he  said. 

BUT  if  he  was  mortified  then,  think  of  the 
time  when  he  made  a  hurried  midnight  flight 
to  Yuma  so  an  oft-wed  director  friend  of  his 
could  try  it  again,  only  to  have  the  rueful 
groom  call  him  in  a  few  weeks  and  bawl  him 
out  for  letting  him  get  married! 

Paul  Mantz  has  stunted  daringly  for 
pictures  in  his  time.  He  has  flown  airplanes 
through  low  hangars  with  scant  feet  to  spare 
from  his  wing  tips.  He  still  holds  the  record 
for  outside  loops  with  a  stock  plane — forty-six. 
Every  week  witnesses  drama  and  high  adven- 
ture in  his  business. 

Recently  he  raced  with  death  from  San 
Francisco  to  Rochester,  Minnesota,  and  had  a 
patient  on  the  table  for  a  delicate  brain  opera- 
tion at  the  Mayo  Clinic  in  thirteen  hours. 
The  other  day  he  carried  a  miner  crushed  by 
falling  shaft  timbers  over  the  mountains  to 
medical  aid.  He  has  flown  through  smoke  and 
flame  to  drop  food  and  water  to  trapped  forest 
firefighters. 


But  of  all  his  adventures — and  this  includes 
the  mad  hops  of  the  Honeymoon  Express — the 
most  intriguing,  exciting  and  maybe  the 
maddest  took  place  the  day  a  Los  Angeles 
newspaper  man  called  him  excitedly 

"Get  her  ready,"  he  cried,  "for  a  real  honey- 
moon trip — at  least  I  think  that's  what  it  is." 

"Okay,"  said  Mantz. 

They  hopped  in  the  usual  direction — to- 
ward the  Arizona  line.  The  pilot  was  too 
busy  to  ask  questions. 

AT  Needles  the  reporter  beckoned  him  down. 
He  jumped  out  and  quickly  back  in. 

"They're  on  the  highway,"  he  yelled. 
"Let's  follow  it." 

They  glued  themselves  to  the  ribbon  of  con- 
crete which  stripped  the  desert. 

Below  a  car  ran  ahead.  "There" they  are!" 
shouted  his  passenger.  "Land  ahead  of 
'em!"  Mantz  did.  A  big  limousine  swept  un- 
checked past  the  reporter's  excited  signals. 

They  hopped  to  the  tiny  town  of  Bagdad 
a  name  as  fantastic  as  the  mad  chase  itself. 

"Just  left,"  shouted  the  reporter  as  he 
climbed  back  in  the  plane.    "Get  down  low." 

Mantz  hugged  the  highway,  ten  feet  from 
the  ground,  roared  over  a  car  from  which  two 
heads  popped  out,  looking  "kind  of  scared." 

They  sat  down  in  front  of  the  speeding  auto 
again,  and  again.  The  car  swept  on.  Barstow 
loomed  ahead.  Their  quarry  was  securely 
and  officially  halted  at  the  fruit  inspection 
station.  The  newspaper  man  dashed  to  it 
with  a  glint  in  his  eye  while  Mantz  waited. 

When  he  returned,  Mantz  asked  him,  "Well 
are  they  married?" 

"They  say  they  aren't,"  crowed  the  news- 
man, "but  yes  or  no,  have  I  a  story!" 

"By  the  way,"  Mantz  wanted  to  know, 
"who  have  we  been  chasing?" 

"Garbo!"  the  reporter  exulted,  "Greta 
Garbo  and  Rouben  Mamoulian!" 

"Oh,"  said  Mantz,  "I've  heard  of  her. 
She's  pretty  well  known,  isn't  she?" 

No,  Paul  Mantz  doesn't  go  to  the  movies, 
he  just  does  his  job  as  the  Flying  Cupid  of 
Hollywood  and  doesn't  try  to  keep  up  with 
what's  what  on  the  screen. 

And  in  all  the  thirty-three  flights  he  has 
made  across  the  state  for  marriage  purposes, 
there  was  only  one  time  when  he  had  a  chance 
to  kiss  the  bride. 

That  was  when  the  habit  finally  caught  up 
with  him,  and  he  flew  himself  and  his  own 
bride  to  tell  it  to  the  marrying  judge  at  Yuma. 


102 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


103 


The  Rise  of 
Randolph  Scott 

[  CONTINUED  FROM  PAGE  39  1 


never  materialized.  DeMille  was  casting  for 
his  first  talking  picture  and  he  decided  that  he 
couldn't  take  a  chance  casting  an  unknown, 
totally  inexperienced  lad. 

But  the  movie  bug  had  bitten  him.  He  de- 
cided to  hang  around  and  become  an  actor. 
But  as  so  often  happens  in  Hollywood,  the  bite 
didn't  quite  take.  It  looked  as  though  it 
might,  however,  when  Jimmy  Ryan,  the  Fox 
casting  director,  saw  in  Randy  a  future 
Western  star  on  the  type  of  Gary  Cooper.  He 
had  Randy  study  lines  from  "The  Bad  Man" 
and  tested  him  in  a  cowboy  suit. 

It  was  a  good  enough  test,  but  still  nothing 
happened.  Randy  decided,  therefore,  that  the 
way  to  become  an  actor  was  to  do  a  little 
acting,  so  he  toted  his  six-feet-two  to  the 
Pasadena  Playhouse  where  for  the  next  eight 
months  he  acted  to  his  heart's  content.  Sud- 
denly, out  of  the  blue,  came  a  call  from  Mr. 
Ryan  telling  the  hard-working  Thespian  that 
Sol  Wurtzel,  a  power  at  Fox,  had  finally  seen 
the  test,  was  much  interested  and  wanted 
another  one  made  immediately.  This  time  in 
a  specially  tailor-made  cowboy  outfit! 

CO  Randy  hurried  into  Hollywood,  got  him- 
^self  measured  and  shortly  afterward  slid 
delightedly  into  a  finely  fitting  cream-colored, 
buckskin  suit.  Now  all  would  be  dandy.  The 
test  would  be  taken  just  as  soon  as  Mr. 
Wurtzel  gave  the  word,  the  happy  prophet 
Ryan  assured  him.  So,  Randy  hung  the  suit 
in  the  wardrobe  with  a  contented  sigh.  And 
there,  providing  sustenance  for  generations  of 
moths,  it  still  hangs! 

Even  a  six-foot  two-inch  worm  will  turn,  so 
Randy  turned  to  Honolulu  where  he  expected 
to  acquire  a  good  coat  of  tan  and  forgetfulness. 
But  what  about  this  Cinderella  stuff?  Wait  a 
minute!  The  good  fairy  was  not  in  Honolulu 
that  season.  No,  she  was  still  in  cinemaland. 
As  Scott  was  walking  up  Vine  Street  on  his  way 
to  book  his  passage  a  feminine  voice  hailed 
him.  The  young  lady,  George  Fawcett's 
daughter  and  an  old  friend,  wanted  to  know  if 
Randy  was  interested  in  doing  a  play,  "Under 
the  Virginia  Moon,"  in  which  her  mother  was 
starring.  As  easily  as  that,  Randy  became  the 
juvenile  lead. 

Next  he  played  in  "The  Broken  Wing,"  with 
Dorothy  Burgess  and  Leo  Carrillo.  In  the 
midst  of  this  came  a  tremendous  surprise — a 
studio  wanted  to  give  him  a  test!  This  time  it 
was  Paramount,  and  the  test  resulted  in  a  six 
months'  contract !  With  jubilation  in  his  heart, 
the  husky  lad  went  up  to  San  Francisco  with 
the  company  for  a  six  weeks'  run,  then  returned 
to  Hollywood  and  a  career. 

But  once  again  Randy  just  hung  around 
doing  nothing.  By  this  time  Gary  Cooper  was 
out  of  Westerns  and  a  cowboy  star  was  sadly 
needed  to  take  his  place.  Someone  thought  of 
Randy,  surprisingly  enough.  And  so  another 
test  was  taken!  This  time  by  John  Cromwell 
who  had  directed  Cooper  in  "The  Texan." 
And  Randy  was  It! 

It  took  just  a  very  little  while  and  then  the 
youth  of  America  gathered  Randy  to  their 
eager  little  hearts.  He  represented  to  them  all 
the  romance  of  the  open  range. 

But  when  "Roberta"  came  along,  the  studio 
needed  a  football  hero  for  one  of  the  leads. 


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They  hunted  about  for  the  right  type,  tested 
dozens  of  stalwarts,  but  none  of  them  seemed 
to  do.  Then  some  bright  soul  remembered 
Georgia  Tech  Randy  who  had  all  the  physical 
requirements.  You  guess  what  happened 
Right!    They  took  a  test!    Dozens  of  tests! 

Randy  went  into  "Roberta."  The  rest  is 
history.  The  ladies  of  the  land  now  have  a  new 
hero  to  dream  over.  But  pity  the  poor  kids, 
they've  lost  an  elegant  cowboy  forever. 

So  much  for  the  facts  of  the  case.  But 
what's  he  like  as  an  individual?  Cary  Grant, 
his  best  friend,  says  he's  the  grandest  guy  in 
the  world  because  he's  easy  to  get  along  with, 
thoughtful,  tolerant  and  extremely  conscien- 
tious about  his  work. 

But  Mr.  Scott  has  his  idiosyncrasies.  For 
instance  he  goes  on  vegetable  sprees  about 
three  times  a  week. 

But  when  Randy  isn't  vegetating,  the 
Southern  cook  that  his  mother  sent  him  makes 


him  cornpone  and  hot  biscuits  and  fried 
chicken.  Then  Randy  reverts  to  his  geographic 
origin,  and  honey,  he  sure  does  go  fo'  dem 
digestibles.  On  the  cook's  day  out  he  makes 
biscuits  himself.  One  rule  stands — good  or 
bad,  he  has  to  eat  them. 

On  the  slightest  provocation  he'll  strum  a 
guitar.  And  he's  the  sort  of  fellow  who  lets 
things  accumulate  —  books,  magazines,  old 
hats.  Especially  old  hats.  He  never  discards 
them.  He  is  "crazy  over  horses."  Another 
steadfast  rule:  no  matter  how  late  or  how  hard 
he  has  been  working  he  keeps  in  condition  by  a 
daily  work-out  at  the  gym. 

Now  he  is  going  from  one  picture  to  another 
with  hardly  a  day  between.  He  has  just 
finished  "Village  Tale,"  with  Kay  Johnson, 
and  he  is  now  working  in  "  She"  opposite  Helen 
Gahagan.  So,  the  entire  scheme  of  his  life 
radically  changed,  Randy  has  changed  too. 
He  deeply  regrets  his  very  limited  stage  experi- 


ence, so  he  studies  at  home  constantly.  After 
the  day's  shooting  is  over  and  he's  made  a  trip 
to  the  gym,  he  has  a  late  dinner,  then  next 
day's  lines  are  carefully  studied.  No  parties, 
no  girls,  no  play.  It  may  sound  dull  to  you, 
but  to  Randy  it's  the  most  exciting  work  in  the 
world.  He's  so  tired  out  by  eleven  o'clock  that 
he  sinks  into  the  specially  built  over-long  bed 
that  Howard  Hughes  (a  tall  boy,  too)  pre- 
sented him,  and  which,  being  made  of  plain 
unadorned  iron  never  matches  the  other  furni- 
ture in  his  room.  If  he  doesn't  fall  asleep  too 
soon  he  probably  reflects  with  that  wonderfully 
engaging  grin  of  his  that  he's  traveled  a  funny 
road — a  Virginia  gentleman  that  Hollywood 
dangled  disinterestedly  for  years  and  then 
created  into  a  first-class  cowboy.  And  now 
she  has  waved  the  wand  again  and  Mr.  Ran- 
dolph Scott  has  turned  an  abrupt  about-face 
and  gone  into  the  drawing-room — where  he 
belongs. 


The  Shadow  Stage 


CONTINUED  FROM  PAGE  71 


MARY  JANE'S  PA— First  National 


BREWSTER'S   MILLIONS— United  Artists 


PHANTOM   FIEND,  THE— Twickenham 


/^\NE  evening  a  train  whistle  proves  too 
^-^enticing  for  the  wandering  feet  of  Guy 
Kibbee,  and  he  ups  and  leaves  his  family  to 
get  along  the  best  they  can. 

Then  after  eleven  years  a  little  child  (his 
own)  leads  him  back  to  rescue  his  wife,  Aline 
MacMahon,  from  a  disagreeable  situation. 
The  picture  goes  pretty  coy  for  a  while  when 
Kibbee  dons  a  cook's  outfit  and  gets  a  job  in 
his  wife's  kitchen.     It's  below  par. 

PEOPLE'S    ENEMY,   THE—  RKO-Radio 

A  N  outdated,  melodramatic  story  with  poor 
''direction.  Preston  Foster  is  the  gangster 
who  gets  sent  up  for  income  tax  evasion.  While 
in  prison  his  brother  (Buster  Collier)  tells  him 
that  his  attorney  (Melvyn  Douglas)  is  going 
for  Foster's  ex-wife.  There  is,  of  course,  a 
jailbreak,  pistol-shooting  and  a  happy  ending 
Melvyn  Douglas  hands  in  an  intelligent  per- 
formance. 

SWELL-HEAD— Columbia 

IF  you're  a  baseball  fan,  you  might  have  a  full 
'evening's  fun  and  a  cry  or  two  out  of  this 
simple,  and  obviously  timely  take  off  of  the 
great  "I-Am"  guys  of  the  big  leagues.  But 
aside  from  the  diamond  stuff,  it's  not  much 
and  you  may  want  to  scream  when  Wallace 
Ford,  the  loudmouthed  hero,  is  made  to  go 
blind  for  the  tear-jerks.  Wally,  however,  does 
a  great  job,  despite  the  hackneyed  plot  twists. 
Barbara  Kent  is  the  romance  and  you'll 
probably  be  glad  to  see  three  old  timers 
again — Sammy  Cohen,  the  late  Mike  Donlin 
and  Bryant  Washburn. 

GOLD  DIGGERS  OF   1935— First  National 

(~LOOD  tunes,  bright  comedy  and  a  talented 
^rast  make  this  enjoyable  entertainment 
for  those  who  like  big,  splashy  musicals.  The 
massive  ensemble  numbers  are  so  colossal 
they're  a  bit  boring.  But  if  you  go  in  for  that 
kind  of  thing,  here's  your  meat.  The  romance 
is  between  Dick  Powell  and  Gloria  Stuart. 
Comedy  situations  are  expertly  handled  by 
Alice  Brady,  Joe  Cawthorn,  Glenda  Farrell, 
Frank  McHugh  and  Adolphe  Menjou. 


A  MUSICAL  comedy  version  of  the  famil- 
'  '  iar  story  of  young  Brewster  who  must 
spend  a  fortune  within  six  months  in  order  to 
inherit  a  greater  fortune.  Jack  Buchanan 
makes  a  gay  and  convincing  Brewster,  Lili 
Damita  and  Nancy  O'Neil  are  good  as  the 
feminine  elements.  Lively  tunes,  and  some 
nimble  dancing  by  Buchanan.  But  the  story 
loses  something  by  being  set  to  music  and 
given  a  British  background. 


They  seem  to  please  each  other, 
all  right!  It's  little  Jean  Parker, 
strolling  along  with  Pinky  Tomlin. 
Both  of  them  are  going  places,  too 


A  REAL  horror  thriller  based  on  Mrs. 
'  '  Belloc  Lowndes'  novel,  "The  Lodger." 
The  film  captures  the  thrills  and  suspense  of 
the  famous  "Jack  the  Ripper"  crimes  on  which 
Mrs.  Lowndes'  story  was  based.  Ivor  Novello 
gives  a  convincing  performance  as  the  quiet 
young  lodger  who  is  really  the  fiend,  and 
Elizabeth  Allan  is  good  as  Daisy,  his  unsus- 
pecting sweetheart.    Not  for  the  children. 

MEN  OF  TOMORROW— London  Films 

\WITH  Merle  Oberon  and  Robert  Donat  in 
™  the  cast,  directed  by  Leontine  Sagan  of 
"Maedchen  in  Uniform"  fame,  and  adapted 
from  Anthony  Gibbs'  novel  "The  Young 
Apollo,"  one  has  reason  to  expect  this  to  be 
superb  entertainment.  But  it  is  sadly  lack- 
ing. With  flashes  of  real  promise,  it  keeps  you 
waiting  and  hoping  for  something  that  never 
develops.  It  is  our  guess  that  the  film  suffers 
chiefly  from  over-cutting,  which  has  made  it 
jerky  and  incoherent. 

I'LL  LOVE  YOU   ALWAYS— Columbia 

IT'S  a  certainty  you  won't  love  "I'll  Love 
'You  Always."  Nancy  Carroll  doesn't  look 
at  all  well  and  she  goes  dramatic  all  over  the 
place.  George  Murphy,  as  her  husband,  does 
as  good  a  job  as  possible  with  the  material 
Murphy  is  sent  to  jail  for  stealing.  He's  not  a 
thief,  but  just  desperate.  To  keep  it  from  his 
wife,  he  has  letters  mailed  to  her  from  Russia. 
When  he  wants  to  bow  out  and  save  her  name 
the  stork  flaps  its  wings  and  all  is  love  and  sun 
shine  again.  The  story  is  dull,  the  direction 
poor  and  the  dialogue  and  photography  un- 
inspired. 

WEREWOLF  OF   LONDON,   THE— Universal 

ANOTHER  good  old  Universal  shocker  with 
Henry  Hull  doing  an  effective  "Jekyll  and 
Hyde"  as  a  werewolf  who  becomes  bestial 
when  the  moon  is  full.  It's  chock  full  of 
screams  and  howls  and  murders,  which  provide 
most  of  the  blood-curdling  excitement.  If  you 
like  to  be  subjected  to  chills  and  the  creeps, 
you'll  enjoy  it,   but   you'd  better   leave    the 


104 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


105 


children  at  home.  Henry  Hull  carries  most  of 
the  story  which  is  none  too  clever,  and 
Warner  Oland,  Valerie  Hobson  and  Spring 
Byington  do  as  well  as  could  be  expected  with 
unimportant  roles. 


KENTUCKY    BLUE    STREAK— Talisman 


<; 


OME  interesting  photography  of  a  horse 
race,  done  with  a  small  camera,  is  the  high- 
light of  this  independent  picture.  Eddie 
Nugent  is  the  reporter  who  saves  jockey 
Junior  Coghlan  from  the  machinations  of  the 
heavy,  played  by  Cornelius  Keefe.  Patricia 
Scott,  new  ingenue,  has  much  to  learn. 


The  Best  Picture  of  1934 

[  CONTINUED  FROM  PAGE  66  j 

And  the  July,  1934,  issue  will  give  you  a  similar 
list  of  all  pictures  released  for  the  first  half  of 
the  year. 

One  other  point:  while  the  picture  must  have 
been  released  in  1934,  you  need  not  have  seen 
it  during  that  year.  If  you  saw  the  film  during 
1935,  that  is  quite  all  right. 

There  are  no  rules,  no  restrictions.  All  you 
need  to  do  is  vote  for  the  picture  you  liite  best. 
The  film  receiving  the  most  votes  will  win  the 
Gold  Medal. 

For  your  convenience  a  ballot  is  printed 
on  page  66.  But  you  can  send  your  vote 
in  on  a  post  card  or  scrap  of  paper  if  you 
wish. 

The  Medal  to  be  awarded  is  made  of  solid 
gold.  It  weighs  12334  pennyweights.  It  is  two 
and  one-half  inches  in  diameter,  and  designed 
by  Tiffany  and  Company,  New  York. 

On  page  66  are  the  names  of  films  given 
the  award  in  previous  years. 

What  movie  do  you  want  added  to  this 
Honor  Roll  for  1934? 


Edna  May  Oliver  dons  old  lace  and 
a  white  wig  for  her  Fanny  Town- 
send    role    in    "No     More    Ladies" 


( 


ILOVEILT  LADY 

...  of  course  you  live  at  the  Sherry-Netherland 


J* 


%m*~   -rffi 


j 


Where  the  advantages  of  permanent  residence  are  available  by 
the  day,  week,  month  or  year. 

Correctly  designed  and  finely  appointed  suites  of  1,  2,  3,  4  and  5  rooms, 
each  with  large  serving  pantry, available  by  the  day,  week  or  longer.  Also 
Tower  Suites  of  5  Master  Rooms  and  4  Baths,  occupying  an  entire  floor. 


|fl  1(u  Skerru-Netherland 


u- 


Facing  the  Park 

FIFTH   AVENUE   AT   59th 

NEW  YORK 


Photoplays  Gift  To  >bu 


cJdeciufijul    8-CSJiece     ^ockiail    CJet 


Dainty,  attractive  and  smart,  this  new 
Hollywood  Hostess  Service  is  just  the  thing 
for  the  woman  who  likes  to  serve  in  the 
modern  manner. 

Made  of  Century  Chrome  Plate,  its  con- 
stant brilliance  and  luster  add  an  inviting 
appeal  to  your  refreshments.  When  you 
serve  with  it,  your  guests  cannot  help  but 
admire  your  good  taste. 

Four  beautiful  trays  and  four  cups  com- 
prise the  Hostess  Set.  Each  tray  is  3%  x 
7V2  inches — ample  space  for  the  cocktail 
cup  and  several  sandwiches  or  tid-bits. 

Whether  placed  in  the  lap  or  held  in  the 
hands,  the  Hostess  Set  does  away  with  cum- 
bersome plates  and  saucers.  Eliminates  acro- 
batic balancing  feats  on  the  part  of  your 
guests. 


And  it  is  so  easy  to  clean  too.  Merely 
pass  a  soft  cloth  over  the  surface  and  the 
original   sparkle  is  still   there. 

Let  us  tell  you  how  easy  it  is  to  get  one 
of  these  8-piece  sets  without  cost.  Mail  the 
coupon  NOW. 


Mail    Coupon 
For  Particulars 


II 


PHOTOPLAY    MAGAZINE, 
1926  Broadway,  New  York,  N.  Y. 

Dept.  75 

Please  send  me  particulars  as  to  how  I  can 
obtain  the  full  8-piece  Hollywood  Hostess 
Set  at  no  cost. 


Name 
Slrett 
City     . 
State    . 


And  Now  There  Is  Al  Jolson,  Jr. 


CONTINUED  FROM  PARE  25 


Hospital,  suffering  from  another  attack  of  what 
was  destined  to  be  a  fatal  disease.  For  three 
weeks,  Ruby  never  left  her  bedside — never 
gave  up  hope— that  this  sister  whom  she  so 
adored  would  be  spared.  But  "Heaven  gives 
its  favorites  early  death."  And  so,  one  March 
afternoon,  Anna  Mae  quietly  slipped  away 
from  the  family  circle,  who,  for  nineteen  years, 
had  given  her  their  unselfish  devotion.  To 
them,  she  is  not  gone.  For  to  live  in  the  mem- 
ory of  those  we  love,  is  not  to  die. 

After  the  funeral,  Ruby  tore  herself  away 
from  her  bereaved  family  to  join  Al  in  New 
York,  where  his  radio  contract  detained  him 
"He  needs  me  too,"  she  told  them — and  they 
understood. 

On  the  train,  she  decided  that  now  was  the 
psychological  time  to  adopt  a  baby.  In  be- 
tween trains,  in  Chicago,  she  visited  "The 
Cradle"  and  found  little  Al.  She  arranged 
that,  on  her  way  back  to  California,  three 
weeks  later,  she  would  bring  big  Al  with  her. 
and  if  he  was  as  crazy  about  this  "sonny  boy" 
as  she  was,  they  would  arrange  for  his  legal 
adoption,  and  take  him  back  to  Hollywood 
with  them. 

As  one  of  her  dearest  friends,  Ruby  had  con- 
fided her  plans  to  me  immediately  upon  her 
arrival  in  New  York,  but  she  swore  me  to  the 
utmost  secrecy.  Neither  she,  nor  Al,  wanted 
this  "blessed  event"  to  be  ballyhooed  with  the 


usual  fanfare  announcing  the  Hollywood  adop- 
tion of  a  child. 

"We  hope  to  have  a  baby  of  our  own  some 
day,"  Ruby  explained.  "And  we  don't  want 
everyone  to  point  out  Al,  Jr..  as  the  'adopted 
one.'  " 

I  hugged  the  Jolson  secret  to  myself  for  days. 
Keeping  faith  with  Ruby,  I  refrained  from 
using  it  on  my  broadcast  or  in  newspapers 
until  she  wired  me  the  final  okay  from  Chicago. 
But  I  had  a  hunch  that  the  news  would  leak 
out  before  then.  It  did.  There  was  no  peace 
for  poor  Ruby,  after  that!  Every  time  she 
moved,  she  was  trailed  by  a  flock  of  reporters, 
who  were  sure  she  was  on  her  way  to  the  baby's 
hiding  place. 

One  afternoon,  she  arrived  at  her  brother's 
home  in  Jackson  Heights,  Long  Island,  to  find 
the  entire  front  porch  littered  with  camera 
men.  They  had  seen  her  cousin  enter  the 
house  with  her  fourteen-months-old  baby,  and 
were  convinced  that  he  was  the  new  Jolson  heir! 

Ruby  isn't  wading  deep  in  parent  psychology 
magazines  or  lying  awake  nights,  planning  her 
son's  future.  All  she  wants  is  for  him  to  be  a 
happy  healthy,  normal  youngster  who  will 
always  reflect  credit  on  the  famous  name  he 
bears.  If  he  wants  to  be  an  actor,  she  and  Al 
will  be  delighted,  but  if  he  prefers  to  be  a 
plumber,  that's  all  right  too — just  as  long  as 
he's  a  good  one! 


Will  Ruby  give  up  her  career  for  mother 
hood?  She  doesn't  know  yet.  She  still  has 
two  more  pictures  to  make  under  her  Warner 
Bros,  contract.  After  that,  quien  sabe?  (the 
"Latin  from  Manhattan"  influence!) 

She  loved  "Go  Into  Your  Dance"  while  she 
was  appearing  in  it.  She  found  co-starring 
with  Al  an  ideal  working  arrangement. 

"It  was  the  first  time  we  were  on  the  lot  to- 
gether at  the  same  time,  and  it  was  such  joy 
having  the  same  working  schedule,"  she  told 
me.  "We'd  start  together  in  the  morning,  and 
come  home  together  at  night.  We'd  be  tired 
or  peppy  at  the  same  time,  depending  on  the 
day's  work.  We'd  look  at  our  rushes,  and  plan 
little  bits  of  "business"  for  the  next  day's 
scene.  The  sequence  in  which  Al  plays  the 
piano  for  me,  while  I  try  to  convince  him  I'm  a 
dancer,  was  my  own  suggestion,  and  I'm  so 
proud  of  it!" 

She  should  be — it's  one  of  the  high  spots  of 
the  picture. 

But  the  success  of  "Go  Into  Your  Dance"  is 
an  empty  glory  to  Ruby  now.  She  won't  even 
go  to  see  it,  because  Anna  Mae  used  to  visit 
her  on  the  set  every  day,  and  appears  briefly 
in  one  of  the  earlier  scenes. 

It  is  said  that  sorrow  often  makes  one  bitter 
—it  has  only  served  to  make  Ruby  gentler, 
sweeter  and  more  lovable  ...  if  such  are  pos- 
sible! 


Letters 


CONTINUED  FROM  PAGE  15 


COMEDY  FOR  GRETA 

W/HY  does  M-G-M  give  Greta  Garbo  so 
"  many  gloomy  parts?  Don't  they  realize 
that  she  is  an  actress  of  many  moods,  and 
as  such  should  not  be  confined  to  playing 
tragic  and  heavy  dramatic  roles? 

The  opening  scenes  of  "The  Painted  Veil" 
and  glimpses  from  many  of  her  previous  films 
have  shown  us  that  Greta  Garbo  can  play  a 
gay,  carefree  young  woman,  full  of  the  zest  of 
living,  with  absolute  ease  and  abandon.  But 
we  want  more  than  mere  glimpses.  It  would 
be  a  great  pleasure  to  see  her  in  a  character 
representing  the  joy  and  not  the  sorrow  of 
living. 

She  has  a  fund  of  delightful  humor  that 
ought  to  be  properly  exploited,  and  which 
would  enable  her  to  score  a  terrific  hit  in  light 
comedy. 

Indira,  Princess  of  Kapurthala    India 

JOKE  ON  THEM 

HOP  and  Mom  and  I  decided  we  would  see  a 
'movie  a  week.  Somehow,  Mom  and  I 
thought  Pop  would  like  sweet  little  Janet 
Gaynor's  pictures,  so  we  took  him  to  see  them. 
But  one  week,  Pop  was  feeling  kind  of  blue,  so 
we  thought  we  would  shock  him  out  of  it,  so 
we  just  up  and  took  him  to  see  Mae  West  in 
"The  Gay  Nineties."  Well,  the  joke  was  on 
us.  Pop  came  out  raving  and  Mom  and  I 
were  shocked  out  of  our  wits. 

J    M..  Yoakum.  Texas 


SHOULD  BE  GRATEFUL 

W/HEN  I  think  of  all  the  pleasantness  the 
**  movies  bring  into  the  lives  of  its  patrons, 
it  makes  me  bristle  to  hear  people  blackball 
the  actors  who  play  in  them. 

I  believe  most  of  us  go  to  see  a  picture  to 
enjoy  a  release  from  our  own  thoughts  or 
everyday  experiences.  Because  we  don't 
approve  of  the  private  lives  of  the  players 
doesn't  make  the  picture  any  the  less  enjoy- 
able. Not  any  more  so  than  a  view  of  the  Bay 
of  Naples  would  be  ruined  because  a  ship  had 
been  wrecked  on  the  shores. 

The  stars  of  Hollywood  are  constantly  be- 
fore the  public  eye  by  popular  demand,  but 
I  am  sure  one  would  find  just  as  many  unde- 
sirable qualities  among  the  citizens  of  any  city 
or  town  were  their  private  lives  printed  as 
widely  over  the  country. 

I  am  of  the  opinion  people  should  be  grate- 
ful for  the  entertainment  the  players  give  us. 
After  all,  a  fine  performance  by  any  other 
name  would  still  be  a  fine  performance. 

M ariei.  Anderson,  Racine.  Wisconsin 

TO  MR.  BLACKMER 

W/HY.  oh  why,  can't  the  producers,  just 
*V  sometimes,  give  us  fans  what  we  want? 
My  kick  is  that  a  man  like  Sidney  Blackmer 
appears  so  infrequently  on  the  screen,  and 
when  he  does,  it's  only  in  supporting  roles. 
Mr.  Blackmer  is  an  actor  of  great  charm  and 
finesse     and    always   handles   his   parts   with 


consummate  ability.     It  is  a  treat  to  watch  him. 
I,  as  one  of  Mr.  Blackmer's  Canadian  ad- 
mirers, take  off  my  hat  to  him. 

R.  W.  Berton,  Montreal,  Canada 

ROSS  ALEXANDER 

A  FEW  months  ago  I  saw  "FlirtationWalk" 
'  '  and  "Gentlemen  are  Born,"  introducing 
to  the  movie-going  public  a  new  player,  Ross 
Alexander.  I  liked  this  young  man's  acting 
very  much  and  hoped  I  would  be  seeing  more 
of  him  on  the  screen  in  the  future.  I  think 
he  is  the  best  bet  of  all  the  new  players  on  the 
screen  at  the  present  time. 

Paul  Prince,  Birmingham.  Alabama 

ALL  FOR  COLOR 

W/E  have  been  viewing  black  and  white 
^  films  ever  since  the  motion  picture  industry 
was  in  the  cradle  and  I  think  it's  time  for  a 
change  to  more  colorful  films.  But  recently 
I  saw  the  color  short,  "La  Cucharacha,"  and 
it  was  beautiful.  It  didn't  disturb  my  eyes 
once. 
C.  J.  Calderon,  Philadelphia,  Pennsylvania 

FROM  YUGOSLAVIA 

I  AM  very  sorry  indeed  that  American  films 
'  are  not  more  plentiful  in  Yugoslavia.  They 
are  rich,  shining  and  multiplex,  beautiful, 
smart  and  brilliant. 

Ygor  Polensky,  Osijek,  Yugoslavia 


106 


PHOTOPLAY  MAGAZINE  FOR  JULY,   1935 


107 


"I  Want  to  Be  a  Clown' 


[  CONTINUED  FROM  PAGE  48  ] 


clown.  He  was  still  being  forced  in  film  after 
film  to  cry  "Mother!"  with  a  tremble  in  his 
voice  when  his  desire  was  to  kick  up  his  heels 
and  grin. 

Bob  Young  had  never  intended  being  a 
serious  dramatic  actor. 

His  first  job  in  motion  pictures  was  back  in 
1927  when  he  was  night  watchman  at  Associ- 
ated Studios,  guarding  the  costumes  being  used 
in  von  Stroheim's  lavish  production,  "The 
Wedding  March."  Bob  used  to  watch  for  a 
few  hours,  then  roll  up  in  a  satin  shawl,  put  his 
head  on  a  bustle  and  go  to  sleep.  And  the 
dreams  he  dreamed  were  of  Robert  Young, 
actor,  master  of  farce,  ace  comedian.  There 
wasn't  a  tragic  note  in  them. 

THE  first  money  he  earned  as  an  "actor"  was 
'  playing  an  extra's  role  in  a  mob  scene  in  a 
Ben  Turpin  comedy.  The  five  bucks  was  nice, 
but  the  real  thrill  was  seeing  Ben  Turpin  in  the 
flesh,  watching  the  comedian  do  his  stuff  before 
the  cameras. 

When  you  meet  Bob  Young  you  have  a  feel- 
ing that  his  natural  talents  would  be  for 
comedy  rather  than  dramatic  roles.  He  has 
flirty  eyes,  full  of  twinkles,  and  a  kind  of 
sparkle  that  he  must  continually  repress  before 
the  cameras  when  playing  a  serious  role.  He's 
a  gay,  carefree,  active  person.  He  says  him- 
self that  serious  roles  are  desperately  difficult 
for  him  to  play,  and  comedy  is  natural  and 
easy. 

"A  single  sentence  that  must  be  spoken 
gravely,  dramatically,  throws  me  into  a  cold 
sweat,"  Bob  groaned.  "Usually  there  have  to 
be  re-takes  and  re-takes.  It  wears  me  out. 
But  comedy — ah!  That  comes  easy.  I  never 
had  so  much  fun  in  my  life  as  I  did  making 
'Vagabond  Lady.'  I  actually  looked  forward 
each  day  to  getting  back  on  the  set. 

THERE  was  a  kind  of  spontaneity  and 
eagerness  that  I  was  never  able  to  feel  in 
playing  a  dramatic  role.  Things  went  like 
clockwork.  The  pay-off  was  the  day  we  made 
the  scene  down  in  the  janitor's  office,  when 
Frank  Craven,  as  old  Spiggins,  was  trying  to 
argue  me  into  marrying  his  daughter.  I  am 
swinging  a  mashine,  nonchalantly,  and  giving 
Frank — who,  incidentally,  is  a  swell  golfer — 
little  attention. 

"There's  a  golf  ball  on  the  floor  and  across 
the  room  a  brass  cuspidor.  The  idea  was  that 
when  Frank  reached  the  climax  of  his  argu- 
ment I  was  to  hit  the  ball,  landing  it  into  the 
cuspidor.  I'm  a  poor  golfer,  and  was  sure  it 
would  be  impossible  to  do  it,  so  we  decided  to 
make  the  shot,  let  the  ball  fly  where  it  might, 
then  cut  to  a  shot  of  the  ball  in  the  cuspidor — 
what  is  known  as  a  'trick  shot.'  The  scene 
went  along  beautifully — cameras  grinding.  I 
hit  the  ball.  It  sailed  smoothly  across  the 
room  and  plop,  dropped  right  into  the  cuspidor! 
The  crew  and  cast  almost  ruined  the  'take' 
with  gasps  of  surprise. 

"And  it  seemed  as  though  everything  went 
along  with  just  that  much  ease.  Everything 
but  the  gumdrops!  You'll  remember  that 
Evelyn  Venable  and  I  are  inveterate  gumdrop 
chewers  in  the  film. 

"One  scene  in  particular,  that  where  we  eat  a 
bagful.  It  just  happened  that  that  was  one  of 
the  few  scenes  in  the  film  that  required  a  num- 
ber of  re-takes.  Evelyn  and  I  chewed  gum- 
drops  all  afternoon. 


"We  tried  'faking,'  pretending  we  were 
chewing  them,  or  starting  to  chew  them  then 
depositing  them  in  a  waste  basket.  But  these 
'fakes'  were  all  obvious,  and  Director  Sam 
Taylor  wouldn't  let  us  use  them.  Nope!  We 
had  to  swallow!  Evelyn  and  I  were  both  ill 
that  night.  But  fortunately  we  didn't  have  to 
start  on  another  gumdrop  sequence  the  next 
day. 

"People  who  have  seen  the  film  tell  me  it  is 
hilariously  funny,"  Bob  continued.  "And  I 
certainly  hope  it  is.  The  idea,  you  know,  was 
to  play  it  as  light  comedy-drama.  But  after 
reading  the  script  I  said  to  myself, '  Mr.  Young, 
here's  your  chance  to  do  some  real  farce — 
"clowning.  Don't  let 'em  talk  you  out  of  it.'  It 
took  quite  a  lot  of  arguing  to  convince  those 
concerned  that  it  should  be  played  as  farce 
rather  than  straight  high-comedy.  And,  of 
course,  the  film's  success  is  of  vital  importance 
to  me. 

"  Evelyn  Venable  was  my  staunch  supporter 
— she  too  has  always  wanted  to  do  comedy  and 
has  spent  most  of  her  two  years  in  Hollywood 
playing  serious  roles.  The  crazier  we  could 
play  a  scene  the  better  we  liked  it — and  the 
easier  we  found  it,  too." 

I  OTS  of  people  have  a  mistaken  idea  that 
'—comedy  is  always  easier  to  play  than  tragedy. 
As  a  matter  of  fact,  most  artists  find  it  just  the 
opposite.  Claudette  Colbert,  for  instance, 
once  said  to  me,  "Comedy  is  very  difficult  for 
me  to  do.  Serious  drama  is  much,  much 
easier.  In  a  dramatic  scene  I'm  playing  a 
certain  part  as  I,  Claudette  Colbert,  feel  it 
would  be  enacted  in  real  life.  But  in  comedy  I 
have  to  play  it  in  a  way  thousands  of  people 
in  different  walks  of  life  will  consider  funny  and 
convincing. 

"It  puts  a  terrible  strain  on  an  actress,  I 
think!" 

It's  easy  for  Bob  Young  because  he  has  a 
natural  talent  for  it.  However,  Bob  may  want 
to  clown  before  the  camera  but  he  takes  his 
career  very* seriously.  As  a  matter  of  fact,  he 
has  taken  his  acting  seriously  since  a  child  of 
five  or  six,  when  the  ambition  to  be  a  great 
comedian  was  first  formed.  His  parents  were 
poor,  and  the  problem  of  a  career,  financial 
security,  was  no  light  matter  to  the  youngster 
who  ran  errands  after  school  to  earn  a  little 
money. 

When  he  was  graduated  from  high  school,  in 
Los  Angeles,  he  got  a  job  clerking  in  a  drug 
store.  But  he  spent  every  minute  of  his  spare 
time  at  the  Pasadena  Playhouse. 

He  had  roles  in  over  forty  plays  there  before 
any  of  the  studios  in  Hollywood  even  gave  him 
a  tumble. 

TODAY  life  looks  pretty  rosy  to  him.  As  soon 
'  as  he  was  well-established  in  films,  he  married 
his  high-school  sweetheart,  Betty  Lou  Hender- 
son. 

Baby  Carol  Ann  is  a  year  and  a  half  now, 
and  the  Youngs'  marriage  is  considered  one  of 
the  happiest  in  Hollywood. 

"All  I  ask  for  now,"  he  says,  "is  bigger  and 
better  clowning  roles — more  comedy.  I'm  sure 
it's  my  only  chance  for  important  movie  suc- 
cess." 

So,  some  day  you'll  be  saying,  "Isn't  Bob 
Young  a  marvelous  comedian?  Remember 
back  when  he  was  a  juvenile,  turning  on  the 
tears  in  every  reel?" 


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Cal  York's  Gossip  of  Hollywood 


CONTINUED  FROM   PACE  98 


CTEPIN  FETCHIT  moved  fast  for  the. first 
'-'time  in  his  career — but  unfortunately,  the 
camera  didn't  gel  it.  For  a  scene  in  "Charlie 
Chan  in  Egypt,"  Stepin  was  lighting  the  way — 
supposedly  for  Warner  Oland — to  the  bottom 
of  a  tomb,  down  a  hum  flight  of  stairs.  Well 
Step  missed  a  step — and  saved  himself  all  the 
trouble  of  walking  down.  Pretty  soon  a  sad 
voice  drifted  up:  "I'se  down  here,  boss,  with 
all  dese  other  mummies!" 

CTEPIN  FETCHIT  after  falling  down  the 
'-'long  flight  of  stairs  wailed  that  he  was  "all 
black  and  blue"  -but  he  couldn't  prove  it! 
The  painful  area  was  painted  with  iodine  by 
a  doctor.  Hut  lie  couldn't  prove  it!  Step  has 
what  is  known  in  the  biology  books  as  "pro- 
tective coloration 

And  now  Stepin.  who  wears  shorts  in  the 
picture,  is  complaining  of  sunburn! 

HFRHAPS  you  haven't  noticed  it.  because 
'Shirley  Temple  occupies  so  much  of  the 
limelight-but  little  Jane  Withers  out  at  Fox 
has  had  an  even  more  rapid  rise  than  Shirley 
had!  She  first  went  on  the  lot  last  November, 
and  now — about  six  months  later — she  is  to  be 
co-starred. 

Of  course,  Shirley  is  the  "Garbo"  of  the  lot 
But  there's  nothing  like  a  Garbo  to  make  a 
Dietrich,  eh? 

f^REAfER  love  hath  no  woman  when  sIk 
^Vats  two  lunches  just  to  please  her  husband 
Mrs.  Stephen  Ames  (Kaquel  Torres)  was  nearl) 
finished  with  a  big  meal  at  the  Brown  Derby 

one  day  when  she  decided  to  call  her  husband 
who  was  at  home 

"Darling,"  he  told  her.  as  excited  as  a  kid 
"  I've  been  having  a  great  time.  I  just  cooked 
a  pot  of  spaghetti,    you'll  love  it!    It's  swell'" 

"How  sweet,"  cooed  the  black  eyed  Raquel 
"  I'll  lie  right  home,  dear' " 

And  out  she  dashed  while  the  wide  eyed 
waitress  cleared  away  the  crumbs  that  were 
left  from  her  steak  and  potatoes] 

DENEE  TORRES  is  a  very  popular  girl  in 
'uown.  The  romance  with  Paul  Ames,  briefly 
interrupted  by  his  marriage  to  June  Knight, 
has  been  resumed.  Eddie  Sutherland  is  wast- 
ing no  time,  and  hied  Perry,  the  tennis  cham 
pion,  is  around  too. 

THERE  are  compliments  and  compliments. 
Two  young  players  at  a  recent  Hollywood 
party  watched  the  arrival  of  Billie  Burke. 
Impulsively,  one  of  them  broke  out  with,  "I 
think  she's  a  really  attractive  woman.  She 
always  looks  so  well -scrubbed!" 

CINCE  Marlene  Dietrich  returned  to  Holly- 
'-'wood  from  her  trip  Fast,  the  studio  doesn't 
see  much  of  her. 

Marlene  used  to  eat  in  the  studio  commis- 
sary every  noon  of  her  working  days,  regularly. 
\ow   she  seldom  enters  the  place. 

The  recent  split-up  with  Josef  Von  Sternberg 
seems  to  have  had  its  effect  on  her  disposition 
also.  People  she  used  to  be  nice  to.  she  seldom 
notices  now.  And  she's  begun  finding  fault 
with  this  and  that  much  more  than  in  the 
past. 

In  fact,  the  whole  thing  is  a  bit  suggestive  oi 
a  possible  high-hat  attitude  in  the  future.     It 


may  be  that  her  digestion  isn't  up  to  par  and 
then  it  may  be  that  she  has  decided  to  start  her 
new  deal  out  right — by  snooting  Hollywood. 
Garbo  did  it — and  it  seemed  to  pay. 

JOHN  BARRYMORE  denies,  Dolores  Cos 
^tello  evades,  and  various  lawyers  and  rela- 
tives keep  mum  or  second  the  two  principals, 
but  the  opinion  of  all  Hollywood's  close  ob- 
servers is  that  John  and  Dolores  are  headed  for 
divorce. 

Funny    how    early    those    things    start    in 


Walter  C.  Kelly,  prince  of  comedi- 
ans, just  signed  a  long-termed 
Paramount  contract.  You'll  see 
him    next    in    "The    Virginia    Judge" 


Hollywood.  The  rumor  of  their  unhappiness 
broke  almost  a  year  ago.  Only  now  does  it 
reach  a  head. 

John  is  said  to  have  started  all  the  rumpus 
because  Dolores  wished  to  resume  her  screen 
career,  while  he  wanted  her  to  remain  Mrs. 
Harrymore.      The   odd   part    of   it    is.   if   they're 

divorced,    she'll    certainly    re-enter    pictures. 

Xot  so  much  a  cause  as  a  result. 

(T1LENDA  FARRELL'S  father's  name  is 
^-^  Charlie  and  he's  thinking  of  doing  some- 
thing about  it. 

The  autograph  hunters  and  romantic  young 
things  are  getting  him  peppery  because  it's 
onI\  natural— they  think  "Charlie  Farrell"  is 
a  too,  too  divine  young  man  who  is  a  movie 
star.  He's  had  to  take  hi-  name  off  the  mail 
box. 

THEY  were  discussing  the  era  ol   brunettes 
and  the  end  of  the  platinum  blonde  which 
color  films  are  said  to  augur. 

Said  Jack  Oakie:  "Brunettes  are  okay,  but 
I'll  take  a  platinum  blonde  anytime — espe- 
cially right  now — they  look  so  much  cooler  for 
Summer." 


"THEY  took  Jean  Muir  to  the  ostrich  larm 
the  other  day  to  shoot  some  pictures.  Bui 
no  pictures  were  shot.  The  ostriches,  instead 
of  hiding  their  heads  in  the  ground,  as  Jean  had 
always  been  led  to  believe  they  did,  galloped 
around  the  place  in  terrifying  fashion  and 
Jean  was  so  afraid  that  she  couldn't  make  a 
scene. 

Finally  they  had  to  give  up  when  Jean 
threatened  to  hide  her  head  in  the  ground. 

IT  would  come  off  when  a  reporter  was  on  the 
'set. 

Shirley  Temple's  false  front  tooth  had  been 
doing  nicely  for  five  or  six  months  and  not  a 
soul  knew  that  the  tiny  chopper  was  other 
than  her  own  until  the  day,  in  the  middle  of 
the  scene,  when  it  popped  to  the  floor — right 
before  the  eyes  of  a  newspaper  man. 

Shirley,  in  that  stage  of  life  when  a  tooth  is 
quite  likely  to  waggle  and  jump  out  any 
minute,  has  been  wearing  a  tiny  tooth  capped 
over  the  start  of  an  honest-to-goodness  one. 
Bet  you  can't  even  guess  which  tooth  it  is — 
that's  how  perfect  Hollywood  dentists  have 
become. 

Shirley  wears  the  biter  all  the  time,  because 
w  hen  it  isn't  in  she  says"thithter"  and  "thoap." 

AXX     HARDING     has     been     mystifying 

^Hollywood  recently  by  running  out  of 
town  to  unannounced  destinations. 

Uusually  she  goes  by  plane  and  nobody 
knows  about  it.  which  makes  it  all  very  in- 
triguing for  everybody  to  guess  her  desti- 
nation. 

One  of  the  mystery  trips,  I  happen  to  know, 
was  to  El  Paso,  Texas,  to  the  army  post  there 
Ann  always  flies  with  Paul  Mantz,  Holly 
wood's  famous  "  Honeymoon  Pilot." 

Recently  there  has  been  much  talk  about 
the  romance  and  impending  marriage  of  Ann 
and  a  dashing  major  with  whom  she  dined  and 
danced  on  her  recent  trip  to  the  Hawaiian 
Islands.  Ann  denies  it  and  the  major  just 
won't  talk. 

TWICE  a  week,  regularly,  ever  since  Binnie 
'  Barnes  came  back  to  Hollywood  from  Lon- 
don, she  puts  in  a  trans-oceanic  telephone  call 
to  her  husband,  an  antique-hook  dealer  in  the 
British  capital. 

She  spends  hours  on  the  set,  patiently  writ 
ing  out  what  she's  going  to  talk  to  him  about. 

But  when  the  call  goes  through,  she's  so 
excited  and  so  worried  about  the  high  cost  of 
every  second  that  she  invariably  says,  "Hello 
dear.  How  are  you?  Is  everything  all  righC 
Yes,  I'm  fine  everything's  all  right  here — 
Good-bye!" 

So  it's  not  such  a  su<  (  ess.  She  thinks  she'll 
have  to  give  it  up  and  write  letters. 

THOSE   rancheros,   chicken   raisers  and   Van 
'  Xuys  hide-aways-Leslie   Fenton  and   Ann 
Dvorak      have    indicated    that    their   back-to 
earth  farm  is  at  last  going  Hollywood. 
They're  going  to  raise  Passion  Fruit! 

DESSIE  LOVE,  in  the  years  that  she  has  been 
^out  of  pictures,  and  devoting  her  time  to  a 
lovely  home,  husband  and  child,  has  fre- 
quently been  offered  screen  contracts.  Miss 
Love  constantly  refused,  until  recently.    Now 

I  PLEASE  TURN  TO  PAGE  120  | 


108 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


109 


Don't  Love  Me 


CONTINUED  FROM  PAGE  52 


in  its  heart,  Hollywood  is  kind  and  bears 
well  in  mind  the  fearful  admonition,  "There, 
but  for  the  grace  of  God,  go  I,"  Sylva's 
obvious  tactics  were  tolerated.  Most  men 
I  think,  tried  to  avoid  her  but,  once  caught, 
they  listened  to  her  and.  when  they  could, 
gave  her  small  bits  in  their  pictures. 

AS  I  have  said,  Scott  was  tight.  Otherwise 
'  'I  scarcely  believe  that  he  would  have 
brought  Sylva  over  to  me  right  after  they  came 
in.  I  didn't  need  any  trouble — there  were  half 
a  dozen  men  around  me  already,  most  of  them 
slightly  unmanageable.  One  of  them  was  try- 
ing to  get  me  to  join  a  nudist  colony  with  him, 
and  the  others  were  sore  because  they  hadn't 
thought  of  it.  I  was  used  to  situations  like 
that,  however,  and  could  usually  handle  them. 

"I've  never  met  Miss  Adair  before,"  Sylva 
said  when  Scott  introduced  us,  "but  I  did  see 
one  of  her  pictures."  She  turned  to  me:  "You 
were  wonderful,  but  who  wouldn't  be  with  the 
direction  you  had?" 

I  started  to  acknowledge  my  indebtedness 
to  Scott  when  he  rallied  unexpectedly  to  my 
defense. 

"A  director  can  only  bring  out  what  is  in 
the  star  herself." 

"Oh,"  said  Sylva,  "then  Miss  Adair  is  really 
like  that.  I  wouldn't  have  believed  it  possible." 

That  trick  of  speaking  of  me  as  if  I  were  in 
some  other  room  began  to  get  under  my  skin. 
There  is  just  enough  of  kinship  with  the  men 
who  came  from  Kilkenny  in  my  character  to 
make  it  difficult  for  me  to  keep  my  temper 
when  anybody  deliberately  tries  to  make  me 
lose  it.  I  longed  for  a  handful  of  Sylva  Vel- 
asquez' hair.  I  guess  I  would  have  had  it  in  a 
minute  if  the  gang  hadn't  rallied  so  quickly — 
my  gang,  I  mean.  The  half  a  dozen  men  who 
had  been  trying  to  take  me  away  from  each 
other    suddenly    joined    forces    when    I    was 


threatened  with  annoyance  from  another 
woman.  Like  a  well-rehearsed  football  play 
my  friends  surrounded  Sylva  in  an  admiring 
huddle  and  began  to  pester  her  with  compli- 
ments. She  was  so  hungry  for  the  bait  that, 
for  a  moment,  she  forgot  all  about  me  and,  by 
the  time  she  remembered,  I  was  safely  out  of 
harm's  way,  steering  Scott  past  the  bar  out 
into  the  open.  My  theory  was  that  fresh  air 
would  do  him  more  good  than  alcohol. 

Scott,  drunk.  I  discovered,  was  mentally 
alert  but  physically  bogged  down.  His  body 
made  a  botch  of  taking  direction.  I  helped 
him  down  the  steps  and  into  his  roadster 
which  was  standing,  not  in  the  driveway  with 
the  others,  but  on  the  lawn,  with  the  front 
wheels  in  a  shallow  goldfish  pond. 

Scott  explained  it:  "Wanted  to  give  my 
faithful  charger  a  drink." 

He  started  to  sit  in  the  driver's  seat  but  I 
pushed  him  over  and  took  that  place  myself. 

"We  goin'  some  place.  Moppet?"  Scott  in- 
quired. 

I  treasured  that  nickname,  "Moppet." 
Strange,  I  had  never  felt  so  close  to  him  before. 

"Not  unless  you  say  so,  Scott." 

"I'll  go  places  with  Moppet — any  places. 
I  didn't  want  to  run  into  you  tonight  but  now 
I  have  seen  you  I  don't  want  to  do  anything 
else." 

He  spoke  slowly  with  obvious  and  meticulous 
effort  to  guide  his  tongue  over  his  usual  dis- 
tinct, clipped  syllables. 

"  N  A  AYBE  we'd  better  go  home,"  I  suggested. 
'  v  '  He  laughed.  There  was  bitterness  in  it. 
"I  have  no  home,  Moppet.  My  father  told  me 
that.  Sour  Britisher,  my  father — idol  wor- 
shipper, though — the  regiment!  the  king!  and 
the  Empire!  Showed  me  the  door,  he  did — 
advised  me  to  look  at  the  inside  of  it  for  the 
last  time.    A  bit  of  old  school  melodrama  but 


Wktistk 


GET  RID  OF  IT  ! 

Every  trace  of  hair  can  be  instantly 
removed,  and  all  fears  of  stimulated 
regrowth  eliminated.  Don't  delay 
any  longer.  Make  your  skin  allur- 
ingly feminine  — hair  free,  with 

XiF> 

PERFUMED  DEPILATORY  CREAM 
You  simply  spread  on  and  rinse 
off,  -  -  then  marvel  at  this  white 
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your  choicest  cold  cream. 

• 
Announcing  my  two  new  creations 

•  ZiF*  Depilatory  Powder 

•  Xil*  Depilatory  Liquid 

both  of  which  are  delightfully  fra- 
grant and  quick  and  simple  to  use. 

• 
For  destroying  facial  hair,  use 
ZIP- IT'S  OFF  because  IT'S  OUT 
the  only  registered  Epilator  avail- 
able for  actually  eliminating  hair. 
Write  for  Booklet.  Treatment  or 
free  demonstration  at  my  Salon. 

Madame  Berthe,     SPECIALIST 
562    FIFTH    AVE.,    146'h    ST  I    NEW    YORK 


No,  Florence  Rice  isn't  twins.  They  did  it  with  mirrors.  When  a  girl 
is  as  lovely  as  Florence,  a  chap  is  happy  to  be  seeing  double.  Her 
latest     picture     is     Columbia's     "The     Awakening     of     Jim     Burke" 


Immediately  effective. 
Dries  instantly.  Effectually 
checks  perspiration.  The 
atomizer  bottle  insures 
your  deodorant  remaining 
fresh  and  sanitary. 


no 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


Helena  rubinstein  says 

'your  lips  must 
wear  a  lustre 


Color  that 
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The  latest  daytime  shade  is  subtle,  natural 
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Clinging  mist-like  powder,  1.00,  1.50. 

Glamour  For  Your  Eyes 

New  Persian  Mascara  will  not  run  or  smart. 
Large  automatic  case,  for  your  purse,  1.00  .  .  . 

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brows.  Conservative   day  make-up  also.   1.00. 


Every  Skin  Needs 
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Pasteurized  Face  Cream  cleanses, 
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— toned — firmed  and  vitalized.  See  your  skin's 
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Use  Sunproof  Cream 

Helena  Rubinstein's  revolutionary  Sunproof 
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MAIL  SERVICE —  If  there  is  no  Helena 
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nelena  rubinstein 

8  East  57th  St.,  New  York 

SALONS  IN:  Detroit  .  Chicago  •  Boston 
New  York   .   Seattle    .   Los  Angeles    ©  1935.  h.r.  inc. 


he  meant  it.  Couldn't  have  done  it  better  if 
I'd  directed  him  myself." 

I  don't  know  how  much  more  Scott  would 
have  told  me  about  himself.  He  got  no  further 
opportunity    at    that    time. 

Sylva  burst  out  of  the  house  and  came 
running  to  the  car.  She  arrived  first  at  the 
side  where  Scott  was  sitting.  She  stepped  onto 
the  running  board  and  leaned  over  toward  me, 
her  face  livid,  a  picture  of  drunken  fury. 

"You're  always  trying  to  take  my  boy 
friends  away  from  me,  aren't  you?"  Her 
tongue  was  loose  and  she  lashed  me  with  it, 
using  many  abusive  words.  She  concluded 
finally,  "Always  find  you  waitin'  for  'em  in 
their  cars — waitin'  and  waitin'  and  waitin'." 

"So  that's  where  I've  seen  you  before,"  I 
said  coolly. 

"Where?  When?  What  you  talkin' about?  " 
She  was  suddenly  sober,  apprehensive. 

"Nothing.    Skip  it. " 

Scott  interrupted.  "Too  much  talk.  This 
sequence  needs  action comedy  action." 

He  put  his  hand  over  Sylva's  face  and 
pushed. 

She  splashed  into  the  pond,  making  weird 
noises. 

I  didn't  wait  to  listen  to  her  curses,  I  started 
the  motor  and  backed  out  carefully  to  the 
driveway. 

In  another  moment  we  were  in  the  street. 

I  WAS  thinking  about  the  sodden,  disap- 
1  pointed,  desperate  woman  we  had  left  in  the 
goldfish  pool.  By  her  incautious  angry  accu- 
sation she  had  practically  identified  herself 
as  the  murderess  of  William  Sohlki.  I  won- 
dered if  there  was  anything  I  should  do  about 
it,  if  there  was  anything  I  could  do. 

Finally  I  must  have  shrugged  my  shoulders. 

"That's  what  I  say."  I  turned  at  his  voice 
and  found  Scott  looking  at  me  quizzically 
"Let  it  ride,"  he  added. 

"Okay  for  sound,"  I  said,  quoting  Lanny 
Barnes'  often  reiterated  check  from  the  mixing 
room. 

"Okay  for  acting,"  Scott  added.  After  a 
pause  he  said,   "I've  missed  you,  Moppet." 

"Where  do  you  get  this  'Moppet'  stuff?" 

"From  back  home.  In  England  that's 
what  we  call  immature  sprats  like  yourself 
when  they  first  begin  to  put  on  the  airs  of 
ladies.     It  takes  them  down  a  peg." 

When  we  arrived  at  my  new  house  I  looked 
back  and,  just  as  I  expected,  I  saw,  lumbering 
after  us,  my  own  car  with  George  and  Louella 
in  the  front  seat. 

I  laughed.  "You  don't  have  to  trail  me, 
Louella,  when  I'm  with  Mr.  Deering." 

"That's  right,  Louella,"  concurred  Scott. 
"My  intentions  are  strictly  honorable — worse 
luck." 

"I  know  that,  Miss  Rochelle,  honey.  We 
jus'  come  home  to  make  you  folks  a  cup  of 
coffee." 

Louella  went  in  and  George  took  my  car 
around  to  the  garage. 

"I  ET'S  sit  outside  a  minute,  Moppet,"  said 
L-Scott. 

He  knew  I'd  do  anything  he  said. 

"  I  wasn't  fooling  when  I  told  you  how  much 
I've  missed  you."  Scott  had  a  little  trouble 
lighting  a  cigarette — his  hand  shook.  So  I 
helped  him.      "Thanks." 

He  held  my  hand  when  he  had  finished — 
not  tightly,  just  quietly  as  if  it  steadied  him. 
"Have  people  told  you  anything  about  me?" 

"Nothing  but  nice  things.  Lanny  Barnes 
said —  " 

"I  know.  He  thinks  we  ought  to  get  mar- 
ried.  Fussy,  gossipy  busybody,  isn't  he5'' 


"The  nicest  boy  I  know." 

"And  head-over-heels  in  love  with  you  him- 
self." 

"Nonsense." 

"Don't  stop  me.  You're  apt  to  hear  things 
I  wouldn't  say  if  I  was-er-on  the  set.  Are  you 
in  love  with  Lanny?" 

"No." 

"With  anybody?" 

"No." 

"I  knew  that.  You  look  like  a  bonfire 
and  act  like  a  cold-storage  warehouse."  He 
reflected  a  moment.  "I  was  in  love  once.  No 
fun.  It  was  back  home.  We  were  married. 
It  didn't  work  out.  She's  trying  it  again 
next  month,  I  hear." 

"  Is  that  why  you — ?  " 

"No.  I  drink  because — let's  see — I  can't 
just  remember  why  I'm  drinking  this  week. 
It'll  come  to  me  in  the  middle  of  the  night 
some  time  and  I'll  call  you  up  and  ask  if  I 
can  come  over  and  explain  it  to  you.  Will  that 
be  all  right  with  you?" 

"You  know  anything  you  do  is  all  right  with 
me." 

He  sighed.  "I  was  afraid  so."  He  put  my 
hand  over  in  my  own  lap.  "Hasn't  anyone 
warned  you  what  directors  do  to  little  girls 
who  trust  them?" 

"  Yes." 

I  think  I  must  have  shivered  a  little.  Any- 
way he  sensed  the  chill  that  contracted  my 
heart. 

Scott  always  knew  every  emotion  that  rip- 
pled across  my  soul — if  any. 

He  laughed.  "Moppet,  darling,  I'm  not 
about  to  propose  any  passionate  immorality. 
It  isn't  in  me — any  more  than  it  is  in  you. 
What  I  was  going  to  ask  was  if  it  would  be 
just  as  convenient  for  you  to  be  my  wife  as  it 
is  to  live  down  here  by  yourself?  Lanny 
Barnes  might  be  right.  We  do  have  a  lot  of 
fun  working  together.  God  knows  nothing 
else  amuses  me.  Maybe  even  you  wouldn't 
if  we  were  together  all  the  time." 

"Would  you  let  me  know?" 

HE  considered  that.     "No,  Moppet." 
"But  you  think  I  could  tell?" 

"I  don't  believe  so.  I'm  a  better  actor  than 
you  are.    What  do  you  say?" 

I  thought  it  over  carefully.  "Scott,  you're 
pie-eyed." 

"Not  up  here."   He  touched  his  forehead. 

I  knew  that  was  true.  "  Listen,  Scott,  dear. 
I'm  not  in  your  class." 

He  laughed.  "Moppet,  my  sweet,  there  is 
nothing  any  lower  in  the  social  scale  than  an 
English  officer  who  has  been  cashiered  from 
his  regiment.  Do  you  want  to  know  any  more 
about  that?" 

"No." 

"They  didn't  even  give  me  back  the  broken 
pieces  of  my  sword." 

So  that  was  it. 

He  was  eating  his  heart  out  for  the  faded 
glory  of  a  uniform. 

I  put  my  hand  back  in  his. 

"That  wouldn't  matter  to  you?"  he  asked. 

"Everything  that  hurts  you  would  matter 
to  me." 

"Then  we'll  forget  it.  I  had  to  tell  you. 
Is  it  a  deal?    Shall  we  make  a  try  of  it?" 

"We'll  think  it  over.    Tomorrow — " 

"Tomorrow  I'll  be  here  with  a  ring  that'll 
make  Peggy  Joyce  wish  she'd  seen  me  first. 
I've  been  wondering  what  to  do  with  my 
bonus  from  our  last  picture." 

I  called  George  and  instructed  him  to  drive 
Scott  home. 

Scott  protested  but  I  proved  to  be  right. 
George  had  to  put  him  to  bed. 


PHOTOPLAY  MAGAZINE  FOR  JULY,    1935 


III 


CHAPTER  XXI 

Scott  Deering  did  not  show  up  in  the 
morning,  which  was  just  as  well  because  I 
hadn't  slept  until  nearly  daybreak.  There 
was  so  much  to  think  about.  That  woman  at 
Freddie  Gay's  party.  Scott's  own  story  so 
sketchily  revealed  in  his  cryptic  remarks 
about  his  home  life — his  regiment.  I  didn't 
care  what  he  had  done  to  deserve  the  harsh 
punishment  which  he  had  been  meted  out,  but 
I  did  wonder  who  he  was.  The  younger  son 
of  a  titled  family  perhaps — certainly  a  cul- 
tured English  gentleman.  I  wondered  what 
his  wife  had  been  like — he  was  certainly  a 
little  regretful  about  her.  Maybe  he  had  been 
hoping  all  this  time  that  she  would  relent. 
And  now  she  was  going  to  marry  someone  else. 
Perhaps  that  was  why  he  had  made  that  im- 
pulsive proposition  to  me — just  to  spite  her. 

I  WAS  in  the  midst  of  pondering  those  mat- 
'  ters  when  Scott  drove  up — under  his  own 
power  and  apparently  sober. 

He  had  a  ring  in  his  pocket.  "Just  a 
trifling  sparkler,"  he  explained.  "The  jeweler 
is  getting  the  Kohinoor  for  you  to  replace  it 
later." 

I  pretended  extreme  surprise.  "I  was  try- 
ing to  remember  what  it  was  we  were  talking 
about  last  night." 

"You'd  better  remember.  It  was  the  most 
important  event  of  the  week  in  Hollywood. 
I  lay  awake  all  night  thinking  about  it." 

"I'd  believe  that  if  my  chauffeur  hadn't 
told  me  that  you  were  asleep  before  you  got 
home.  You  may  not  know  it  but  he  undressed 
you  and  put  you  to  bed." 

"Moppet,  I  dreamed  it  was  you." 

He'd  remembered  the  nickname!  I  must 
have  smiled. 

"Does  that  become  one  of  my  duties?"  I 
asked. 

"Then  you're  going  to  take  on  the  job?" 

"  I  didn't  say  that." 

He  was  very  gay  and  very  amusing.  We 
argued  back  and  forth  over  my  breakfast 
which  he  shared  with  me. 


I  accepted  the  ring  but  with  the  proviso 
that  we  keep  the  arrangement  a  secret  for  a 
while — just  in  case. 

A  S  it  happened,  the  secrecy  part  was  a  joke. 
'  HVinchell  broadcast  it  the  next  day.  And 
Sid  Skolsky  went  even  farther;  he  reported  in 
his  syndicated  column  that  we  had  been  secretly 
married  for  months  and  were  expecting  an 
heir  in  July.  How  such  things  leak  out  I 
don't  know.  In  this  case  I  imagine  that  the 
jewelry  salesman  must  have  told  somebody. 
Maybe  he  got  a  five  dollar  bill  for  the  informa- 
tion. 

I  didn't  mind  really  except  for  one  thing.  I 
received  a  telegram  from  Sam  Werks. 

It  read:  "Better  luck  this  time." 

I  had  a  bad  five  minutes.  So  Sam  had  known 
all  along  where  I  was.  It  was  inevitable,  I 
suppose,  that  he  should  have  recognized  the 
pictures  of  me  which  had  been  reproduced 
all  over  the  world  by  the  newspapers.  Finally 
I  put  the  cold  chill  resolutely  behind  me  and 
threw  myself  into  the  round  of  gayety  which 
had  for  its  excuse  our  approaching  marriage. 

There  was  one  bad  effect  from  the  cocktail 
parties  and  dinners  which  were  given  in  our 
honor.  Scott  was  moderately  tight  most  of 
the  time.  There  was  nothing  I  could  say — 
and  I'm  not  at  all  sure  that  he  could  have 
avoided  it.  There  isn't  much  a  man  can  do 
when  a  toast  is  proposed  to  his  future  bride — 
except  drink  the  toast. 

One  of  the  affairs  which  we  attended  was  not 
given  in  our  honor.  It  was  the  Marion 
Davies  Christmas  party  for  poor  children, 
which  is  held  annually  in  one  of  the  studio 
sound  stages.  The  vast  interior  is  beautifully 
decorated  and  there  is  a  noon-day  dinner  and 
presents  for  a  thousand  youngsters,  more  or  less. 

We  were  invited  because  Scott  was  an  ama- 
teur magician  of  considerable  skill  and  could 
do  tricks  for  the  guests.  I  just  went  along. 
But  I  had  the  time  of  my  life  and  when  we 
finally  left  I  was  convinced  that  it  isn't  such 
a  bad  world  after  all. 

"Did  you  notice  that  little  five-year-old 
with  the  jet  black  hair?"  I  asked  Scott. 


BRIGHT 


DEAS 


EYE    THE    SUN ! 

Lucky  the  girl  who  can  eye  the  sun — un- 
afraid ...  of  his  frank  remarks  about  her 
beauty!  But  it  isn't  so  difficult.  Apply  make- 
up discreetly.  (You  know  how  outspoken 
friend  Sol  can  be  about  too  much  powder, 
rouge,  lipstick!)  Then  curl  your  eyelashes 
with  Kurlash.  Without  heat,  cosmetics,  or 
practice,  this  marvelous  little  implement 
gives  you  a  natural  beauty  point  that  is 
more  flattering  in  strong  sunlight.  Your 
lashes  will  look  longer,  darker  —  sun- 
silhouetted  in  lovely  shadows.  Kurlash  $1 — 
and  you're  a  sun-proof  beauty  right  away! 


foutJ2/i  W'JcJwiu 


And  let  me  tell  you  that  even  in  the  full 
glare  of  beach  or  tennis  court,  a  wee  bit  of 
colorful  eye  shadow,  Shadette,  will  be  al- 
most invisible  but  most  flattering!  While 
Lashtint,  the  perfumed  liquid  mascara, 
will  darken  your  lashes  in  an  amazingly 
natural  way.  Water-proof — so  you  can 
wear  them  swimming!  Each  only  $1! 


ounofwnz 


Another  clever  trick!  Rub  a  little  Kurlene 
into  your  lashes  before  you  face  the  sun.  It 
will  set  silken  rainbows  dancing  in  them 
.  .  .  while  just  a  film  of  it  over  your  upper 
lids  will  give  you  a  lovely  "dewy"  look 
and  guard  against  sun-wrinkles  and  dryness. 
Awfully  good  for  lashes!  $1  in  nearby  stores! 


Ian  Hunter,  who  was  lured  from  the  British  stage  to  Hollywood  on 
a  Warners'  contract,  is  being  greeted  by  Irving  Asher,  manager  of 
Warners'  London  studio,  and  Mrs.  Asher,  the  former  Laura  LaPlante 


Jane  Heath  will  gladly  send  you  personal  advice  on 
eye  beauty  ij  you  drop  her  a  note  care  oj  Department 
A-l.  The  Kurlash  Company,  Rochester,  N.  Y.  The 
Kurlash  Company  oj  Canada,  Toronto  3. 


112 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


What    the    engaged 
girl    should   know 


about 

WEDDING    RINGS 

•  Thai  Traub  wedding  and  engagement 
rings  are  made  by  master  craftsmen 
in  precious  metals. 

•  That  Traub  rings  are  correctly  de- 
signed in  simple  modern  and  orange 
blossom   patterns. 

•  That  Traub  rings,  if  jeweled,  are  set 
with  beautiful  gem  stones  only. 

•  That  Traub  rings  can  be  bought  at  all 

reliable  jewelers. 

•  Prices  range  from  $10  to  $500. 

Don't  get  married  without  "Orange 
Blossoms,"  a  book  on  bridal  etiquette 
and  customs  that  will  help  you  no  end 
in  your  wedding  preparations.  Ask  your 
jeweler  about  it. 


@" 


Traub 


Relief  in 
ONE  MINUTE 

CORNS 

CALLOUSES,  BUNIONS,  SORE  TOES 

You,  too,  will  smile  with  relief  and  mar- 
vel how  Dr.  Scholl's  Zino-pads  instantly 
drive  away  the  pain  of  corns,  callouses, 
bunions  and  sore  toes,  and  tmr        I        1 
stop  the  cause — shoe  pressure.  f(  i  J  /  \ 

And  when  you  use  them  with  ^^A  y 
the  separate   Medicated  Disks, 
now  included,  to  remove  corns 
or   callouses,   the   hard,   dead 
skin  will  be  so  soft  and  loose 
in  a  few  days,  it  will  lift  off! 
You  never  tried  anything  so 
wonderful  as  this  scientific,  M^^yy1 
double-acting   treatment.    Get  ^r       V 
■i  box  toda)  at  youi  drug,  shoe  >J,l|f«1|L-lj 
or  department  store. 

NOWlgl  KINDS 

STANDARD  WHITE,   now   25^ 
NEW  DE   LUXE   flesh   color  35C 


Dr  Scholl's 
Zino-pads 

Put  one  on— the  *  pain  is  gone! 


"Yes.     Homely  little  beggar,  wasn't  she?" 
"Oh,   but  Scott,  what  a  darling!     She  let 
me  hold  her  in  my  arms  for  a  minute  when  she 
fell  down  and  skinned  her  knee.    It  did  some- 
thing funny  to  me.     Let's  have  one." 

For  a  minute  Scott  didn't  say  anything.  I 
felt  him  draw  away  from  me  a  little.  We  were 
driving  in  his  car. 

Finally  he  said,  "It's  getting  colder,  isn't  it?' ' 
"I  hadn't  noticed.     Is  it?" 
"We'll  stop  somewhere  for  a  drink." 
The  Beverly  Hills  Brown  Derby  was  handy. 
Scott  parked  the  car  and  we  went  in;  Scott  had 
a  couple  of  cocktails,  sherry  for  me. 

"Don't  you  want  a  baby?"  I  asked  finally. 
He  didn't  answer  so  I  pursued  the  subject. 
"It's  one  of  the  reasons  why  people  get 
married." 

"It's  a  fad  this  year  in  Hollywood,"  he  said, 
dismissing  the  subject.  "Would  you  mind 
not  having  one?  " 

TEARFULLY.  Scott.     A  little  girl  like  that 
one  we  saw  today — so  sweet  and  innocent —  " 
" — who  will  probably  grow  up  into  a  hard- 
boiled  bundle  of  sex  like — " 
" — like  me?" 

"You're  not  like  that,  Moppet.  Don't  let's 
quarrel,  darling — not  about  something  that's 
so  faraway." 

He  was  right,  of  course.  And  we  didn't 
quarrel  any  more — at  least  not  then.  But 
Scott  sank  into  a  moody  abstraction.  I  had 
hurt  him  some  way  and  I  tried  vainly  to  kid 
him  out  of  it. 

Someone  was  giving  a  tea  dansant  at  the 
Trocadero,  over  on  Sunset  Boulevard,  and 
we  stopped  in.  I  didn't  drink  anything  there 
except  actual  tea,  although  it  seemed  to  upset 
the  management  considerably  to  serve  it. 
Scott   switched    to    brandy. 

But  nothing  seemed  to  have  any  effect  on 
him.  I  think  he  wanted  to  be  gay  but  didn't 
have  much  success.  Once  when  I  was  dancing 
with  him  I  asked,  'What  have  I  done,  darl- 
ing?" 

"Nothing,  Moppet,  it's  myself.    Forget  it." 
But  of  course  I  couldn't    Scott  was  certain- 
ly one  of  the  finest  men  I  had  ever  known  and 
to  see  him  that  way  nearly  broke  my  heart. 


Finally  he  proposed  himself  that  we  go 
home.     "This  party's  a  washout." 

We  were  in  Scott's  open  roadster  and  it 
actually  was  quite  cold  now  in  the  early  eve- 
ning. In  the  clear  night  air  the  lights  on  the 
Hollywood  hills  sparkled  like  stars. 

INSTEAD  of  taking  me  to  my  place  as  I  ex- 
'pected,  Scott  drove  to  the  Grassmere  House 
which  is  an  apartment  hotel  half  way  up  the 
canyon.      He  lived  there. 

"We  can  talk  quietly,"  he  explained. 

1  had  never  been  to  the  Grassmere  before. 
The  lobby  is  gloomy  and  the  elevators  are  auto- 
matic. There  is  an  attendant  on  duty  at  the 
switchboard  who  also  handles  mail,  but  no 
other  signs  of  life  on  the  main  floor. 

On  the  fifth  floor  Scott  let  himself  into  his 
apartment  with  a  key.  "My  Jap's  out,"  he  said. 

The  door  opened  directly  into  a  large  living 
room.  Scott  kicked  it  shut  after  us.  The 
place  smelled  slightly  of  fresh  paint  and  it  was 
cold,  with  reason — the  windows  were  open. 

"They've  been  doing  the  apartment  over 
for  me,"  Scott  mentioned.  "House-cleaning 
just  finished  today.  Br-r-r — must  have  left 
a  couple  of  icebergs  somewhere." 

He  went  around  closing  windows  and  then 
departed  toward  the  kitchen.  "I'll  get  us  a 
couple  of  drinks." 

While  he  was  gone  I  stripped  off  my  gloves 
and  lit  the  gas  radiator.  The  gas  valve  turned 
hard  but  there  was  a  small,  flat  wrench  hang- 
ing on  it  which  I  used.  I  left  the  wrench  on 
the    valve    handle. 

The  room  must  have  been  furnished  by 
Scott  himself.  The  furniture  was  all  heavy 
and  masculine.  There  was  a  huge  desk  by 
the  window.  That  must  be  where  he  worked. 
I  strolled  over  and  sat  in  the  desk  chair.  It 
was  very  comfortable. 

I  relaxed  for  a  minute.  Then  my  eye  caught 
the  top  envelope  of  a  pile  of  unopened  mail. 
It  was  addressed  to  Scott  Deering  and  in  the 
upper  corner  was  the   usual    return    address. 

The  name  written  there  was  Samuel  Werks! 

The  letter  was  postmarked  five  days  back — 
the  date  my  engagement  to  Scott  was  an- 
nounced in  the  newspapers. 

[To  Be  Continued  Next  Month  | 


They'll  have  a  chance  at  stardom,  these  young  people  selected  by 
Fox.  Left  to  right:  upper  row,  Fred  Wallace,  Iris  Shunn,  Lynn  Bari, 
Anita  Thompson,  Geneva  Sawyer,  Esther  Brodelet,  Elsie  Larson, 
Philippa  Hilber,  Julie  Cabanne,  Betty  Bryson,  Paul  McVey.  Second 
row,  Richard  Brodus,  Patricia  Farr,  Dorothy  Dearing,  Shirley  Aaron- 
son,    Marion    Weldon,    Anne    Nagel,    Mary    Blackwood,    Fred    Sylva 


PHOTOPLAY  MAGAZINE  FOR  JULY,   1935 


113 


SCREEN   MEMORIES   FROM   PHOTOPLAY 


15  Years  Ago 


W/IIAT  a  lot  of  difference  fif- 
**  teen  years  make!  In  1920 
Photoplay  was  campaigning  for 
more  open  air  movie  houses,  con- 
tending that  the  movie  house 
without  a  roof  would  "point  an 
avenue  of  escape  from  heat  and 
humidity;  from  discomfort  and 
discontent."  Nobody  visualized 
that  within  less  than  a  decade 
sound  would  prevent  throwing  a 
theater  open  to  traffic  noises, 
street  sounds.  And  that  all  the  big  houses 
would  be  carefully  and  delightfully  air-con- 
ditioned anyhow.  "Why  Bob  Your  Hair'-'" 
was  the  title  of  another  article.  Corinne  Griffith 
advised  girls  against  it.  Her  contention  was 
that  you  had  to  keep  it  curled,  using  hot  irons 
on  it  every  day,  which  was  a  nuisance  as  well  as 
injurious  to  the  hair.  Not  even  a  movie  star 
could  get  a  permanent  wave  in  those  days!  The 


MARTHA   MANSFIELD 


film  world  was  mourning  the  sud- 
den death  of  one  of  the  younger 
and  most  promisingstarlets,  nine- 
teen year  old  Clarine  Seymour. 
Norma  Talmadge,  Photoplay's 
fashion  editor,  described  some 
ducky  summer  wardrobes.  One 
bathing  suit,  highly  recommend- 
ed, was,  to  quote  Norma,  "a  love- 
ly '/lowing  red  dress  with  shoes  to 
match  and  a  red  cap  with  perky 
bows."  Get  the  picture?  Those 
were  tin-  days,  too,  when  ladies  bought  hat 
frames  and  covered  them,  making  their  own 
bonnets.  Best  among  the  current  films  were: 
Eric  Von  Stroheim's  "The  Devil's  Pass-Key," 
with  Mae  Busch;  Lou  Tellegen  and  Geraldine 
Farrar  in  "The  Woman  and  the  Puppet;" 
.Marshall  Neilan's  "Don't  Ever  Marry;"  Wil- 
liam S.  Hart  in  "The  Toll  Gate."  Girl  on 
the  cover,  Martha  Mansfield. 


10  Years  Ago 


CVERY  movie  age  has  its  mys- 
tery woman,  its  lady  of  gla- 
mour. Ten  years  ago  she  was 
Carol  Dempster — shy,  avoiding 
publicity,  eager  to  be  alone.  She 
had  never  married,  had  few  inti- 
mate friends.  Just  six  months 
after  this  story  on  Carol  was  pub- 
lished, she  made  her  last  film, 
"Sorrows  of  Satan,"  retired,  and 
in  1929  married.  Last  we  heard. 
Carol  was  living  quietly,  happily, 
in  New  York  City,  as  Mrs.  Edwin  S.  Larsen. 
Betty  Compson  had  Hollywood  agog  with  a 
new  shoe  fashion :  it  had  a  tiny  watch  where  the 
buckle  ordinarily  would  be.  The  gag  of  the  day 
was  asking  Betty  for  the  time,  obviously.  Viola 
Dana  was  arguing  with  directors,  trying  to  get 
dramatic  roles  instead  of  comedy  parts.  "Over 
the  Bumps  with  Raymond,"  was  Mrs.  Hatton's 
inside    story    of    their    happy    marriage,    his 


CAROL   DEMPSTER 


struggle  for  success.  Glad  to  re- 
port, they're  still  married.  New- 
est Hollywood  slang  word  was 
"catzy."  It  meant  great,  fine, 
pretty  darn  good,  if  you  get  what 
we  mean.  Sally  O'Neil  coined 
tin  word.  The  engagement  of 
Alma  Rubens  and  Ricardo  Cor- 
tez  was  announced.  Their  mar- 
riage ended  six  years  later  with 
Alma's  tragic  death.  Bert  Lytell 
and  Claire  Windsor  were  among 
those  just  married.  It  lasted  two  years,  winding 
up  with  a  Mexican  divorce.  Best  films  of  the 
month  were:  Lon  Chaney  in  "The  Unholy 
Three;"  The  James  Cruze  production,  "The 
Beggar  on  Horseback,"  with  Edward  Everett 
Horton;  "Kiss  Me  Again,"  with  Clara  Bow, 
Marie  Prevost,  Monte  Blue  and  John  Roche; 
"Zander  the  Great,"  with  Marion  Davies  ami 
Harrison  Ford.     On  the  cover,  Greta  Nissen. 


5  Years  Ago 


A  MONG  the  new  actresses 
'  Mhat  Hollywood  was  welcom- 
ing and  speculating  about  five 
years  ago  were  Marlene  Dietrich, 
Barbara  Stanwyck  and  Grace 
Moore.  "Will  they  achieve  Holly- 
wood stardom?"  was  the  ques- 
tion asked.  And  you  know  the 
answer!  Eddie  Lowe  told  in  this 
issue  how  he  would  manage  six 
famous  Hollywood  wives.  The 
women  he  analyzed  were  Billie 
Dove,  Lois  Moran,  Dolores  Del  Rio,  Connie 
Bennett,  Colleen  Moore  and  the  late  Lilyan 
Tashman  to  whom  he  was  married.  Eddie  ad- 
mitted, however,  that  any  one  of  the  six  would 
probably  manage  him — in  spite  of  all  his 
technique.  Janet  Gaynor  was  pouting  at  Fox 
because  they  had  been  casting  her  in  films  that 
didn't  require  her  to  be  wistful.  Since  then, 
for   the   most  part,   Janet   has   had    her   way! 


GRETA   GARBO 


Portraits  in  this  issue  included 
one  of  Garbo  that  many  will  agree 
has  never  been  topped:  Greta 
with  curls  and  a  perky  hat  for  her 
role  in  "Romance."  Another  nice 
picture  was  that  of  Dolores  Cos- 
tello  with  husband  John  Barry- 
more  and  their  month-old  baby. 
Dolores.  Adolphe  Menjou  had 
returned  from  Paris  and  was  be- 
ing welcomed  back  at  Paramount. 
The  divorce  of  James  Cruze  and 
Betty  Compson  was  announced.  And  the  mar- 
riage of  Bebe  Daniels  and  Ben  Lyon  pro- 
phecied.  Best  films  of  the  month  included: 
Barbara  Stanwyck,  Ralph  Graves  and  Lowell 
Sherman  in  "Ladies  of  Leisure;"  Nancy  Car- 
roll with  a  cast  of  headliners  in  "The  Devil's 
Holiday;"  "The  Lady  of  Scandal,"  with  Ruth 
Chatterton  and  Ralph  Forbes.  On  the  cover 
was  Jeanette  MacDonald. 


HEW 


tVoo 


X 


HEN  you  visit  New  York 
enjoy  the  comforts  of  an  ideal 
home  and  still  be  in  the  heart  of 
the   Motion    Picture   Art    Centre. 


Parlor  with  Bedroom  and  Bath 

$C00   PER    DAY    SINGLE 
«^ —  Two  persons  $6.00 

$125.00  per  month  (single) 

($25  per  mo.  each  add.  person) 


Largest    i  Single 

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New  York  J,,,v 

per  day  single 
for     this     Beautiful     2-Room     Suite. 
3-Room   Suites   in   proportion. 

All  rooms  equipped  with  radio, 
combination  tub  and  shower  bath 
and  running  ice  water.  Ideal 
location  —  adjacent  to  shopping, 
business  and  theatre  districts. 


Swimming  Pool   and   Gymnasium 
FREE  to  Guests. 

Write     for     details.       Telegraph     reservations 
(.Collect; 

ENJOY  NEW  YORK'S  FAMOUS 

COCOANUT  GROVE 

^rlfjgatral 

56th  St.  at  7th  Ave. 
New  York  City 


114 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


WISDOM 

BEFORE  SLUMBER 

When  the  pangs  of  hunger  assail 
you  after  the  party's  over  ...  be 
canny.  Have  a  bowl  of  Kellogg's 
Corn  Flakes  in  milk  or  cream. 

They're  crisp,  cool,  refreshing, 
satisfying.  They  waft  you  off  to 
slumber  gently.  And  let  you  sleep 
so  that  you'll  feel  chipper  next 
morning. 

Sold  by  all  grocers.  Served  in 
restaurants  and  hotels.  Made  by 
Kellogg  in  Battle  Creek. 

CORN  FLAKES 

STOP*   ITCH 

.  •   «  IN    ONE     MINUTE.;. 

Simply  apply  Dr.  Dennis'  cooling,  antiseptic,  liquid 
D.  D.  D.  Prescription.  Quickly  relieves  the  itching 
torture  of  eczema,  eruptions,  rashes  and  other  skin 
afflictions.  Its  gentle  oils  soothe  the  irritated  and  in- 
flamed skin.  Clear,  greaseless,  and  stainless — dries 
fast.  Stops  the  most  intense  itching  instantly.  A  35o 
trial  bottle,  at  drug  stores,  proves  it — or  money  back. 

D.D.D.  PAcAcSiZ&tiovL 
ANY  PHOTO  ENLARGED 

Size 8 x  tO  inches 
or  smaller  if  desired. 

Same  price  for  full  length 
or  bust  form,  groups,  land- 
scapes, pet  animals,  etc., 
or  enlargements  of  any 
part  of  gToup  picture.  Safe 
return  of  original  photo 
guaranteed. 

SEND  NO  MONEY  J?8t  "fj^? 

(any  size)  and  within  a  week  you  will  receive 
your   beautiful   life-like    enlargement,   guaran- 
teed fadeless.  Pay  postman  47c  plus  postage— 
or  send  49c  with  order  and  we  pay  postage. 
Big  16x20-inch  enlargement  sent  C.O  D.78c 
plus  postage  or  eend  80c  and  we  pay  postage.  Take  advantage  of 
this  amazing  offer  now.  Send  your  photos  today    Specify  size  wanted. 
STANDARD  ART  STUDIOS 
on    Street         Oept.     135-H.  CHICAGO.     ILLINOIS 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE   16 


104    S.     Jefler 


BRUSH  AWAY 

GRAY  HAIR 

,**      curd  Xaok.  IO 
^  YEARS  YOUNGER, 


Here  is  a  quick,  safe  and 
approved  method.  With  a 
s.nall  orush  and  BROWNATONE  you  just  tint  those 
streaks  or  patches  of  gray  to  lustrous  shades  of  blonde, 
brown  or  black.  Easy  to  prove  by  applying  a  little  of 
this  famous  tint  to  a  lock  of  hair.  Cannot  affect  wav- 
ing of  hair.  Over  twenty-three  years  success.  Guaran- 
teed harmless.  Active  coloring  agent  is  purely  vegetable. 
If  BROWNATONE  does  not  give  your  gray, 
streaked  or  faded  hair  alluring,  rich,  youthful-appear- 
ing color,  your  money  back.  Only  50c.  At  drug  and 
toilet  counters  everywhere. 


•  ROMANCE  IN  MANHATTAN— RKO- 
Radio. — A  well-nigh  perfect  screen  play  with 
Francis  Lederer  as  the  immigrant  lad  who  falls  in  love 
with  Ginger  Rogers  and  wins  her  with  the  help  of  an 
Irish  cop,  J.  Farrell  MacDonald.  Excellent  cast, 
flawless  direction.      (Feb.) 

RUGGLES  OF  RED  GAP— Paramount.— Mary 
Boland,  Charlie  Ruggles.  SaZu  Pitts  and  Charles 
Laughton  in  a  humorous,  adventurous  story  about 
an  English  valet  who  comes  to  America,  to  Red 
Gap,  and  poses  as  a  British  Colonel.  You'll  enjoy 
it.     (March) 

RUMBA — Paramount. — You'll  like  the  native 
rumba  dancers,  and  George  Raft  and  Carole  Lom- 
bard do  some  smooth  stepping.  But  the  story  is 
obvious.     (Apr.) 

ST.  LOUIS  KID,  THE— Warners.— Jimmy  Cag- 
ney,  fast  and  breezy  as  the  story,  is  a  peppery  truck 
driver  in  a  milk  strike.  Patricia  Ellis  is  the  love 
motif.     (Jan.) 

•  SCARLET  PIMPERNEL,  THE  — United 
Artists. — Leslie  Howard  at  his  best  as  a  coura- 
geous young  Englishman  posing  as  a  fop  in  order  to 
rescue  French  noblemen  from  the  guillotine.  Merle 
Oberon  lovelv  as  his  wife.  A  swift,  colorful  adventure 
film.     (Apr.) 

SECRET  BRIDE,  THE— Warners.— Barbara 
Stanwyck,  Warren  William,  Grant  Mitchell,  Glenda 
Farrell  and  Arthur  Byron  are  lost  in  the  wordy  maze 
of  this  film's  plot.    (March) 

SECRETS    OF    HOLLYWOOD— Scott-Merrich 

Prod. — An  hour  of  howls  watching  Eddie  Lowe. 
Wally  Beery,  Enid  Bennett,  Florence  Vidor  and  other 
veterans  in  their  nickelodeon  days.     (Jan.) 

•  SEQUOIA— M-G-M  —  A  beautiful  and  amaz- 
ing picture  in  which  the  life  stories  of  animals 
living  in  the  high  Sierras  will  stir  you  more  than  any 
human  drama.   Jean  Parker,  Russell  Hardie.      (Feb.) 

SHADOW    OF    DOUBT— M-G-M— A    bow    to 

Constance  Collier,  a  grand  old  actress  who  gives  a  lift 
to  this  involved  murder  mystery.  Ricardo  Cortez, 
Virginia  Bruce,  Isabel  Jewell,  Regis  Toomey,  Arthur 
Byron,  Bettv  Furness  and  others  lend  good  support. 
(Apr.) 

SILVER     STREAK.     THE— RKO-Radio.—  The 

new  streamline  train  is  hero  of  this  picture,  gallantly 
racing  to  Boulder  Dam  to  save  the  lives  of  men  and 
to  win  Sally  Blane  for  Charles  Starrett.  William 
Farnum.  Hardie  Albright,  Edgar  Kennedy.      (Feb.) 

SING  SING  NIGHTS— Monogram.— An  in- 
teresting and  well-sustained  screen  puzzle  centering 
about  three  people  who  confess  singly  to  the  murder 
of  munitions  smuggler  Conway  Tearle.     (March) 


•  STAR  OF  MIDNIGHT— RKO-Radio.— Wil- 
liam Powell  and  Ginger  Rogers  banter  through 
out  this  sparkling,  guaranteed-to-baffle  mystery 
Irresistible  wit  eases  the  tension  of  the  drama;  win- 
ning performances  by  all  concerned.      (June) 

STOLEN  HARMONY  —  Paramount.  —  George 
Raft  and  Ben  Bernie  (with  the  boys)  pool  their 
talents  happily  to  make  this  a  thoroughly  enjoyable 
film.  Breezy  dialogue,  catchy  songs,  snappy  dances. 
Watch  for  newcomer  Lloyd  Nolan.  Grace  Bradley 
Goodee  Montgomery,  Charles  Arnt.      (June) 

STRAIGHT  FROM  THE  HEART— Universal- 
Baby  Jane  Quigley,  Roger  Pryor  and  Mary  Astor 
in  a  trite  and  obvious  story  concerning  a  young 
politician  who  discovers  love  means  more  to  him 
than  being  mayor.      (May) 

STRANGERS   ALL— RKO-Radio.— A    pip   of  a 

simple  little  family  picture.  May  Robson  is  the  mother 
who  has  four  children,  all  as  different  as  the  seasons. 
Preston  Foster,  James  Bush,  William  Bakewell, 
Florine  McKinney.  Bakewell's  performance  is  aces 
high.      (June} 

STRANGE  WIVES— Universal.— It  you  think 
in-laws  are  a  joke,  see  Roger  Pryor's  predicament 
when  he  marries  a  Russian  Princess  (June  Clay- 
worth)  and  in  walk  in-laws  Ralph  Forbes,  Cesar 
Romero,  Esther  Ralston,  Walter  Walker.  Valerie 
Hobson.      (Feb.) 

SWEET  ADELINE— Warners.— Nice  musical 
entertainment  with  sweet  melodies,  lovely  lyrics  by 
Jerome  Kern,  and  charming  Irene  Dunne.  Phil 
Regan  and  Hugh  Herbert  are  excellent.     (March) 

SWEET  MUSIC— Warners.— Disregard  the  story 
and  enjoy  Rudy  Vallee,  debunked,  and  Ann  Dvorak 
who  is  sensationally  good  at  dancing,  singing  and 
acting.  Helen  Morgan,  Alice  White,  Ned  Sparks 
(May) 

SWEEPSTAKE  ANNIE— Liberty.— A  poor  little 
girl  wins  a  fortune  in  a  sweepstakes  and  finds  plenty 
of  people  to  help  her  spend  it!  Quite  an  entertaining 
little  drama,  in  spite  of  a  few  limps.    (March) 

SYMPHONY  OF  LIVING— Invincible.— Certain 
emotional  power  and  good  music  relieve  the  tedium 
and  pathos  of  this  story  of  a  thwarted  genius  who 
finds  triumph  in  the  glories  of  his  prodigy.  Al  Shean. 
Charles  Judels,  Lester  Lee,  Evelyn  Brent.  John 
Darrow.      (May) 

$10  RAISE — Fox. — The  saga  of  the  routine  clerk 
who  can't  get  married  without  a  ten  dollar  raise  is  a 
delightful  story  in  the  capable  hands  of  Edward 
Everett  Horton.  Karen  Morley  is  his  romance: 
Alan  Dinehart  the  villain.     (June) 

TIMES  SQUARE  LADY— M-G-M.— Virginia 
Bruce  moves  another  notch  toward  stardom  as  the 
Iowa  girl  who  goes  to  Broadway  to  manage  some 
shady  enterprises  she's  inherited.  Newcomer  Robert 
Taylor  and  Pinky  Tomlin  are  grand!      (May) 


The  gentleman  with  the  camera  is  Ramon  Novarro,  lining  up  a  shot 
for  his  own  movie,  "Against  the  Current,"  which  he  will  take  on  the 
road    soon.      Novarro    is    head    of   his    own    producing    organization 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


I  .5 


TRANSIENT  LADY— Universal.— A  murder 
and  a  lynching  for  excitement.  Gene  Raymond  for 
romance,  June  Clayworth  and  Henry  Hull  for  acting, 
but  this  story  lacks  the  necessary  direction  to  make 
it  the  really  powerful  stuff  it  might  have  been.  (May) 

TRANSATLANTIC    MERRY-GO-ROUND  — 

United  Artists. — Its  galaxy  of  stars  the  chief  drawing 
power.  There's  a  murder  on  shipboard,  not  so  in- 
triguing. Nancy  Carroll  and  Gene  Raymond  the  ro- 
mantic interest.     Radio  stars  abound.     (Jan.) 

TRAVELING  SALESLADY— First  National  — 
A  light,  airy  little  comedy  at  which  you  can  just 
relax  and  look  and  laugh.  Joan  Blondell,  Glenda 
Farrell,  Hugh  Herbert,  William  Gargan  and  Ruth 
Donnelly.     (June) 

UNDER  PRESSURE— Fox.— Victor  McLaglen 
and  Edmund  Lowe  as  sand  hogs  engaged  in  the  dan- 
gerous business  of  cutting  a  tunnel  under  the  East 
River.     Exciting  entertaiment.     (Apr.) 

UNFINISHED  SYMPHONY,  THE— Gaumont- 
British. — The  musical  score  alone — Franz  Schubert's 
compositions  played  by  the  Vienna  Philharmonic 
Orchestra — puts  this  on  the  must  list  for  music 
lovers.  The  film  story  of  the  musician's  life  is  inter- 
esting too.     (March) 

•  VAGABOND  LADY— Hal  Roach-M-G-M  — 
A  spirited,  delightfuly  mad,  and  most  enjoyable 
comedy  with  Robert  Young  really  coming  into  his 
own  as  the  captivating  scape-grace  son  of  a  too,  too 
dignified  family.  Evelyn  Venable  is  the  romantic 
prize.  Good  performances,  too,  by  Reginald  Denny, 
Frank  Craven.     (June) 

VANESSA— HER  LOVE  STORY— M-G-M.— 
Helen  Hayes  is  excellent  as  Walpole's  lovely  heroine, 
but  the  film  as  a  whole  leaves  something  to  be  de- 
sired. Good  portrayals  by  May  Robson  and  Otto 
Kruger.  Robert  Montgomery  is  inadequate  as 
Benjie.     (May) 

WEDDING  NIGHT,  THE  —  Sam  GoUwyn- 
United  Artists. — A  tragic  story,  beautifully  told,  with 
a  powerful  love  theme  concerning  a  Polish  farm  girl 
and  sensitive  young  novelist.  Anna  Sten  and  Gary 
Cooper  superb  in  the  leads.  Excellent  support. 
(Apr.) 

WEST  POINT  OF  THE  AIR— M-G-M.— A 
father-son  story,  with  Wallace  Beery  as  an  old  Army 
sergeant  and  Robert  Young  his  son  who  returns  from 
West  Point,  his  father's  superior  officer.  In  addition 
to  an  appealing  story,  there  are  some  of  the  most 
thrilling  flight  sequences  you've  ever  seen.  Maureen 
O' Sullivan  is  romantic  prize.      (May) 


WEST  OF  THE  PECOS— RKO-Radio.— A  good 
Western,  with  lots  of  action  of  some  clever  comedy 
situations.  Richard  Dix  as  the  cowboy  hero,  Martha 
Sleeper,  Louise  Beavers,  Samuel  Hinds  and  Sleep'n' 
Eat  are  all  A-l.     (Feb.) 

WHEN  A  MAN  SEES  RED— Universal.— Here 

Buck  Jones,  as  hard-riding  and  square  shooting  as 
ever,  finds  himself  appointed  guardian  of  pretty 
Peggy  Campbell  who  inherits  the  ranch  of  which 
Buck  is  foreman.  Lots  of  chases,  trick  riding  and 
rescues.      (Feb.) 

WHILE  THE  PATIENT  SLEPT— First  National 
■ — Just  another  murder  mystery,  thin  in  spots.  Aline 
MacMahon  and  Guy  Kibbee  are  in  top  form;  Allen 
Jenkins,  Robert  Barrat,  Lyle  Talbot  and  Patricia 
Ellis  hold  up  support.      But  the  story  sags.      (June) 

•  WHOLE  TOWN'S  TALKING,  THE— Co- 
lumbia.— Edward  G.  Robinson,  as  two  other 
men,  gives  his  finest  performance  in  a  brilliant  picture. 
Excellent  support  by  Jean  Arthur.     (Apr.) 

•  WHITE  PARADE,  THE— Fox.— Nurses  in 
training,  with  a  Cinderella  love  story  involving 
Loretta  Young  and  John  Boles.  A  heart-stirring  pic- 
ture.    (Ja  h.) 

WICKED  WOMAN,  A— M-G-M.— Good  work 
by  the  cast  lifts  this  into  interesting  entertainment. 
Mady  Christians  excellent  as  the  woman  who  kills 
her  husband  to  save  her  family.  Charles  Bickford, 
Jean  Parker,  Betty  Furness  top  support.     (Feb.) 

WINGS  IN  THE  DARK— Paramount.— An  avia- 
tion story  with  a  heart.  Grand  performances  by 
Myrna  Loy  as  a  stunt  flyer,  and  Gary  Grant,  her 
blind  aviator  lover.     (Apr.) 

WINNING  TICKET,  THE— M-G-M.— Comedy 
capers  cut  by  Ted  Healy,  Leo  Carrillo  and  Louise 
Fazenda  over  the  disappearance  of  a  winning  sweep- 
stakes ticket.     (Apr.) 

WITHOUT  CHILDREN— Liberty.— Bruce  Ca- 
bot and  Marguerite  Churchill  let  a  siren  break  up 
their  home,  but  the  youngsters,  when  they  grow  up, 
reunite  them.     The  kids  steal  the  show.     (Ja  n.) 

WOMAN  IN  RED,  THE— First  National.— 
Sparkling  dialogue  freshens  up  this  old  story  of  the 
poor  girl  married  into  society.  Good  performances 
by  Barbara  Stanwyck,  Gene  Raymond  and  Genevieve 
Tobin.      (May) 

WOMEN  MUST  DRESS— Monogram.— A  nice 
little  domestic  drama  by  Dorothy  Reid,  widow  of  the 
still-beloved  Wally.  Interestingly  handled;  Minna 
Gombell's  performance  is  outstanding.     (Apr.) 


It  comes  from 

PARIS! 

All  chic  style  starts  in  Paris.  So 
does  cheek  style,  if  you  use 
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A  touch  and  you'll  see  the  differ- 
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hours;  its  unusual  texture  goes  on 
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Buy  Paris-made  Po-Go  Rouge  at 
any  toiletry  counter ;  if  you  can't  get 
it,  we'll  serve  you  by  mail.  Guy  T. 
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Avenue,  New  York  City. 


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Edmund  Goulding,  who  directs  Ann  Harding's  latest  picture,  "The 
Flame  Within,"  demonstrates  between  scenes  on  the  set  at  M-G-M 
a   new  air  cushion  seat  he  recently  invented  for  passenger  planes 


(VELVET  MITTEN  COMPANY 

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116 


PHOTOPLAY   MAGAZINE  FOR  JULY,  1935 


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SO  many  readers  of  this  department  have  re- 
quested information  about  forming  a  fan 
club  for  their  favorite  stars,  the  Photoplay 
Association  of  Movie  Fan  Clubs  wishes  it 
known  that  before  such  a  club  can  be  formed  in 
honor  of  a  star  that  written  permission  must 
first  be  secured  from  that  star.  Naturally,  a 
good  many  clubs  are  already  formed.  Perhaps 
your  favorite  actor  already  has  a  club.  In 
which  case,  it  would  be  a  simple  matter  for 
those  wishing  to  join  such  a  club  to  write  direct 
to  such  organizations  for  all  club  details.  The 
clubs  listed  in  this  department  each  month  are 
anxious  to  cooperate  with  all  true  fans,  and 
would  like  to  hear  from  prospective  members 

If,  however,  you  wish  to  start  a  "General 
Fan  Club,"  among  your  friends  and  neighbors, 
it  is  not  necessary  for  you  to  secure  permission 
from  a  Hollywood  star.  Your  club,  in  such 
cases,  must  not  bear  the  name  of  a  motion 
picture  star.  Meetings,  theater  parties,  corre- 
sponding members,  etc.,  are  some  of  the  enjoy- 
able features  of  such  "general "  clubs. 

The  Francis  Lederer  Club  announces  the 
change  in  headquarters  of  the  Chicago  Chapter 
to  3541  W.  Van  Buren  Street,  Chicago,  111.  All 
communications  regarding  this  club  should  be 
sent  to  Miss  Beatrice  Kramer,  acting  president 
at  that  address.  A  San  Francisco  chapter  of 
this  club  has  been  organized  under  the  leader- 
ship of  Miss  Marie  Luchaschewski,  1164  Noe 
St.,  San  Francisco,  Calif.  Miss  Joan  Drum- 
mond,  67  Hodford  Road,  London,  N.W.  11, 
London,  is  the  English  representative  of  Mr. 
Lederer's  club. 

Members  of  the  Movie  Club  Guild  of 
Chicago  have  been  enjoying  some  splendid 
social  times.  Following  a  successful  "Waffle 
Party"  at  the  home  of  the  Ruth  Roland  Club 
4822  N.  Meade  Ave.,  Chicago,  the  various 
clubs  of  the  "Guild"  staged  a  progressive 
dinner  party  which  took  them  over  a  fifty  mile 
route  of  Chicago's  boulevards,  through  every 
section  of  the  city,  stopping  at  the  homes  of 
each  of  the  club  officers.  Special  busses  were 
chartered  for  the  purpose. 

The  current  issue  of  "Bodil  and  her  Fans," 
the  club  bulletin  of  the  Bodil  Rosing  Fan  Club 
is  dedicated  to  that  deserving  fan  worker,  Jean 
Betty  Huber  of  Morris   Plains,   N.  J.     Mrs. 


Millie  Wist,  177  S.  Citrus  Ave.,  Los  Angeles, 
Calif  ,  is  president.  Write  her  for  details  about 
joining  the  club. 

Members  of  the  Lew  Ayres  Fan  Club  are 
happy  to  announce  a  new  honorary  member  of 
their  club.  She  is  Ginger  Rogers,  popular  wife 
of  Lew  Ayres.  The  club  is  celebrating  its  first 
anniversary,  and  Miss  Rogers  wrote  the  club 
paper,  "The  Telescope":  "Congratulations  on 
the  Club's  first  birthday,  and  I  hope  you  have 
many,  many  more."  Helen  Raether,  311  S 
Mingo  St.,  Albion,  Mich.,  is  president.  Lew 
Ayres  fans  are  welcome  to  write  for  informa 
tion. 

The  Dick  Powell  Club  is  launching  a  new 
drive  for  members.  The  prize  will  be  a  beauti- 
fully bound,  autographed  book  given  by  the 
club's  honorary  president.  Dick  Powell.  This 
club  now  has  branches  in  India  Australia  and 
England.  Chaw  Mank,  226  Mill  Street 
Staunton,  Illinois,  is  president. 

Miss  Lillian  Musgrave.  2700  N.  Vincent 
Avenue  Minneapolis  will  be  glad  to  hear  from 
fans  interested  in  The  John  Boles  Music  Club 

The  Fifi  D'Orsay  Fan  Club  recently  cele 
brated  its  first  anniversary.  Willa  Jeanne 
Wills,  Harvey,  North  Dakota,  is  president. 

Members  of  the  Lanny  Ross  League  may 
well  be  proud  of  their  club  news.  It  is  filled 
with  interesting  bits  of  club  information  and 
entertainment.  Catharine  Macadam  Box 
164,  Wilmington  Delaware,  is  president- 
Beatrice  Gordon,  Lefferts  Station,  Brooklyn 
N.  Y.  is  president  of  the  Vallee  Boosters.  All 
fans  of  Rudy  Vallee  are  invited  to  join  this 
club.     "The  Vallee  Voice,"  is  the  club  paper 

Minnette  Shermak,  328  East  90th  St.  New 
York  City,  is  president  of  the  Jean  Harlow  Fan 
Club 

The  club  dues  of  the  official  Norma  Shearer 
Club  have  been  reduced  to  fifty  cents  a  year, 
since  photographs  will  no  longer  be  sent  with 
each  copy  of  the  club  news  Now,  every  one  of 
Norma  Shearer's  fans,  we  expect,  will  be  join- 
ing. Many  thanks  for  the  nice  FAN  CLUB 
CORNER  notice  in  your  interesting  "Ram- 
bles." Hans  Faxdahl,  1946  Broadway,  New 
York  City,  is  president  of  this  club.  "  Le  club 
Norma  Shearer"  is  the  name  of  the  Paris 
branch  of  the  club 


It's  tea  for  two  on  the  "No  More  Ladies"  set,  and  Gail  Patrick  and 
Robert  Montgomery  seem  to  be  enjoying  it.  Bob  is  playing  opposite 
Joan  Crawford  in  the  M-G-M  screen  version  of  the  Broadway  success 


PHOTOPLAY   MAGAZINE   FOR  JULY,    1935 


17 


Casts  of  Current  Photoplays 

COMPLETE     FOR     EVERY     PICTURE     REVIEWED     IN     THIS     ISSUE 


"BREWSTER'S  MILLIONS"— United  Artists. 
— From  the  play  by  Winchell  Smith  and  Byron 
Ongley.  Adapted  by  Douglas  Furber.  Directed  by 
Thornton  Freeland.  The  cast:  Jack  B'ewster,  Jack 
Buchanan;  Rosalie,  Lili  Damita;  Cynthia,  Nancy 
O'Neil;  Miss  Plimsole,  Sydney  Fairbrother;  McLeod, 
Ian  McLean;  Freddy,  Fred  Emney;  Rawles,  Allan 
Aynesworth;  Grant,  Lawrence  Hanray;  Mario, 
Dennis  Hoey;  Pedro,  Henry  Wenman;  Mrs.  Barry, 
Amy  Veness;  Frank,  Sebastian  Shaw;  Ferago,  the 
Mayor,  Antony  Holies. 


"BRIDE  OF  FRANKENSTEIN.  THE"  — 
Universal. — Suggested  by  the  story  by  Mary 
Wolistonecraft  Shelley.  Screen  play  by  William 
Hurlbut  and  John  L.  Balderston.  Directed  by  James 
Whale.  The  cast:  The  Monster,  Karloff;  Henry 
Frankenstein,  Colin  Clive;  Elizabeth,  Valerie  Hobson; 
The  Male,  Elsa  Lanchester;  Mary  Shelley,  Elsa 
Lanchester;  Dr.  Prelorius,  Ernest  Thesiger;  The 
Hermit,  O.  P.  Heggie;  Burgomaster,  E.  E.  Clive; 
Minnie,  Una  O'Connor;  Percy  Shelley,  Douglas 
Walton;  Lord  Byron,  Gavin  Gordon;  Fritz,  Dwight 
Frye;  Rudy,  Neil  Fitzgerald;  Ham,  Reginald  Barlow; 
His  Wife,  Mary  Gordon;  Uncle  Glulz,  Gunnis  Davis; 
Auntie  Glulz,  Tempe  Pigott;  The  Butler.  Lucien 
Prival;  also  Harry  Northrup,  Grace  Cunard.  Joseph 
North  and  Helen  Gibson. 


"CALL  OF  THE  WILD"  — 20th  Century- 
United  Artists. — From  the  story  by  Gene  Fowler 
and  Leonard  Praskins.  Directed  by  William  Well- 
man.  The  cast:  Jack  Thornton,  Clark  Gable;  Claire 
Blake,  Loretta  Young;  Shorty  Hoolihan,  Jack  Oakie; 
John  Blake,  Frank  Conroy;  Smith,  Reginald  Owen; 
Groggin,  Sidney  Toler;  Marie,  Katherine  DeMille; 
Kali,  Lalo  Encinas;  Francois,  Charles  Stevens;  Ole, 
James  Burke;    Frank.  Duke  Green. 


"CASE  OF  THE  CURIOUS  BRIDE,  THE"- 
Fiksr  National. — From  the  story  by  Erie  Stanley 
Gardner.  Screen  play  by  Tom  Reed.  Directed  by 
Michael  Curtiz.  The  cast:  Perry  Mason,  Warren 
William;  Carl  Montaine,  Donald  Woods;  Dr.  Claud, 
Millsap,  Phillip  Reed;  Wilbur  Strong,  Oiin  Howland; 
Tools  Howard,  Thomas  Jackson;  Spudsy,  Allen 
Jenkins;  Doris  Pender,  Winifred  Shaw;  Fritz,  James 
Donlan;  Rhoda  Montaine,  Margaret  Lindsay;  Delia 
Street,  Claire  Dodd;  Capt.  of  Detective.  Lilian,  Barton 
MacLane;  Montaine,  Sr.,  Charles  Richman;  Gregory 
Moxley,  Errol  Flynn;  Byrd,  Robert  Gleckler;  Pen, to. 
Warren  Hvmer. 


"COWBOY  MILLIONAIRE,  THE"— Fox.— 
From  the  screen  play  by  George  Waggner  and  Dan 
Jarrett.  Directed  by  Edward  F.  Cline.  The  cast: 
Bob  Walker,  George  O'Brien;  Pamela  Bar, lay,  Evalyn 
Bostock;  Henrietta  Barclay,  Maude  Allen;  Hadley 
Thornton,  Alden  Chase;  Persimmon,  Edgar  Kennedy; 
Doyle,  Dan  Jarrett. 

"DARING  YOUNG  MAN,  THE"— Fox.— From 
'the  story  by  Claude  Binyon  and  Sidney  Skolsky. 
Screen  play  by  William  Hurlbut.  Directed  by 
William  A.  Seiter.  The  cast:  Don  McLane,  James 
Dunn;  Martha  Allen,  Mae  Clarke;  Gerald  Raeburn, 
Neil  Hamilton;  Warden  Palmer,  Sidney  Toler;  Pete 
Hogan,  Warren  Hymer;  Rafferty,  Stanley  Fields; 
Sally,  Madge  Bellamy;  Cub  Reporter,  Frank  Melton; 
Flaherty,  Raymond  Hatton;  Cubby,  Jack  LaRue;  Col. 
Baggotl,  Arthur  Treacher;  Helen  Kay,  Dorothy 
Christy;  Editor  Hooley,  Robert  Gleckler;  Muggs, 
William  Pawley;  Assistant  Warden,  James  Donlan; 
Star  Reporter,  Phil  Tead. 


"DINKY" — Warners.— From  the  story  by  John 
Kante,  Frank  Fenton  and  Samuel  Gilson  Brown. 
Screen  play  by  Harry  Sauber.  Directed  by  D.  Ross 
Lederman.  The  cast:  Dinky,  Jackie  Cooper;  Tom 
Marsden,  Roger  Pryor;  Jackie  Shaw,  Richard  Quine; 
Cadet  Lane,  Jimmy  Butler;  Sally,  Edith  Fellows;  Mr. 
Barnes,  Henry  O'Neill;  The  Junkman,  Henry 
Armetta;  Orphanage  Supt.,  Joseph  Crehan;  Mrs. 
Daniels,  Mary  Astor;  Jojo,  George  Ernest;  Mike. 
Frank  Gernardi;  Sammy,  Sidney  Miller;  Mary,  Betty 
Jean  Hainey;  Gerald  Slandish,  Clay  (lenient;  Mrs. 
Shaw,  Florence  Fair. 


"DOUBTING  THOMAS"  —  Fox.  —  From  the 
play  "The  Torch  Bearers"  by  George  Kelly.  Screen 
play  by  William  Conselman.  Directed  by  David 
Butler.  The  cast:  Arthur  Brown,  Will  Rogers;  Paula 
Brown,  Billie  Burke;  Mrs.  Pampinelli,  Alison  Skip- 
worth;  Spindter,  Sterling  Holloway;  Hossefrosse, 
Andrew  Tombes;  Florence  McCrickett,  Gail  Patrick; 
Peggy  Burns,  Frances  Grant;  Ralph  Twitter,  Johnny 
Arthur;  Nellie  Fell,  Helen  Flint;  Teddy,  Fred  Wallace; 
LaMaze,  T.  Roy  Barnes;  Jenny,  Ruth  Warren;  Stage 
Hand,  George  Cooper;  Mrs.  Sheppard,  Helen  Free- 
man. 


"EIGHT  BELLS" — Columbia. — From  the  story 
by  Percy  Mandley.  Screen  play  by  Ethel  Hill  and 
Bruce  Manning.  Directed  by  Roy  William  Neill. 
The  cast:  Marge  Walker,  Ann  Sothern;  Steve  Andrews, 
Ralph  Bellamy;  Roy  Dale,  John  Buckler;  Aunt  Susan, 


Catharine  Doucet;  Williams,  Arthur  Hohl;  Grayson, 
Charley  Grapewin;  Finch,  Franklin  Pangborn;  Carl, 
John  Darrow;  Sparks,  Emerson  Treacy;  Maclntyre, 
David  Clyde;  Walker,  Spencer  Charters;  Mike,  Pat 
Flaherty;  Second  Engineer,  Herbert  Haywood;  Sea- 
man, Frank  Meservy;  Engineer.  John  Irwin 


"G  MEN" — First  National. — From  the  story  by 
Gregory  Rogers.  Screen  play  by  Seton  I.  Miller. 
Directed  by  William  Keighley.  The  cast:  Brick 
Dan',  James  Cagney;  Kay  McCord,  Margaret  Lind- 
say; Collins,  Barton  MacLane;  Gerard,  Russell 
Hopton;  McKay,  William  Harrigan;  Bill,  Monte 
Blue;  The  Man,  Raymond  Hatton;  Venke,  Harold 
Huber;  Jean  Morgan,  Ann  Dvorak;  Jeff  McCord, 
Robert  Armstrong;  Hugh  Farrell,  Lloyd  Nolan; 
Leggelt,  Edward  Pawley;  Durfee,  Noel  Madison; 
Bruce  J.  Gregory,  Addison  Richards;  Buchanan,  Regis 
Toomey. 


"GOLD  DIGGERS  OF  1935"—  First  National. 
— From  the  story  by  Robert  Lord  and  Peter  Milne. 
Directed  by  Busby  Berkeley.  Dick  Curtis,  Dick 
Powell;  Amy  Prentiss,  Gloria  Stuart;  Nicoleff, 
Adolphe  Menjou;  Belly  Hawes,  Glenda  Farrell;  Louis 
Lamson,  Grant  Mitchell;  Arline  Davis,  Dorothy 
Dare;  Mrs.  Mathilda  Prentiss,  Alice  Brady;  Humboldt 
Prentiss,  Frank  McHugh;  T.  Mosley  Thorpe,  Hugh 
Herbert;  Winny,  Winifred  Shaw;  Head  Waiter,  Andre 
Beranger;  Schullz,  Joe  Cawthorn;  Haggarly.  Thomas 
Jackson;  Dancers,  Ramon  &  Rosita;  Tap  Dancer, 
Matty  King. 


"I'LL  LOVE  YOU  ALWAYS  "—Columbia. — 
From  the  story  by  Lawrence  Hazard.  Screen  play  by 
Vera  Caspary  and  Sidney  Buchman.  Directed  by 
Leo  Bulgakov.  The  cast:  Nora,  Nancy  Carroll;  Carl, 
George  Murphy;  Charlie,  Raymond  Walburn; 
Jergens,  Arthur  Hohl;  Mae,  Jean  Dixon;  Joe,  Robert 
Allen;  Clegg,  Harry  Beresford;  Sandstone,  Paul 
Harvey. 


"INFORMER.  THE"— RKO-Radio.— From  the 
story  by  Liam  O'Flaherty.  Screen  play  by  Dudley 
Nichols.  Directed  by  John  Ford.  The  cast:  Gybo 
Nolan,  Victor  McLaglen;  Mary  McPhillip,  Heather 
Angel;  Dan  Gallagher,  Preston  Foster;  Katie  Madden, 
Margot  Grahame;  Frankic  Mc Phillip,  Wallace  Ford; 
Mrs.  M,  Phillip.  Una  O'Connor;  Terry,  J.  M.  Kerri- 
gan; Miilhollaiul,  Joseph  Sauers;  Tommy  O'Connor, 
Neil  Fitzgerald;  Rat  Mulligan,  Donald  Meek;  The 
Blind  Man,  D'Arcy  Corrigan;  Donahue,  Leo  McCabe; 
Daly,  Gaylord  Pendleton;  Flynn,  Francis  Ford; 
Madame  Nelly,  May  Boley;  The  Lady,  Grizelda 
Harvey. 


"KENTUCKY  BLUE  STREAK"— Talisman.— 
From  the  story  by  C.  B.  Carrington.  Screen  play  by 
Homer  King  Gordon.  Directed  by  Ray  K.  Johnson. 
The  cast:  Marly  Marion.  Eddie  Nugent;  Johnny 
Bradley,  Junior  Coghlan;  Mary  Bradley.  Patricia 
Scott;  District  Attorney,  Cornelius  Keefe;  Mother 
Bradley,  Margaret  Mann. 


"LADIES  LOVE  DANGER  "—Fox.— From  the 
story  by  Ilya  Zorn.  Adapted  by  Robert  Ellis  and 
Helen  Logan.  Directed  by  H.  Bruce  Humberstone. 
The  cast:  Rita,  Mona  Barrie;  Ricardo  Souchel,  Gilbert 
Roland;  Tom  Lennox,  Donald  Cook;  Adele  Michel, 
Adrienne  Ames;  Phil  Morton,  Hardie  Albright; 
Giflins,  Herbert  Mundin;  Lieutenant  Roberts,  John 
VVray;  Helen  Lopez,  Marion  Clayton;  Haskins,  Ray 
Walker;  Jose  Lopez,  Henry  Kolker;  Melvin,  Russell 
Hicks;  Sergeant  Bender,  Nick  Foran;  James,  Leonard 
Carey;  Lewis,  Snowflake;  Conchila,  Rita  Rozelle. 


"MARY  JANE'S  PA"  -Firsi   National.— From 

the  story  by  Edith  Ellis  Furness.  Screen  play  by 
Tom  Reed  and  Peter  Milne.  Directed  by  William 
Keighley.  The  cast:  Ellen  Preston,  Aline  MacMahon; 
Mary  jane,  Betty  Jean  Hainey;  Line  Overman, 
Johnny  Arledge;  Wagner,  Robert  McWade;  Marvin, 
Minor  Watson;  Sheriff,  DeWitt  Jennings;  Jones, 
Louis  Mason;  2nd  Wat,  Inn, m.  Jack  Kennedy;  1st 
Watchman,  Edward  McWade;  .Sum  Preston,  Guy 
Kibbee;  Lucille,  Nan  Gray;  King  Wagner,  Tom 
Krown;  Fred,  Robert  Light;  Gene,  Carl  Stockdale; 
Police  (  hiet  Bailey,  Oscar  Apfel:  Bill,  Milt  Kibbee; 
Morgan,  John  Hyams. 


"MEN  OF  TOMORROW"— London  Films.— 
Based  on  the  novel  "The  Young  Apollo"  by  Anthony 
Gibbs.  Directed  by  Leontine  Sagan.  The  cast: 
Julian  Angell,  Robert  Donat;  Isobel  d'Aunay,  Merle 
Oberon;  Jane  Anderson,  Joan  Gardner;  Allen  Shep- 
herd, Maurice  Bradell;  "Homers,"  Emlyn  Williams; 
Mrs.  Oliphanl,  Annie  Esmond;  Senior  Proctor,  Charles 
Carson;  Tutor,  Gerald  Cooper;  Mr,  Waters,  John 
Traynor. 


"OIL  FOR  THE  LA/-IPS  OF  CHINA"— First 
National. — From  the  novel  by  Alice  Tisdale  Ho- 
bart.  Directed  by  Mervyn  LeRoy.  The  cast: 
Stephen  Chase,  Pat  O'Brien;  Don  Wellman,  John 
Eldredge;  Jim   Barnes,  Lyle  Talbot;   Bunsy.   Ronnie 


U-& 


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118 


PHOTOPLAY  MAGAZINE  FOR  JULY,   1935 


Murine  cleanses  and  re- 
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CITY. STATE.. 


Cosby;  Kin,  Willie  Fung;  Dan,  Edward  McWade;, 
Hartford,  Henry  O'Neill;  George,  John  Hyams;  Bill' 
Kendall,  George  Meeker;  Hester,  Josephine  Hutchin- 
son; Alice  Wellman,  Jean  Muir;  Boss,  Arthur  Byron; 
Ho,  Tetsu  Komai;  MacGargar,  Donald  Crisp;  Jar- 
gen,  Christian  Rub;  Stenographer,  Olive  Jones;  Miss 
Cunningham,  Florence  Fair. 


"ONE  FRIGHTENED  NIGHT"— Mascot  — 
From  the  story  by  Stuart  Palmer.  Screen  play  by 
Wellyn  Totman.  Directed  by  Christy  Cabanne. 
The  cast:  Jasper,  Charles  Grapewin;  Doris,  Mary 
Carlisle;  Arthur,  Arthur  Hohl;  First  Doris,  Evalyn 
Knapp;  Joe  Luvalle,  Wallace  Ford;  Laura,  Hedda 
Hopper;  Dr.  Denham,  Lucien  Littlefield;  Tom,  Regis 
Toomey;  Sheriff,  Fred  Kelsey;  Felix,  Clarence  Wil- 
son; Abner,  Adrian  Morris;  Elvira,  Rafaela  Ottiano. 


"PARTY  WIRE"— Columbia—  From  the  story 
by  Bruce  Manning.  Screen  play  by  Ethel  Hill  and 
John  Howard  Lawson.  Directed  by  Erie  Kenton. 
The  cast:  Marge  Oliver,  Jean  Arthur;  Matthew  Put- 
nam, Victor  Jory;  Nettie  Putnam,  Helen  Lowell; 
Will  Oliver,  Charley  Grapewin;  Roy  Daniels,  Robert 
Allen;  Mathilda  Sherman,  Clara  Blandick;  Irene 
Sherman,  Geneva  Mitchell;  Clara  West,  Maude 
Eburne;  Mason,  Ed  LeSaint;  Johnson,  Charles 
Middleton;  Croft,  Harvey  Clark;  Paul,  Walter 
Brennan;  Eleanor,  Grace  Hale;  Joe,  Joe  Marba; 
Rebecca,  Dorothy  Bay;  Martin,  Emerson  Treacy; 
Judge  Stephenson,  Robert  Middlemas;  Members  of  the 
Quartette,  Vester  Pegg,  Si  Jenks,  Bob  Kerr  and  Bill 
Dill. 


"PEOPLES  ENEMY,  THE— RKO-Radio.— 
From  the  story  by  Edward  Dean  Sullivan.  Screen 
play  by  Gordon  Kahn  and  Edward  Dean  Sullivan. 
Directed  by  Crane  Wilbur.  The  cast:  Vince  Falcone, 
Preston  Foster;  Catherine  Carr,  Lila  Lee;  Traps 
Stuart,  Melvyn  Douglas;  Ann  Griffin,  Shirley  Grey; 
Slip  Laflin,  Rosco  Ates;  Tony  Falcone,  William 
Collier,  Jr.;  Mary,  Sybil  Elaine;  Duke  Ware,  Herbert 
Rawlinson. 


"PHANTOM  FIEND,  THE"— Twickenham  — 
Based  on  the  novel  "The  Lodger"  by  Mrs.  Belloc 
Lowndes.  Scenario  by  Miles  Mander  and  Paul 
Roths.  Directed  by  Maurice  Elvey.  The  cast: 
Angeloff,  Ivor  Novello;  Daisy  Bunting,  Elizabeth 
Allan;  Mr.  Bunting,  A.  W.  Bascomb;  Mrs.  Bunting, 
Barbara  Everest;  Joe  Martin,  Jack  Hawkins;  Detec- 
tive Snell,  Shayle  Gardner;  Lord  Southcliff,  Peter  Caw- 
thorne;  Bob  Mitchell,  P.  Kynaston  Reeves;  Mrs. 
Coles,  Drusilla  Wills;  Gladys,  Mollie  Fisher;  Slvano, 
Anthony  Holies;  Rabinovitch,  Andre  Malandrinos. 


"SCOUNDREL,  THE"  —  Hecht-MacArthur- 
Paramount. — From  the  story  by  Ben  Hecht  and 
Charles  MacArthur.  Directed  by  Ben  Hecht  and 
Charles  MacArthur.  The  cast:  Anthony  Mallare,  Noel 
Coward;   Cora   Moore,   Julie   Haydon;   Paul   Decker 


Stanley  Ridges;  Carlotta,  Rosita  Moreno;  Vanieveer 
Veyden,  Alexander  Woollcott;  Maggie,  Hope  Wil- 
liams; Julia  Vivian,  Martha  Sleeper;  Jimmy  Clay 
Ernest  Cossart;  Rothenslein,  Lionel  Slander;  Maurice 
Stern,  Eduardo  Ciannelli;  Mildred,  Everley  Gregg; 
Mrs.  Rollinson,  Helen  Strickland;  Massey,  Frank 
Conlan;  Luigi,  William  Ricciardi;  Slezack,  Harry 
Davenport;  Howard  Gillette,  Richard  Bond;  Fortune 
Teller,  Shushina;  Felix  Abrams,  Raymond  Bramley; 
Calhoun,  O.  Z.   Whitehead. 


"SPRING  TONIC"— Fox.— From  the  play  "Man 
Eating  Tiger"  by  Ben  Hecht  and  Rose  Caylor.  Screen 
play  by  Patterson  McNutt  and  H.  W.  Hanemann 
Directed  by  Clyde  Bruckman.  The  cast:  Caleb 
Enix,  Lew  Ayres;  Betty  lngals,  Claire  Trevor;  Jose 
Walter  King;  Maggie,  ZaSu  Pitts;  Sykes,  Jack 
Haley;  Lola,  Tala  Birell;  Matt,  Siegfried  Rumann 
Griffen  Nasher,  Frank  Mitchell;  Camebridge  Nasher 
Jack  Durant. 


"SWELL-HEAD" — Columbia. — From  the  story 
by  Gerald  Beaumont.  Screen  play  by  William 
Jacobs.  Directed  by  Ben  Stoloff.  The  cast:  Terry 
McCall,  Wallace  Ford;  Billy  Malone,  Dickie  Moore 
(Courtesy  Our  Gang  Comedies);  Mary  Malone 
Barbara  Kent;  Umpire,  J.  Farrell  MacDonald;  Bes- 
sie, Marion  Byron;  Casey  Cohen,  Sammy  Cohen; 
The  Rube,  Frank  Moran;  Brick  Baldwin,  Mike 
Donlin. 


"UNWELCOME  STRANGER,  THE"— Col 
umbia. — From  the  story  by  William  Jacobs.  Screen 
play  by  Crane  Wilbur.  Directed  by  Phil  Rosen. 
The  cast:  Howard  Chamberlain,  Jack  Holt;  Madeline 
Chamberlain,  Mona  Barrie;  Gimpy,  Jackie  Searl; 
Mike,  Ralph  Morgan;  Lucky  Palmer,  Bradley  Page; 
Charlie  Anderson,  Frankie  Darro;  Pot  Roast,  Sam 
McDaniel;  Jackson,  Frank  Orth. 


"VILLAGE  TALE"— RKO-Radio.— From  the 
novel  by  Phil  Stong.  Screen  play  by  Allan  Scott. 
Directed  by  John  Cromwell.  The  cast:  Slaughter 
Somerville,  Randolph  Scott;  Janet  Stevenson,  Kay 
Johnson;  Elmer  Stevenson,  Arthur  Hohl;  Drury 
Stevenson,  Robert  Barrat;  Amy  Somerville,  Janet 
Beecher;  Old  Ike,  Edward  Ellis;  Lulu  Stevenson, 
Dorothy  Burgess;  Charlie,  Donald  Meek;  Store 
keeper,  Andy  Clyde;  Gabby,  Ray  Mayer;  Ben  Roberts, 
Guinn  Williams;  Goggy  Smith,  T.  Roy  Barnes- 
Sheriff,  DeWitt  Jennings. 


"WEREWOLF  OF  LONDON,  THE"— Uni- 
versal.— From  the  story  by  Robert  Harris.  Screen 
play  by  John  Colton.  Directed  by  Stuart  Walker 
The  cast:  Dr.  Glendon,  Henry  Hull;  Dr.  Yogami 
Warner  Oland;  Lisa  Glendon,  Valerie  Hobson;  Hugh 
Renwick,  Clark  Williams;  Paul  Ames,  Lester  Mat 
thews;  Lady  Forsylhe,  Charlotte  Granville;  Miss 
Ettie  Coombs,  Spring  Byington;  Hawkins,  J.  M 
Kerrigan;  Head  Cooley,  Louis  Vincenot. 


Figuring  out  something  for  you  to  laugh  at!  Production  is  held  up  on 
M-G-M's  "Public  Hero  No.  1"  while  Director  J.  Walter  Ruben  works 
out  a  funny  scene  with  Chester  Morris,  Jean  Arthur  and  Bert  Roach 


PHOTOPLAY  MAGAZINE   FOR  JULY,    1935 


Addresses  of  the  Stars 


HOLLYWOOD,  CALIF. 


CULVER  CITY,  CALIF. 


Paramount 
Benny  Baker 
George  Barbier 
Wendy  Barrie 
Douglas  Blackley 
Mary  Boland 
Grace  Bradley 
Carl  Brisson 
Mary  Ellen  Brown 
Kathleen  Burke 
Burns  and  Allen 
Kitty  Carlisle 
Dolores  Casey 
Claudette  Colbert 
Gary  Cooper 
Jack  Cox 

Larry  "  Buster"  Crabbe 
Bing  Crosby 
Katherine  DeMille 
Marlene  Dietrich 
Johnny  Downs 
Frances  Drake 
Mary  Ellis 
W.  C.  Fields 
William  Frawley 
Trixie  Friganza 
Cary  Grant 
Samuel  Hinds 
David  Holt 
Dean  Jagger 
Helen  Jepson 
Roscoe  Karns 
Lois  Kent 
Jan  Kiepura 
Elissa  Landi 
Charles  Laughton 
Billy  Lee 


Fox  Studios, 

Astrid  Allwyn 
Rosemary  Ames 
Lew  Ayres 
Mona  Barrie 
Warner  Baxter 
Thomas  Beck 
William  Benedict 
Barbara  Blone 
John  Boles 
Rita  Cansino 
Jane  Darwell 
Rosita  Diaz 
Alan  Dinehart 
James  Dunn 
Jack  Durant 
Alice  Faye 
Stepin  Fetchit 
Ketti  Gallian 
Janet  Gaynor 
Frances  Grant 
Harry  Green 
Tito  Guizar 
Sterling  Holloway 
Rochelle  Hudson 
Roger  Imhof 
Walter  Johnson 
Paul  Kelly 

RKO-Radio   Pi 

Glenn  Anders 
Fred  Astaire 
John  Beal 
Willie  Best 
Eric  Blore 
Alice  Brady 
Helen  Broderick 
Bruce  Cabot 
Chic  Chandler 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Preston  Foster 
Wynne  Gibson 
Alan  Hale 
Margaret  Hamilton 
Ann  Harding 


1401 


Studios 
Baby  LeRoy 
Carole  Lombard 
Pauline  Lord 
Ida  Lupino 
Fred  MacMurray 
Marian  Mansfield 
Margo 

Herbert  Marshall 
Gertrude  Michael 
Raymond  Milland 
Joe  Morrison 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Joe  Penner 
George  Raft 
Maxine  Reiner 
Lyda  Roberti 
Charlie  Ruggles 
Randolph  Scott 
Ann  Sheridan 
Sylvia  Sidney 
Alison  Skipworth 
Queenie  Smith 
Fred  Stone 
Jane  Storm 
Sir  Guy  Standing 
Gladys  Swarthout 
Colin  Tapley 
Kent  Taylor 
Lee  Tracy 
Virginia  Weidler 
Mae  West 
Henry  Wilcoxon 
Toby  Wing 

N.  Western  Ave. 
Walter  King 
Rosina  Lawrence 
Charles  Locher 
Edmund  Lowe 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Conchita  Montenegro 
Rosita  Moreno 
Herbert  Mundin 
Warner  Oland 
Pat  Paterson 
Ruth  Peterson 
John  Qualen 
Regina  Rambeau 
Bill  Robinson 
Will  Rogers 
Gilbert  Roland 
Raul  Roulien 
Siegfried  Rumann 
Jackie  Searl 
Slim  Summerville 
Shirley  Temple 
Claire  Trevor 
Helen  Twelvetrees 
Blanca  Vischer 
Henry  B.  Walthall 

ctures,  780  Gower  St. 

Katharine  Hepburn 
Pert  Kelton 
Francis  Lederer 
Gene  Lockhart 
Raymond  Middleton 
Polly  Moran 
June  Preston 
Gregory  Ratoff 
Virginia  Reid 
Erik  Rhodes 
Barbara  Robbins 
Buddy  Rogers 
Ginger  Rogers 
Ann  Shirley 
Frank  Thomas,  Jr. 
Helen  Westley 
Bert  Wheeler 
Robert  Woolsey 


United  Artists  Studios, 

Eddie  Cantor 
Charles  Chaplin 
Douglas  Fairbanks 


1041   N.  Formosa  Ave. 

Miriam  Hopkins 
Mary  Pickford 
Anna  Sten 


20th  Century  Studios,    1041    N.  Formosa  Ave. 

George  Arliss  Fredric  March 

Ronald  Colman  Loretta  Young 


Columbia  Studios, 
Robert  Allen 
Jean  Arthur 
Tala  Birell 
James  Blakeley 
Nana  Bryant 
Jack  Buckler 
Tullio  Carminati 
Nancy  Carroll 
Ruth  Chatterton 
Walter  Connolly 
Donald  Cook 
Inez  Courtney 
Richard  Cromwell 
Douglas  Dumbrille 
Lillian  Harvey 
Arthur  Hohl 


1438  Gower  St. 

Jack  Holt 
Victor  Jory 
Fred  Keating 
Arthur  Killian 
Peter  Lorre 
Marian  Marsh 
Ken  Maynard 
Tim  McCoy 
Robert  Middleman 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Florence  Rice 
Ann  Sothern 
Raymond  Walburn 


Hal   Roac 
Don  Barclay 
Billy  Bletcher 
Charley  Chase 
Billy  Gilbert 
Oliver  Hardy 

Metro-Goldwyn 
Brian  Aherne 
Katharine  Alexander 
Elizabeth  Allan 
Lionel  Barrymore 
Granville  Bates 
Wallace  Beery 
Constance  Bennett 
Virginia  Bruce 
Ralph  Bushman 
Charles  Butterworth 
Mary  Carlisle 
Leo  Carrillo 
Ruth  Channing 
Maurice  Chevaliei 
Mady  Christians 
Constance  Collier 
Jackie  Cooper 
Joan  Crawford 
Dudley  Digges 
Jimmy  Durante 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Muriel  Evans 
Louise  Fazenda 
Preston  Foster 
Betty  Furness 
Clark  Gable 
Greta  Garbo 
Gladys  George 
C.  Henry  Gordon 
Ruth  Gordon 
Russell  Hardie 
Jean  Harlow 
Frank  Hayes 
Helen  Hayes 
Louise  Henry 
William  Henry 
Jean  Hersholt 
Irene  Hervey 


h   Studios 
Patsy  Kelly 
Stan  Laurel 
Billy  Nelson 
Our  Gang 
Douglas  Wakefield 

Mayer    Studios 
Isabel  Jewell 
Barbara  Kent 
June  Knight 
Otto  Kruger 
Evelyn  Laye 
Myrna  Loy 
Jeanette  MacDonald 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Karen  Morley 
Edna  May  Oliver 
Maureen  O'Sullivan 
Cecilia  Parker 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
William  Powell 
Carl  Randall 
May  Robson 
Mickey  Rooney 
Shirley  Ross 
Rosalind  Russell 
Norma  Shearer 
Frank  Shields 
Sid  Silvers 
Harvey  Stephens 
Lewis  Stone 
Gloria  Swanson 
William  Tannen 
Robert  Taylor 
Pinky  Tomlin 
Franchot  Tone 
Spencer  Tracy 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


UNIVERSAL  CITY,  CALIF. 


Heather  Angel 
Henry  Armetta 
Baby  Jane 
Binnie  Barnes 
Noah  Beery,  Jr. 
Phyllis  Brooks 
Andy  Devine 
Jean  Dixon 
Marta  Eggerth 
Sally  Eilers 
Douglas  Fowley 
Valerie  Hobson 
Henry  Hull 
Buck  Jones 
Boris  Karloff 
John  King 
Frank  Lawtpn 


Universal  Studios 

Bela  Lugosi 
Paul  Lukas 
Joel  McCrea 
Lester  Matthews 
Henry  Mollinson 
Douglass  Montgomery 
Victor  Moore 
Chester  Morns 
Hugh  O'Connell 
Cesar  Romero 
Gloria  Stuart 
Margaret  Sullavan 
Mary  Wallace 
Irene  Ware 
Clark  Williams 
Jane  Wyatt 


BURBANK, 

Warners-First    Na 


Ross  Alexander 
Johnnie  Allen 
Mary  Astor 
Robert  Barrat 
Joan  Blondell 
Glen  Boles 
George  Brent 
Joe  E.  Brown 
James  Cagney 
Hobart  Cavanaugh 
Colin  Clive 
Ricardo  Cortez 
Joseph  Crehan 
Dorothy  Dare 
Marion  Daviea 
Bette  Davis 
Olivia  de  Haviland 
Dolores  Del  Rio 
Claire  Dodd 
Robert  Donat 
Ruth  Donnelly 
Maxine  Doyle 
Ann  Dvorak 
John  Eldredge 
Gordon  Elliott 
Patricia  Ellis 
Florence  Fair 
Glenda  Farrell 
Errol  Flynn 
Kay  Francis 
William  Gargan 
Nan  Gray 
Hugh  Herbert 
Leslie  Howard 
Ian  Hunter 

Lloyd  Hughes,  616  Taft  Bldg.,  Hollywood,  Calif. 

Harold  Lloyd,  6640  Santa  Monica  Blvd.,  Hollywood, 

Calif. 

Neil  Hamilton,  351  N.  Crescent  Dr.,  Beverly   Hills, 

Calif. 

Ned  Sparks,    1765   No.   Sycamore   Ave.,    Hollywood. 


CALIF. 

tional    Studios 
Josephine  Hutchinson 
Allen  Jenkins 
Al  Jolson 
Ruby  Keeler 
Guy  Kibbee 
Joseph  King 
Robert  Light 
Margaret  Lindsay 
Anita  Louise 
Helen  Lowell 
Barton  MacLane 
Everett  Marshall 
June  Martell 
Frank  McHugh 
James  Melton 
Jean  Muir 
Paul  Muni 
Jack  Norton 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed 
Philip  Regan 
Edward  G.  Robinson 
Mary  Russell 
Winifred  Shaw 
Lyle  Talbot 
Verree  Teasdale 
Genevieve  Tobin 
Mary  Treen 
Rudy  Vallee 
Gordon  Westcott 
Warren  William 
Donald  Woods 


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Cal  York's  Gossip  of  Hollywood 


CONTINUED  FROM  PAGE   108 


if  they  find  the  right  story,  we  will  probably 
have  our  charming  little  Bessie  back.  Per- 
haps she  will  write  her  own  story,  for  quietly, 
and  very  conscientiously,  the  one-time  star 
has  been  working  on  fiction  for  which  she  has 
a  real  talent. 

I |E'D  stand  up  to  a  mad,   plunging  rhinoc- 

'eros  and  plug  him  fearlessly,  but  director 
W.  S.  Van  Dyke  couldn't  be  coaxed  or  dragged 
to  a  height  of  more  than  fifteen  floors!  "It 
scares  me  to  death!"  the  intrepid  megaphonist 
of  "Trader  Horn"   and   "Eskimo"   admits. 

While  in  New  York  recently  a  party  of 
friends  were  going  to  take  him  to  the  Rainbow 
Room.  Van  had  never  been  there  before,  but 
it  sounded  good  so  out  he  started.  Just  as 
they  stepped  inside  the  elevator  some  innocent 
soul  said  to  the  elevator  man,  "Sixty-eighth 
floor,  please."  Out  Van  scooted  like  a  scared 
rabbit,  never  to  be  seen  again  that  night. 

W/HEN    Rochelle    Hudson    lost    her    pup 
™  recently,   she  wished  she  hadn't   named 
him  Jitters. 

When  she  made  her  rounds  hunting  the 
amnesia  hound  she'd  say,  "Have  you  got 
Jitters?"  and  people  gave  her  a  nasty  look. 

A  DOMESTIC  secret  of  the  Al  Jolsons  is 
'    '  at  last  out. 

Ruby  and  Al  are  "midnight  snackers."  It 
all  came  to  light  recently  when  the  plans  for 
the  new  Jolson  ranch  house  out  in  San  Fernan- 
do Valley  were  revealed. 

Between  the  upstairs  bedrooms  will  be  a 
kitchenette. 

I IAVING  beaued  and  bewitched  most  of  the 

'  'beautiful  ladies  of  the  screen  colony,  Gene 
Raymond  is  being  generous  with  his  charm 
and  spreading  it  around  among  the  society 
debutantes  and  sub-debbies.  Gene  has  been 
going  places  with  young  "Dicky"  Dell  Doheny, 
heiress  to  the  Doheny  oil  millions. 

A  N  absolute  ringer  for  Katharine  Hepburn 
'  \'s  the  wife  of  Bradley  Page,  your  favorite 
movie  bad  man  and  mine,  too.  Mrs.  Page 
told  me  she  had  been  pursued  for  autographs 
until  the  subject  is  getting  to  be  just  a  little 
bit  touchy — one  of  these  days  she  is  going  to 
give  in  and  scrawl  a  large  determined-looking 
"Hepburn"  in  somebody's  book. 

"THEY  don't  call  her  the  "grand  old  lady"  for 
'  nothing.  May  Robson  has  a  courage  which 
shakes  off  her  seventy  years. 

The  other  day  she  hopped  over  to  Boulder 
Dam  for  a  squint  at  the  big  water  works. 
Strong  hearted  tourists  go  for  the  bucket  ride 
which  swings  out  over  the  massive  pile  of 
cement  and  then  drops  to  the  river  bed. 

May  climbed  in  shouting  "Fiddlesticks!" 
at  well  meaning  people  who  muttered  about 
her  "heart." 

Up  and  down  a  thousand  feet  in  a  bucket 
was  great  stuff  to  keep  a  girl  young,  she  said. 

THE  difference  in  attitude  toward  Tom 
'  Brown,  on  a  set,  is  very  revealing.  Some  of 
the  girls  treat  him  as  a  kid,  others  can't  make 
up  their  minds,  some  "mister"  him.  We 
noticed  the  other  day  Adrienne  Ames  gave  him 
the    offhand     "Sonny    boy"     routine — while 


Claire  Trevor,  almost  as  much  of  a  kid  as  he 
is,  employs  the  "mister" — and  asks  his  ad- 
vice! And  Tommy  beams. 

MY  idea  of  a  really  noble  woman  is  Jean 
Harlow.    She  actually  went  to  the  kitchen 
and  whipped   up  a  lemon  chiffon   pie  which 


Randolph  Scott,  hero  to  the  young- 
sters in  Westerns  for  a  long  time, 
is  now  heart-throb  for  the  ladies, 
since  his  latest  role,  in   "Roberta" 


would  make  you  break  down  and  sob  with 
joy — and  never  even  touched  a  morsel  of  it 
herself!  No  foolin' — I  had  a  handsome  wedge 
myself. 

Women  who  look  like  Jean  and  confect  pies 
like  that  are  more  dangerous  than  all  the 
Borgias! 

FOR  years  you  have  heard  the  expression 
'  "vain  as  a  peacock" — but  Douglass  Mont- 
gomery accepted  the  responsibility  for  im- 
proving it.  First  of  all,  you  must  have  a 
peacock  in  order  to  get  any  place  at  all  with 
your  proof.  Doug  has  a  flock  of  them  out  at 
the  family  home  in  Pasadena.  The  other  day, 
a  friend  drove  in  with  a  shiny  new  car.  In  an 
instant,  the  car  was  surrounded  by  birds  in 
full  plumage,  strutting  this  way  and  that, 
admiring  their  reflection  in  the  dazzling  sur- 
face— and  very  pleased  with  the  whole  effect, 
too. 

K  /ORE  news  about  the  Joan  Bennett-Gene 
'  V  'Markey  farm  in  Connecticut.  Joan  and 
Gene  own  a  half  interest  with  Joan's  mother, 
Adrienne  Morrison,  who  has  been  living  on 
the  place.  It  is  sort  of  an  Italian  villa  effect, 
which   must  be  startling   among   the   rugged 


rocks  and  pines.  Some  extensions  had  to  be 
made  which  were  a  long  time  being  finished, 
so  Mrs.  Morrison  had  canvas  stretched  over 
and  went  right  on  living  there.  The  name  of 
the  place  is  most  appropriate.  I  think.  It  is 
"  Fun  Tomorrow." 

THE  younger  social  set  of  Toluca  Lake  is 
going  in  heavy  for  tea  parties.     It's  quite  the 
thing. 

The  gay  whirl  usually  centers  around  the 
garden  of  Virginia  Bruce's  home  and  the  host- 
ess is  Susan  Ann  Gilbert,  who  is  usually  at 
home  to  Gary  Evan  Crosby  and  Richard 
(Ricky)  Arlen. 

THERE  is  a  heartening  and  withal  national- 
1  istic  note  in  the  news  that  every  one  of  the 
three  stars  of  "China  Seas,"  Clark  Gable, 
Jean  Harlow  and  Wallace  Beery,  observes  the 
tea  hour  with  plain  old  American  "sinkers" 
and  coffee. 

Ever  since  the  British  invasion  it  has  been 
very  smart  for  tea  and  crumpets  to  make  their 
appearance  along  about  four  or  five  o'clock. 
But  the  threat  to  a  good  Yankee  institution 
has  been  given  a  body  blow  at  last. 

You  can't  say  "cawn't"  with  a  dunked 
doughnut  in  your  mouth. 

I  THINK  one  of  the  funniest  stories  of  the 
'  month  concerns  Gene  Raymond's  very 
flattering  reception  of  a  piece  of  paper  upon 
which  his  name  had  been  written  one  thousand 
times. 

But  it  seems  that  the  young  lady  who  sent 
this  apparent  tribute  to  her  film  idol  did  it 
after  school  under  the  watchful  eye  of  her 
teacher  who  had  caught  herwriting  imaginary 
notes  to  Gene  instead  of  her  algebra  problems. 
Just  to  teach  her  to  never  do  it  again  she  made 
the  errant  lass  write  Gene's  name  until  it 
totaled  one  grand. 

THE  business  activities  of  Glenda  Farrell 
'  have  managed  to  flourish  briskly  in  spite  of 
the  move-away  jitters  which  still  seize  Holly 
wood.  With  practically  every  star  in  town 
placing  his  house  on  the  market,  or  secretly 
planning  to,  Glenda  ups  and  invests  in  a  real 
estate  firm  and  becomes  a  bull  when  the  rest 
of  the  town  has  donned  bear  clothes. 

What's  more,  it's  paying  out.  She's  already 
sold  three  houses,  and  is  buying  some  more. 

WEARS  ago  a  studio  at  Sunset  and  Hillhurst 
'  was  the  biggest  and  most  important  pro- 
duction center  in  Hollywood. 

It  was  there  that  the  pioneer  of  pictures, 
D.  W.  Griffith,  made  the  big  successes  which 
lifted  motion  pictures  to  a  higher  plane  than 
ever  before. 

Today  that  same  studio,  almost  abandoned 
in  recent  years,  has  been  the  scene  of  another 
pioneer  in  action. 

Ramon  Novarro.  recently  turned  producer 
has  rented  it  and  just  finished  his  first  picture 
there.  "Against  the  Current,"  and  made  en- 
tirely   in    Spanish. 

Ramon  does  about  everything  in  the  making 
of  his  pictures,  including  scoring  the  musical 
backgrounds.  He  may  soon  be  a  serious  Latin 
rival  of  Chaplin,  the  only  one-man  screen  show 
in  Hollywood  today. 


120 


PRINTING   CO. 


\ae  West 

Talks 
iboutHer 
Carriage 


WR1GLEYS 


DOUBLE  M\MT 


CHEWING  GUM      ^seT     \ 


01 STILLED 


PHOTOPLAY  MAGAZINE   FOR  AUGUST,    1935  £-^l 


"I  found  a  little 

SECRET  OF  POPULARITY 

that  so  many  women 

OVERLOOK'9 


% 


"  l?OR  years  I  was  left  out  of  things 
■*-  — a  young  girl  who  rarely  had  a 
date  and  never  had  a  beau.  Now  that  is 
all  changed.  I  am  invited  everywhere  . . . 
life  is  gay  and  interesting — and  all  be- 
cause I  discovered  a  little  secret  of  popu- 
larity that  so  many  women  overlook." 

Popular  People  Realize  It 


quick  deodorant,  used  as  a  mouth 
rinse.  Most  causes  of  halitosis,  says  a 
great  dental  authority,  are  due  to  fer- 
menting food  in  the  mouth.  Tiny  par- 
ticles which  even  careful  tooth  brushing 
fails  to  remove,  decompose  and  release 
odors.  It  happens  even  in  normal  mouths. 
No  wonder  so  many  breaths  offend! 

Listerine  quickly  halts  such  fermen- 
Popular  people  are  never  guilty  of  hali-  tation,  then  it  overcomes  the  odors  it 
tosis  (unpleasant  breath),  the  unforgiv-  causes.  The  breath — indeed  the  entire 
able  social  fault.  That  is  one  of  the  reasons  mouth — becomes  fresher,  cleaner,  more 
they  are  popular.  Realizing  that  anyone  wholesome.  Get  in  the  habit  of  using 
may  have  bad  breath  without  knowing  Listerine.  It's  an  investment  in  friend- 
it,  they  take  this  easy  pleasant  pre-  y^-^^^.  ship.  Lambert  Pharmacal  Corn- 
caution   against  it — Listerine,   the    \^00?Krcfueepi!?v)  Pany>  St.  Louis,  Missouri. 

Keep  your  breath  beyond  suspicion.    Use  LISTERINE  before  meeting  others 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


IN    A 
HOLLYWOOD    PROJECTION    ROOM! 


Together, 
A  GREAT 
STAR  and 
a  NEW  STAR 


The  hush  in  the  Metro-Goldwyn-Mayer  projection  room  turned 
to  a  muffled  whisper... the  whisper  rose  to  an  audible  hum... 
and  in  less  than  five  minutes  everybody  in  the  room  knew  that  a 
great  new  star  had  been  born — LUISE  RAINER — making  her 
first  American  appearance  in  "Escapade", WILLIAM  POWELL'S 
great  new  starring  hit!  It  was  a  historic  day  for  Hollywood, 
reminiscent  of  the  first  appearance  of  Garbo  —  another  of 
those  rare  occasions  when  a  great  motion  picture  catapults  a 
player  to  stardom. 


WINNERS    OF    PHOTOPLAY 

MAGAZINE    GOLD    MEDAL 

FOR  THE  BEST  PICTURE  OF 

THE  YEAR 

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"THE  COVERED  WAGON" 

1924 

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1925 

"THE  BIG  PARADE" 

1926 

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1927 
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1928 

"FOUR  SONS" 

1929 

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1930 

"ALL  QUIET  ON  THE 

WESTERN  FRONT" 

1931 

"CIMARRON" 

1932 

•SMILIN'  THROUGH" 

1933 

"LITTLE  WOMEN" 


PUBLISHED   MONTHLY  BY 

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COPYRIGHT,   1935,   BY 
MACFADDEN  PUBLICATIONS,  INC,  NEW  YORK 


PHOTOPLAY 

THE    ARISTOCRAT    OF    MOTION     PICTURE    MAGAZINES 

KATHRYN     DOUGHERTY,     PUBLISHER 
RUTH     WATERBURY,     EDITOR 

WILLIAM  T.WALSH,  MANAGING  EDITOR 
IVAN  ST.  JOHNS,  WESTERN  EDITOR 
WALLACE     HAMILTON     CAMPBELL,     ART     EDITOR 


VOL.  XLVIII    NO.  3 


AUGUST,    1935 


HIGH-LIGHTS       OF       THIS       ISSUE 

Close-Ups  and  Long-Shots .      .       Kathryn  Dougherty  21 
Will  "Becky  Sharp"  Revolutionize  Hollywood?      .      . 

Jack  Grant  24 

The  Sex-Jinx  on  Stardom    .      .      .       Mary  Anderson  28 

Cal  York's  Gossip  of  Hollywood .32 

What  Really  Happens  To  Movie  Children? 

Helen  Whitfield  42 

What  Was  the  Best  Picture  of  1934? 44 

We  Will  Never  Understand  Gary  Grant  in  Hollywood 

Julie  Lang  Hunt  46 

Don't  Love  Me  (Part  VI)  .      ...                       ...  49 

Photoplay  Fashions Courtenay  Marvin  53 

Seeing  Stars  With  Mitzi       .      .             Mitzi  Cummings  66 

Photoplay's  Hollywood  Beauty  Shop 

Carolyn  Van  Wyck  74 

PHOTOPLAY'S       FAMOUS       REVIEWS 


Brief  Reviews  of  Current  Pictures 
The  Shadow  Stage    .... 


7 
68 


PERSONALITIES 


The  Private  Life  of  Ginger  Rogers  Warren  Reeve  26 
I  Know  Myrna  Loy — But  Not  Very  Well      .... 

Dorothy  Manners      30 

On  the  Set  With  Will  Rogers   .    As  Told  by  Rochelle 

Hudson  to Reginald  Taviner      36 

Mae  West  Talks  About  Her"Marriage"  Kirtley  Baskette  38 
The  Disappearing  Muni  ....  Ruth  Rankin  65 
An  Actor  With  Strange  Ideas         

Princess  Alexandra  Kropotkin      72 

On  the  Cover,  Kay  Francis,  Painted  by  Tchetchet 

INFORMATION        AND        SERVICE 

Letters 5 

Hollywood  Menus 80 

Ask  the  Answer  Man 86 

The  Fan  Club  Corner 105 

Screen  Memories  from  Photoplay 107 

Addresses  of  the  Stars 109 

Casts  of  Current  Photoplays     .      . 110 

3 


A    L.  SCHAFER 


OTEALING  onto  the  set  at  Columbia  during  the  shooting  of  "Love  Me 
Forever,"  the  cameraman  snapped  this  picture  of  Grace  Moore  singing 
"Funiculi  Funicula"  in  one  of  the  scenes.  With  Victor  Schertzinger  direct- 
ing again  and   Miss  Moore  lovelier  than  ever,  another  smash-hit  is  seen 


It's  the  movie-going  public  who  determines 
the  trend  of  the  screen.  Letters  you  write 
today  will  affect  the  pictures  of  tomorrow 


Joe  Breen's  party  certainly  was 
a  gay  one.  Wallace  Ford  puts  on 
an  act  for  Thelma  Todd,  director 
Edward  Sedgwick,  and  Una  Mer- 
kel.    Thelma's  eyes  are  elsewhere 


The  man  who  up  to  recently  was 
in  one  of  the  worst  spots  pos- 
sible, Joseph  Breen,  head  censor 
of  all  films.  Maybe  Wally  Beery 
is  giving  him  a  load  of  sympathy 


I  HAVE  watched  carefully  Marlene  Dietrich's 
'  few  pictures,  wondering  just  what  was  lack- 
ing in  this  beautiful  performer.  At  last,  how- 
ever, I  think  I've  found  the  answer.  In  "The 
Devil  Is  a  Woman,"  in  which  Marlene  was 
never  more  lovely  nor  the  settings  more  real- 
istic, there  occurs  the  line:  "She  is  a  woman 
of  fire,  but  there  is  ice  in  her  veins." 

It  was  then  I  knew,  for  that  sentence  cov- 
ers not  Marlene  but  Von  Sternberg,  her  direc- 


tor. He  has  genius- and  fire,  but  his  pictures 
lack  sympathy,  any  note  of  tenderness,  and 
without  that  he  cannot  catch  a  corresponding 
note  of  sympathy  and  understanding  from  his 
audience. 

I'm  sure  that  all  Marlene's  admirers  look 
forward  to  the  day  that  she  may  have  really 
sympathic  direction  and  return  to  her  original 
high  favor. 

Carol  A.  Wiseman,  New  Berlin,  N.  Y. 


SO  Adela  Rogers  St.  Johns  thinks  "Queen 
Christina"  was  a  bad  story,  a  very  bad 
picture,  stupidly  directed,  and  that  Garbo 
was  at  her  worst.  Well,  I  must  say,  tastes  sho' 
do  differ.  I  sat  through  "Christina"  spell- 
bound, thinking  I  had  never  seen  a  more 
beautifully  produced  picture,  nor  one  in 
which  Garbo  had  appeared  more  utterly, 
magically  lovely.  To  me,  this  picture  was  the 
highlight  of  the  year,  and  had  I  anything  to 


Don't  say  it.  Write  it!  You 
can  tell  only  a  few  what 
you  think  of  a  film,  but 
thousands  read  these  pages 


Back  from  a  swim,  Ann  Dvorak  with 
her  two  prize  spaniels  have  lots 
of  fun  on  the  porch  of  her  San 
Fernando  Valley  ranch.  Lucky  dogs! 
Ann's  next  picture  will  be  "Broad- 
way  Joe,"   opposite  Joe   E.    Brown 


do  with  the  distribution  of  medals,  Greta  and 
the  picture  and  the  director  would  have  re- 
ceived a  shower  of  them. 

Lauretta  Chapman,  Los  Angeles,  Calif. 


W/HO  said  we  didn't  want  John  Gilbert? 
vv  Why  the  last  time  I  went  to  see  him  the 
theater  was  packed  to  the  doors.  He  is  truly 
a  wonderful  actor,  and  good  to  look  at  as  well. 
I  agree  with  Miss  St.  Johns  that  he  got  the 
worst  deal  of  any  actor  I  know  of.  There  are 
six  of  us  living  in  an  apartment  and  we  all 
admire  him  greatly,  but  if  the  producers  in- 
sist on  showing  us  stars  we  do  not  care  about 
instead  of  Gilbert,  Lederer,  Gable,  Barthel- 
mess,  Lionel  Barrymore  and  others  who  are 
also  good  to  look  at  as  well  as  being  great 
actors,  then  we'll  just  stay  away  from  the 
movies  until  the  producers  give  us  what  we 
want. 

Lona  Reed,  Cleveland,  Ohio 


A  DELA  ROGERS  ST.  JOHNS'  article  in 
'  Hhe  June  Photoplay  must  have  brought 
back  to  the  minds  of  movie-goers  one  of  the 
most  colorful  and  talented  figures  ever  to  have 
won  fame  in  Hollywood — John  Gilbert.  We 
will  never  forget  his  "Bardelys  the  Magni- 
ficent" and  the  soldier  boy  in  "The  Big 
Parade." 

Why  can't  something  be  done  to  snatch  this 
fine  actor  from  the  oblivion  that  is  threatening 
his  career? 

Virginia  Edgecomb,  Los  Angeles,  Calif. 


Million  dollar  hands.  They  have 
made  the  world  popular  music  con- 
scious with  such  compositions  as 
"Alexander's  Rag  Time  Band,"  "All 
Alone,"  "Always,"  and  a  score  of 
other   hits.      Irving    Berlin's,    right! 


I  AGREE  heartily  with  everything  Adela 
1  Rogers  St.  Johns  said  about  John  Gilbert 
except  that  he  is  through,  or  defeated.  I  have 
been  hoping  that  somehow  he  would  get  a 
break,  and  after  "The  Captain  Hates  the 
Sea"  I  was  sure  he  would,  but  to  date  I 
have  not  heard  anything  about  another  Gilbert 
picture. 

Why  not  all  of  John  Gilbert's  fans  and  old 
friends  come  to  his  defense  and  show  the  pro- 
ducers that  we  want  Gilbert  back  on  the 
screen  to  stay?  We  simply  can't  let  him  stay 
away  any  longer  because  there  never  was 
anyone  like  him  and  there  never  will  be. 

Grace  Patterson,  Salem,  Oregon 


W/HY  do  they  persist  in  miscasting  Kath- 
**  arine  Hepburn?     I  was  disappointed  in 


WE       ~M 

i  M 

■  I 

r\Jfm 

\  m      Mrs      >H 

Fay  Wray  wore  a  mighty  big  smile 
when  she  stepped  out  of  the  plane 
which  brought  her  back  to  Holly- 
wood from  her  recent  trip  abroad. 
Fay  went  to  England  to  appear  in  a 
picture,    but    is    glad    to    be    back 


her  as  a  choice  for  the  lovely  Babbie  in  "The 
Little  Minister."  Katie  is  vital  and  lovable, 
but  there  are  some  roles  better  suited  for  her 
than  others,  naturally.  She  shouldn't  play 
Alice  Adams,  for  instance — Margaret  Sullavan 
is  the  perfect  Alice. 

Mrs.  Jane  Roberts,  Denver,  Colorado 

[  PLEASE  TURN  TO  PAGE  8| 


BRIEF  REVIEWS 

OF       CURRENT       PICTURES 

CONSULT  THIS  PICTURE 
SHOPPING  GUIDE  AND  SAVE 
YOUR   TIME,    MONEY    AND    DISPOSITION 

•  INDICATES      PICTURE      WAS      NAMED     AS      ONE     OF     THE     BEST     UPON     ITS     MONTH     OF     REVIEW 


AFTER  OFFICE  HOURS  —  M-G-M.-Smart 
lines  and  clever  situations,  with  Constance  Bennett 
as  the  would-be  reporter  in  satin  trains  and  furbelows, 
and  Clark  Gable  her  hard-boiled  managing  editor. 
(Apr.) 

ALL  THE  KING'S  HORSES— Paramount.— An 
entertaining  but  familiar  story  of  the  king  and  the 
commoner  who  look  alike  and  change  places.  Carl 
Brisson  is  charming,  and  Mary  Ellis,  in  her  screen 
debut,  delightful.      (May) 

•  BABBITT — First  National. — Sinclair  Lewis' 
famous  novel  brought  to  the  screen  with  Guy 
Kibbee  excellent  in  the  title  role.  Aline  MacMahon 
good  as  his  wife.    (Feb.) 

•  BABES  IN  TOYLAND— Hal  Roach-M-G- 
M.— A  delight  for  the  kiddies,  fun  for  the 
grown-ups,  this  screen  version  of  Victor  Herbert's 
Nursery  Rhyme  classic,  with  Stan  Laurel  and  Oliver 
Hardy.     (Feb.) 

BABY  FACE  HARRINGTON— M-G-M.—  An 
amusing  enough  little  picture  with  Charles  Butter- 
worth  as  the  timid  soul  mistaken  for  a  big-shot 
gangster.  Una  Merkel,  Nat  Pendleton,  Donald 
Meek.   (June) 

BAND  PLAYS  ON,  THE— M-G-M— Essentially 
the  old  rah-rah  collegiate  stuff,  with  the  touchdown 
on  the  last  gun.  Good  performances  by  Robert 
Young,  Stu  Erwin  and  Betty  Furness.  (March) 

BATTLE,  THE— Leon  Garganoff  Prod.— A  pic 
ture  of  enormous  power,  with  Charles  Boyer  as  a 
Japanese  naval  officer  who  is  willing  to  sacrifice  his 
beautiful  wife,  Merle  Oberon,  to  obtain  war  secrets 
from  an  English  attache.  Superb  direction  and 
photography.     (Feb.) 

BEHOLD  MY  WIFE— Paramount.— Old  time 
hokum,  but  you'll  like  it,  for  Sylvia  Sidney  is  beau- 
tiful as  the  Indian  Princess  and  Gene  Raymond  is 
top-notch  as  the  man  who  marries  her  to  spite  his 
family.     (Feb.) 

BEST  MAN  WINS,  THE— Columbia.— An  inter- 
esting film  with  Jack  Holt,  Edmund  Lowe  and  Flor- 
ence Rice  for  romance,  underseas  adventures  for 
excitement  and  Bela  Lugosi  as  a  menace.     (March) 

BIOGRAPHY  OF  A  BACHELOR  GIRL— M-G- 

M. — Ann  Harding  as  you  like  her  best,  in  a  bright, 
sophisticated  film.  Robert  Montgomery,  Una  Mer- 
kel, Eddie  Horton,  Edward  Arnold  and  Charles 
Richman  make  it  a  grand  cast.    (March) 

•  BLACK  FURY— First  National.— A  saga  of 
the  coal  mines  presenting  with  intense  realism 
and  power  the  elemental  problems  of  the  miners. 
Paul  Muni  gives  a  memorable  performance,  and 
Karen   Morley   lends  excellent   support.      (June) 

BORDERTOWN  —  Warners.— Outstanding  per- 
formances by  Bette  Davis  and  Paul  Muni  make  this 
one  worthwhile.  The  story  is  of  the  bitter  disil- 
lusionment of  a  young  attorney  who  loses  his  first 
case,  then  falls  prey  to  the  schemings  of  a  jealous 
woman.  Not  altogether  pleasant,  but  gripping. 
(Apr.) 

BREWSTER'S  MILLIONS— United  Artists.— 
Jack  Buchanan  and  Lili  Damita  in  a  fairly  entertain- 
ing musical  comedy  version  of  the  familiar  story  of 
a  young  man  who  must  spend  millions  in  order  to 
inherit  a  still  greater  fortune.     (July) 

BRIDE  OF  FRANKENSTEIN,  THE— Universal. 

— Boris  Karloff  rises  from  the  flames  again  to  seek 
a  mate  and  one  is  created  for  him.  Lots  of  chills,  and 
a  new  high  in  fantastic  horror.     Good  cast.     (July) 

•  BRIGHT  EYES  — Fox.— A  bright  bit  of 
entertainment  with  sad  moments  and  glad 
moments  and  little  Shirley  Temple  in  the  stellar  role. 
Jimmy  Dunn  is  her  starring  partner.  Good  support- 
ing cast.     (Feb.) 


•  CALL  OF  THE  WILD  — 20th  Century- 
United  Artists. — A  vigorous,  red-blooded  screen 
version  of  Jack  London's  novel  that  you  are  sure  to 
enjoy.  Clark  Gable,  Loretta  Young,  Jack  Oakie, 
Reginald  Owen,  and  the  great  dog,  Buck.     (July) 

CAPTAIN  HURRICANE—  RKO-Radio.—  A  dull 
story  with  a  grand  cast.  Too  bad  they  didn't  find 
a  better  vehicle  for  stage  star  James  Barton's  screen 
debut.  Helen  Westley,  Henry  Travers,  Gene  Lock- 
hart.     (May) 

CAR  99 — Paramount. — An  entertaining  and  ex- 
citing picture  which  Junior  will  want  to  see  twice,  with 
Sir  Guy  Standing  good  as  the  master  mind  of  a  bank 
robbing  gang,  protecting  himself  by  masquerading  as 
a  professor.      (May) 

•  CARDINAL  RICHELIEU— 20th  Century- 
United  Artists.  —  A  beautiful  historical  drama 
with  George  Arliss  at  his  best  as  the  great  Cardinal 
of  France.  Maureen  O'Sullivan,  Edward  Arnold. 
(June) 

CARNIVAL — Columbia. —  The  experiences — some 
funny,  many  sad — of  an  anxious  father  whose  mother- 
less baby  is  constantly  in  danger  of  being  snatched 
from  him  by  the  Children's  Welfare  Association.  Lee 
Tracy,  Sally  Eilers,  Jimmy  Durante.     (Apr.) 

CASE  OF  THE  CURIOUS  BRIDE,  THE— First 
National. — A  mystery  handled  in  the  casual  manner 
movie  audiences  love,  with  Warren  William  as  the 
amateur  sleuth  and  Margaret  Lindsay  the  bride 
whose  curiosity  is  aroused.  Murder  thrills.  Good. 
(July) 

CASINO    MURDER    CASE,    THE— M-G-M.— 

Paul  Lukas  is  the  Philo  Vance  who  steps  in  and  solves 
the  mystery,  with  Alison  Skipworth,  charming  Rosa- 
lind Russell,  Ted  Healy  and  Louise  Fazenda  lending 
good  support.      (May) 

CHARLIE  CHAN  IN  PARIS— Fox.— Warner 
Oland  at  his  best  as  Chan,  with  Mary  Brian  and 
Thomas  Beck  carrying  the  love  interest.     (March) 

CHASING  YESTERDAY— RKO-Radio—  Ana- 
tole  France's  "The  Crime  of  Sylvestre  Bonnard" 
loses  importance  in  the  screen  telling.  Good  per- 
formances by  Anne  Shirley,  O.  P.  Heggie,  Helen 
Westley  and  Elizabeth  Patterson.  But  the  film  story 
is  pallid.     (June) 

CLIVE  OF  INDIA— 20th  Century-United  Artists 
— A  stirring  and  impressive  story  of  a  young  man 
who,  almost  single-handed,  conquered  India  for 
Britain.  Ronald  Colman  is  excellent  as  Cli'JC, 
Loretta  Young  gives  a  fine  performance  in  the  role  ot 
his  wife.     (March) 

COUNTY  CHAIRMAN,  THE— Fox— Will  Rog- 
ers as  a  lovable  but  astute  rural  politician  is  at  his 
best.  Good  cast  includes  Evelyn  Venable,  Louise 
Dresser,  Kent  Taylor.  Entertainment  for  the  family. 
(March) 

COWBOY      MILLIONAIRE,      THE— Fox.— A 

Western  for  sophisticates,  and  an  hilarious  comedy. 
George  O'Brien  and  Edgar  Kennedy  tops  as  "local 
color"  on  a  dude  ranch.  Evalyn  Bostock,  Maude 
Allan.      (July) 

CURTAIN  FALLS,  THE— Chesterfield— Henri- 
etta Crosman  carries  this  picture  as  an  o'd  vaudeville 
actress  who  gambles  with  chance  and  impersonates  a 
Lady  Scoresby,  moving  in  on  her  family  until 
her  final  and  best  performance.     (Feb. ) 

•  DARING  YOUNG  MAN,  THE— Fox— Re- 
freshingly different  material  and  clever  dialogue 
distinguish  this  picture  about  two  young  people 
(Jimmy  Dunn  and  Mae  Clarke)  who  are  good  re- 
porters on  rival  papers  and  constantly  getting  them- 
selves into  mad  situations  trying  to  outwit  each 
other  on  hot  tips.     (July) 

DAVID  COPPERFIELD—  M-G-M—  An  incom- 
parable photoplay,  and  one  that  will  live  with  you 
for  years.  Freddie  Bartholomew  as  the  child, 
David,  W.  C.  Fields  as  Micawber,  Madge  Evans  as 
Agnes  are  only  a  few  of  a  long,  superb  cast.  It's  a 
brilliant  adaption  of  Dickens'  famous  novel.  (March) 


DEALERS  IN  DEATH— Topical  Films.— 
Whether  you  are  a  pacifist  or  not  after  seeing  this 
film  you  leave  the  theater  horrified  at  the  high  price 
of  war  and  cost  of  armaments.  Not  a  story,  but  an 
impressive  editorial  which  will  make  you  think.  (Feb.) 

DEATH  FLIES  EAST— Columbia.— A  rather  dull 
and  illogical  picture  with  Conrad  Nagel  and  Florence 
Rice  rising  above  screen-story  difficulties  and  Oscar 
Apfel,  Raymond  Walburn  and  Irene  Franklin  strug- 
gling for  laughs  with  un-funny  material.     (June) 

DEVIL  IS  A  WOMAN,  THE— Paramount  — 
Marlene  Dietrich  in  a  series  of  static  and  exquisite 
views.  The  story  lacks  motivation  and  Von  Stern- 
berg's direction  has  drained  all  animation  from  the 
cast.  Cesar  Romero,  Edward  Everett  Horton. 
Lionel  Atwill.      (May) 

DINKY — Warners. — The  youngsters  will  enjoy 
Jackie  Cooper  as  the  boy  who  is  sent  to  an  orphanage 
when  his  mother  (Mary  Astor)  goes  to  prison  falsely 
accused.     Roger  Pryor,  Henry  Armetta.     (July) 

DOG  OF  FLANDERS.  A— RKO-Radio.— Fine 
performances  by  young  Frankie  Thomas  and  O.  P. 
Heggie  make  this  Ouida  classic  really  live  on  the 
screen.  It's  a  film  children  will  love  and  parents  will 
enjoy.      (May) 

•  DOUBTING  THOMAS— Fox.— One  of  the 
best  Will  Rogers'  pictures.  This  time  Will's 
wife  (Billie  Burke)  gets  the  acting  bug,  and  Will 
turns  crooner  to  cure  her.  Alison  Skipworth,  Sterling 
Holloway.      (July) 

EIGHT  BELLS— Columbia.— A  fairly  entertain- 
ing boat  trip  with  Ralph  Bellamy,  a  demoted  sea 
captain,  saving  the  day  in  a  maritime  crisis.  Ann 
Sothern  is  the  romantic  prize.     (July) 

ENCHANTED   APRIL  —   RKO-Radio.   —  Ann 

Harding  in  a  quiet  little  story  of  the  enchantment 
wrought  by  Italy  in  the  spring.  Frank  Morgan, 
Ralph    Forbes.    Katharine    Alexander    Jane    Baxter 

(March) 

EVENSONG — Gaumont  British.— The  story  of 
the  rise  and  fall  of  a  great  prima  donna.  Evelyn 
Laye's  beautiful  voice  and  a  wealth  of  opera  make  't 
a  feas'  for  music  lovers.      (Feb.) 

EVERGREEN— Gaumont  British.— You'll  love 
Jessie  Matthews,  darl'ng  of  the  London  stage,  and 
she  has  a  chance  to  do  some  grand  singing  and  danc- 
ing in  this  merry  little  story.   (March) 

FATHER   BROWN,  DETECTIVE— Paramount. 

— Gertrude  Michael  is  the  one  thrill  in  this  rather 
punchless  crook  drama.  Walter  Connolly's  role,  that 
of  a  priest  with  a  flair  for  detective  work,  gets 
monotonous.    Paul  Lukas  is  miscast.      (Feb.) 

FEDERAL  AGENT— Select  Pictures.— Age-old 
crook  stuff  with  Bill  Boyd  as  a  government  man 
trying  to  outwit  dangers.  Don  Alvarado  and  his 
two  lady  friends.  (March) 

FIGHTING  ROOKIE,  THE— Mayfair— A 
quickie  which  moves  slowly.  Cop  Jack  LaRue  is 
"framed"  by  a  gang  and  his  suspension  from  the 
force  threatens  his  romance  with  Ida  Ince.  Trite 
situations.      (Feb.) 

FLIRTING  WITH  DANGER— Monogram- 
Bob  ArmGtrong,  Bill  Cagney  and  Edgar  Kennedy 
amid  such  confusion  and  laughter  in  a  South  Ameri- 
can high  explosives  plant.  Maria  Alba  is  the  Spanish 
charmer  that  provides  chief  romantic  interest.   (Feb.) 

FOLIES  BERGERE— 20th  Century-United  Ar- 
tists.— Disregard  the  story  and  give  yourself  up  to 
Maurice  Chevalier's  charm,  the  music,  singing  and 
dancing.  Ann  Sothern  and  Merle  Oberon  good. 
(Apr.) 

FORSAKING   ALL    OTHERS— M-G-M.— Joan 

Crawford,  Clark  Gable,  Robert  Montgomery  and 
Charles  Butterworth  at  their  best  in  a  simple  story 
that  leaves  you  dizzy  with  laughter  and  braced  like 
a  champagne  cocktail.     (March) 

[  PLEASE  TURN  TO  PAGE  1 1  ) 


On  these  pages  letters  from  all  over  the 
world  discuss  films  and  stars.  And  when 
the  movie-goer  speaks,   Hollywood   listens 


Here's  one  of  the  rare  "nights  out"  for  Glenda  Farrell  (you  know  she 
rarely  leaves  her  young  son  Tommy).  To  Glenda's  right  is  Eddie 
Mirande,  on  her  left  is  that  young  matron  Joan  Blondell  and  husband 
George  Barnes.   They  formed  one  of  the  groups  at  the  noted  Trocadero 


I  CONTINUED  FROM  PAGE  6  | 

\V/HEN  stringent  censorship  of  motion 
"  pictures  was  first  announced,  I,  and 
doubtless  countless  other  American  movie- 
goers, resented  it.  It  implied  that  I  was  not 
competent  to  pick  my  own  screen  fare,  and 
that  questionable  pictures  might  harm  me. 
It  is  human  nature  to  resent  being  told  what 
one  may  or  may  not  do  or  see. 

But  now  I  must  admit  that  I  owe  a  vote  of 
thanks  to  those  same  censors.  In  the  time 
since  the  new  codes  went  into  effect,  I  have 
seen  my  favorite  characters  from  novels, 
history  and  the  musical  world  come  to  life. 
We  never  have  seen  anything  as  worthwhile 
as  we  are  having  the  privilege  to  see  today. 
Mrs.  P.  J.  Stelling,  Winter  Park,  Fla. 

I |OW  I  do  love  to  see  Mae  West  slap  that  'ol 

■demon  sex  appeal  for  a  goal  and  then  catch 
him  in  her  arms  where  we  know  he  belongs. 
More  power  to  Mae  for  giving  us  a  new  slant 
on  one  of  humanity's  fundamentals.  But  I  do 
wish  Mae  would  not  gargle  her  words  when  she 
sings,  it  is  difficult  to  understand  what  she  is 
saying. 

Mrs.  Luella  Shearer,  Dallas,  Texas 

W VHY  is  such  a  talented  actress  as  Genevieve 

w  Tobin    given    such    unsympathetic    roles 

when  she  is  one  of  the  finest  actresses  on  either 

stage  or  screen?     I   understand   Miss  Tobin 

8 


has  had  experience  on  the  stage  in  singing  and 
dancing.  How  about  giving  her  a  chance  to 
use  these  talents  for  her  many  admirers  and 
prove  to  the  rest  of  the  movie-goers  that  she  is 
worth  the  confidence  we  have  in  her? 

Miriam  Meadows,  Richmond,  Indiana 

I  HAVE  only  just  seen  "One  More  Spring," 
'  and  it  is  a  fine  picture.  Janet  Gaynor  and 
Warner  Baxter  are  good  together,  but  why 
can't  we  have  some  more  of  those  good  old 
Charles  Farrell-Janet  Gaynor  pictures? 
Annie  V.  Knight,  Canton,  N.  C. 

nONALD  COLMAN  was  great  before  "Clive 
'^of  India,"  but  now  he  is  one  of  the  screen 
immortals. 

Strange    what    the    difference    a    mustache 
makes — or  the  absence  of  one. 

J.  Wasso,  Jr.,  Pen  Argyl,  Pennsylvania 

W/HERE  are  the  trim  looking,  athletic 
vv  cinema  actors  of  not  so  long  ago  ?  Also 
the  fascinating,  romantic  type?  And  the 
distinguished  personality  specimen?  Answer — 
they  are  still  appearing  but  have  lost  that  spark 
which  attracts  both  sexes.  Because  they  have 
become  fat.  Over-sized  waistlines,  heavy 
jowls  do  not  kindle  delight  in  women  or  admi- 
ration in  men.  The  ladies  of  the  screen  are 
forced  to  remain  thin,  the  male  stars  should 
do  likewise. 

M.  I.  Berg,  St.  Louis,  Missouri 


THERE  should  be,  it  seems  to  me,  more 
expressions  of  appreciation  from  high  school 
teachers  of  the  programs  that  the  film  com- 
panies are  offering  recently.  Not  merely  an 
occasional  picture  but  one  right  after  the 
other  is  furnishing  us  with  a  source  of  supple- 
mentary material  as  valuable  as  that  in  the 
school  and  public  libraries. 

Lillian  Brigham,  Robstown.  Texas 

HERHAPS  in  the  studios  when  the  director  or 
his  assistant  says,  "Sound  O.  K.,"  he  thinks 
that  is  sufficient.  But  he  is  not  considering 
the  hundreds  of  theaters  all  over  the  country 
in  which  acoustics  are  not  perfect.  Voices 
pitched  too  low  cannot  be  heard.  It  spoils 
the  story  for  the  audience. 
Maude  Murray  Miller,  Columbus,  Ohio 

j  THINK  we  owe  a  distinct  debt  to  those 
responsible  for  the  great  improvement  in  the 
theater   buildings   themselves. 

Jean  Cochrane,  Tacoma,  Washington 

W/HY  all  this  imitation  of  prominent  stars 
"v  by  beginners  striving  for  shining  honors? 
Don't  they  realize  that  the  famous  ones  did  not 
achieve  their  ambitions  by  copying  someone 
else,  but  by  being  themselves  and  cultivating 
and  developing  their  own  individual  person- 
ality? 
Mrs.  Charles C.  Lima,  Jr.,  New  Rochelle,  N.  Y 

I  THINK  there  have  been  recently  a  number 
'  of  young  players  in  Hollywood  who  without 
so  much  experience  are  turning  out  grand  per- 
formances. But  I  sincerely  believe  they  are 
not  getting  the  credit  that  is  their  due. 

Mary  K.  East.  Albemarle,  N.  C. 

IN  South  Africa,  we  see  more  American  films 
'than  any  others — a  quite  impersonal  opinion 
I  may  add  as  we  have  no  bias  in  favour  of 
any  one  nation's  pictures.  Of  course,  we 
prefer  your  films  to  all  others,  but,  there  is  so 
much  to  be  done  to  make  them  better. 

Your  producers  know  how  to  put  something 
over  on  the  large  scale — exciting,  glamorous, 
clever,  terrifically  quick  scenes  that  astound 
us  but  look  to  details!  Do  not  become  more 
slapdash. 

And  remember  that  when  the  producers 
want  to  put  on  a  frantically  hysterical  scene 
we  hate  blatant  emotion.  There  should  be 
more  depth  of  feeling  in  a  reserved  way — 
controlled,    well-finished.      No   extremes! 

Films  which  star  children  are  not  too  popu 
lar.      We    do    not    like    precocious    children. 
Noel   Coward's  plays  are  well-liked  and  we 
would  love  to  see  American  film  versions  of 
them. 

We  like  Jean  Parker,  Norma  Shearer,  Anna 
Sten,  Irene  Dunne,  Ann  Harding,  Maurice 
Chevalier,  Diana  Wynyard,  Fay  Wray, 
Dolores  Del  Rio,  Elissa  Landi,  Myrna  Loy. 
We  adore  Helen  Hayes,  Leslie  Howard, 
Jeanette  MacDonald,  Fredric  March,  Kath- 
arine Hepburn,  George  Arliss. 

E.  Loubser,  Aberdeen.  South  Africa 


Here  Photoplay  readers  en- 
joy a  frank  exchange  of  opin- 
ion regarding  movies  and 
the   stars   who   are   in   them 


Mary  Carlisle  climbs  the  referee's 
chair  for  a  better  view  of  tennis- 
playing  friends.  Girls,  here  is  a 
very  smart  tennis  costume  fash- 
ioned from  a  satin,  pin-striped 
crepe — a   favorite  sports  material 


I  THINK  Katharine  Hepburn  is  unquestion- 
'  ably  Hollywood's  finest  actress.  She  pos- 
sesses a  rare  charm  and  naturalness,  exquisite 
beauty  and  truly  great  dramatic  genius — 
qualities  which  are  not  to  be  found  together 
in  any  other  motion  picture  star.    I  am  eagerly 


Charles  (Buddy)  Rogers  fans  all 
over  the  country  will  be  happy  to 
see  him  again  on  the  screen  in  his 
new  RKO-Radio  picture  "Old  Man 
Rhythm."  Buddy  has  been  touring 
the  country's  theaters  with  his  band 


anticipating  "Break  of  Hearts,"  and  also 
hoping  Miss  Hepburn  will  be  cast  as  Joan  of 
Arc. 

E.  Currte  McCabe,  Lexington,  Mass. 


K  I  EVER  have  I  seen  anything  more  beauti- 
'  Mul  than  the  prayer  scene  in  "The  Little 
Minister"  as  enacted  by  Katharine  Hepburn. 
Her  capacity  to  give  the  make-believe  such 
intense  and  beautiful  reality  justifies  her  claim 
to  greatness  in  the  cinematic  world. 

Taking  "The  Little  Minister"  as  a  whole, 
it  is,  from  the  Scottish  heart,  a  transport  to 
heaven. 

H.  L.  Skakles,  Whitehall,  Montana 


J 


UDGING   by  past   performances,    Fredric 
March  is  the  only  actor  in  Hollywood  who 


Merle  Oberon  bought  a  handful  of 
tickets  for  the  huge  benefit  re- 
cently held  in  Hollywood  for  the 
Jewish  Community  Center  Club- 
house from  Arthur  Stebbins,  film 
executive  who  founded  the  club- 
house and  playground  for  the  poor 


consistently  rings  the  bell,  regardless  of  the 
role,  story,  or  characterization,  "  Dr.  Jekyll 
and  Mr.  Hyde,"  "Death  Takes  a  Holiday," 
and  "The  Barretts"  to  name  a  few,  and  now 
comes  "Les  Miserables,"  greatest  of  them  all! 
His  performance  in  it  smacks  of  real,  sincere 
genius. 

Henry  Hanson,  Chicago,  Illinois 


TREDRIC  MARCH  has  done  it  again.  I 
'  am  referring  to  his  superb  performance  in 
"Les  Miserables."  If  ever  an  actor  was  born 
and  destined  to  be  such,  it  is  he,  for  to  me  Mr. 
March  is  the  outstanding  male  personality  on 
the  screen  today. 

His  perfect  diction,  unaffected,  nonchalant 
manner  and  stately  bearing  fit  him  perfect 
ly  for  the  roles  that  none  other  than  he 
could  enact  with  such  charm,  sincerity  and 
capability. 

M.  E.  B.,  Detroit,  Michigan 


TO  hear  of  a  picture  with  Charles  Laughton 
'  in  it  used  to  be  enough  to  insure  my  staying 
at  home.  Now,  since  seeing  him  in  "Ruggles 
of  Red  Gap,"  I  want  to  add  my  applause  to 
that  of  the  thousands  who  have  seen  him  in 
this   production. 

It  was  a  wonderful  performance  and  a 
thousand  pardons  to  Mr.  Laughton  for  ever 
doubting  his  ability  to  act.  Also  a  nosegay 
to  Mary  Boland. 

H.  Colen  Crowell,  Pennsboro,  Penn. 
I  please  turn  to  page  14  ] 


EUGENE  ROBERT  RICHEE 


ARLINE  JUDGE  is  a  capable  young  wife,  and 
mother  of  a  two-year-old  son,  but  the  responsi- 
bilities of  home  and  marriage  haven't  robbed  her 
of  that  charming,  wide-eyed,  little  girl  look.  A 
screen  favorite  as  a  campus  belle,  Arline  is  now 
playing  her  fifteenth  college  girl  role  in  Paramount's 
film,  "College  Scandal."  We'll  bet  she  has  a  sup- 
pressed desire  to  play  vampish,  sophisticated  parts! 


10 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE  7 


•  FOUR  HOURS  TO  KILL— Paramount- 
Tense  and  compelling  screen  entertainment 
with  Richard  Barthelmess,  in  the  finest  character 
opportunity  of  his  career,  as  the  doomed  killer  hand- 
cuffed to  a  guard  in  a  theater  lobby  for  four  hours. 
Skilful  support  by  Roscoe  Karns,  Helen  Mack,  Joe 
Morrison,  Gertrude  Michael  and  others.     (June) 

FUGITIVE  ROAD— Invincible.— Eric  Von  Strp- 
heim  is  good  as  the  commandant  of  a  frontier  post  in 
Austria,  falling  in  love  with  an  American  girl,  Wera 
Engels,  and  frustrated  in  his  romantic  plans  by  gang- 
ster Leslie  Fenton.  S'ender  story  well  acted.    (Feb.) 

*G  MEN — First  National. — Government  heroes 
at  work.  Lots  of  shooting  and  excellent 
acting.  Fast-moving  and  packs  a  wallop.  Jimmy 
Cagney  at  his  best.  Ann  Dvorak,  Margaret  Lindsay, 
Bob  Armstrong.     Not  for  the  kiddies.     (July) 

GEORGE  WHITE'S  1935  SCANDALS— Fox.— 

A  clean  Scandals.  Jimmy  Dunn  and  Alice  Faye  are 
the  small-time  team  who  let  success  go  to  their  heads. 
Ned  Sparks  gets  most  of  the  laughs.  And  Eleanor 
Powell  is  a  tap  dancer  so  good  you  can  hardly  believe 
it  I     (June) 

GHOST  WALKS,  THE— Invincible.— A  theatri- 
cal group  rehearses  a  melodrama  in  a  haunted  house, 
and  when  a  real  maniac  slips  in,  things  happen.  A 
unique  story,  with  John  Miljan.  Richard  Carle,  June 
Collyer.     (Apr.) 

GILDED  LILY,  THE— Paramount— Good  enter- 
tainment, but  not  as  much  punch  as  you  have  a 
right  to  expect  from  a  movie  with  Claudette  Colbert 
in  the  lead    and  Wesley  Ruggles  directing     (March) 

•  GO  INTO  YOUR  DANCE— First  National 
— A  grand  evening  for  those  who  like  singing 
and  dancing  with  a  plausible  story  sandwiched  in. 
Al  Jolson  better  than  ever;  Ruby  Keeler  good  as 
always;   Glenda   Farrell   in  top  support.      (June) 

GOIN"  TO  TOWN— Paramount.— Mae  West, 
pursuing  the  man  instead  of  being  pursued,  in  a  fast- 
moving,  wise-cracking  film,  that  will  keep  you  laugh- 
ing.     (May) 

GOLD  DIGGERS  OF  1935—  First  National- 
Good  tunes,  talented  cast  make  this  one  enjoyable 
entertainment  for  those  who  like  big,  splashy  musicals. 
Dick  Powell,  Gloria  Stuart,  Alice  Brady,  Adolphe 
Menjou,  Glenda  Farrell,  and  others.     (July) 

GOOD  FAIRY,  THE— Universal— Margaret 
Sullavan,  in  the  title  role,  and  Herbert  Marshall 
head  the  cast  of  this  screen  adaptation  of  the  stage  hit. 
The  scenes  are  played  in  high  comedy  throughout. 
But  comedy.      (March) 

GRAND  OLD  GIRL— RKO-Radio.— That  grand 
old  trouper,  May  Robson,  gives  a  superfine  per- 
formance as  a  veteran  high  school  principal  who 
bucks  the  town's  politicians  for  the  welfare  of  her 
pupils.  Mary  Carlisle  and  Alan  Hale  highlight  a 
good  supporting  cast.   (March) 

GREAT  GOD  GOLD— Monogram.— The  story 
promises  to  be  an  exciting  expose  on  the  receivership 
racket,  but  it  becomes  stupid.  Martha  Sleeper  does 
as  well  by  her  part  as  possible.  Regis  Toomey  gets 
nowhere.      (May) 

GREAT  HOTEL  MURDER,  THE— Fox.— Old 
reliable  sure-fire  Edmund  Lowe-Victor  McLaglen 
stuff,  with  Vic  as  a  dumb  house  detective  and  Eddie 
the  guest  who  writes  mystery  stories,  both  trying 
to  discover  who  poisoned  the  victim.  Mary  Carlisle. 
C.  Henry  Gordon.      (May) 


GRIDIRON  FLASH— RKO-Radio.— A  college 
football  story  about  a  paroled  convict  (Eddie  Quillan) 
who  finally  wins  the  game  and  Betty  Furness,  too. 
Glenn  Tryon,  Lucien  Littlefield.     (March) 

HELL  DORA  DO — Fox.— A  hollow  story  in  a 
mining  town  setting  which  fails  to  give  Richard 
Arlen  the  kind  of  part  he  deserves.  (March) 

HERE  IS  MY  HEART— Paramount.— You'll 
applaud  this  one.  For  between  laughs  Bing  Crosby 
and  Kitty  Carlisle  sing  those  haunting  tunes,  and  the 
story  is  good.    (March) 

HOLD  'EM  YALE— Paramount.— A  weak  but 
pleasant  little  picture  about  four  thugs  who  inherit 
a  lady.  Patricia  Ellis  is  the  lady.  Cesar  Romero, 
Larry  Crabbe,  Andy  Devine.  William  Frawley, 
George  E.  Stone.     (June) 

HOME  ON  THE  RANGE— Paramount— An 
up-to-date  Western,  with  the  old  mortgage  still 
present  but  the  crooks  using  modern  methods  for 
getting  it.  Evelyn  Brent,  Jackie  Coogan.  Randy 
Scott.      (Feb.) 

HONGKONG  NIGHTS— Futter  Prod.— A  highly 
implausible  story  about  a  Chinese  gun-runner  and  an 
American  Secret  Service  man.  Production  and 
photography  superb,  dialogue  and  story  poor.  Tom 
Keene.  Wera  Engels.  Warren  Hymer.      (May) 

HOOSIER  SCHOOLMASTER,  THE— Mono- 
gram.— Norman  Foster  is  the  schoolmaster  in  the 
screen  version  of  this  old-time  favorite,  with  Charlotte 
Henry  as  the  girl  he  loves.  Fred  Kohler,  Jr.,  Wallace 
Reid.  Jr.,  Dorothy  Libaire.     (June) 

I  AM  A  THIEF— Warners.— A  diamond  neck- 
lace disappears  and  everybody  looks  guilty — Ricardo 
Cortez,  Mary  Astor,  Dudley  Digges.  Irving  Pichel 
and  the  rest  of  the  cast.  There's  murder,  thievery, 
and  some  romance.    Maintains  interest.     (Feb.) 

I'LL  LOVE  YOU  ALWAYS— Columbia.— An  un- 
inspired production,  with  Nancy  Carroll  and  George 
Murphy  unable  to  overcome  the  disadvantages  of 
mediocre  material  and  direction.     (July) 

•  IMITATION  OF  LIFE  -  Universal— A 
warm  and  human  drama  about  two  mothers  of 
different  races,  allied  in  the  common  cause  of  their 
children  Excellent  performances  by  Claudette  Col- 
bert and  Louise  Beavers.  Warren  William.  Fredi 
Washington.  Rochelle  Hudson.  Ned  Sparks.     (Feb.) 

•  THE  INFORMER  — RKO-Radio.— Motion 
picture  drama  at  its  best.  Victor  McLaglen 
gives  an  unforgettable  performance  as  the  slow-witted 
Irish  giant  who  betrays  his  pal  to  the  British  for  a 
twenty  pound  reward.  Margot  Grahame,  Heather 
Angel,  Preston  Foster,  Wallace  Ford,  Una  O'Connor, 
top  excellent  support.     Don't  miss  this  one.     (July' 

IN  OLD  SANTA  FE—  Mascot.— A  dozen  plots 
wrapped  up  for  the  price  of  one — and  a  nice  package 
for  those  wh/>  enjoy  Westerns.  Ken  Maynard,  his 
horse,  Tarzan,  Evalyn  Knapp,  H.  B.  Warner,  Ken- 
neth Thomson,  and  the  entire  cast  are  good.     (Feb.) 

•  IRON  DUKE,  THE— Gaumont  British.— An 
interesting  picture  with  George  Arliss  as  Well- 
ington, and  the  Duke's  triumphs  told  in  a  careful 
thoughtful,  if  not  brilliant  manner.     (Apr.) 

IT  HAPPENED  IN  NEW  YORK— Universal. - 
You'll  be  amused  by  press-agent  Hugh  O'Connell's 
tricks  to  get  movie  star  Gertrude  Michael  into  the 
limelight,  and  the  interference  of  a  taxi  driver,  Lyle 
Talbot  and  his  sweetie.  Heather  Angel.  Lots  of 
laughs.      (May) 


•  IT'S  A  GIFT — Paramount. — One  long  laugh, 
with  W.  C.  Fields  in  the  role  of  a  hen-pecked 
husband.  Baby  LeRoy,  Jean  Rouverol,  Kathleen 
Howard.    But  it's  Fields'  show.    (Feb  ) 

IT'S  A  SMALL  WORLD— Fox.— Gay  dialogue 
in  a  wisp  of  a  story,  with  Spencer  Tracy  and  Wendy 
Barrie.     Lots  of  laughs.     (June) 

I'VE  BEEN  AROUND— Universal  —A  good  cast 
wasted  on  a  trite  story  and  amazingly  stagey  dialogue. 
(March) 

JACK  AHOY — Gaumont  British. — If  you  can 
laugh  at  old  jokes,  this  isn't  bad.  However,  Eng- 
land's comedian.  Jack  Hulburt.  deserves  better  treat- 
ment.    (Apr.) 

JEALOUSY— Columbia.— Watch  George  Murphy 
if  you  go  to  see  this  picture  about  a  prize  fighter  who 
is  inordinately  iealous  of  his  pretty  wife.  Nancy 
Carroll,  Donald  Cook,  Arthur  Hohl.     (March) 

KENTUCKYBLUESTREAK— Talisman— Some 

interesting  photography  of  a  horse  race,  done  with 
a  small  camera,  is  the  highlight  in  this  one.  Eddie 
Nugent,  Junior  Coghlan.  Patricia  Scott      (July) 

LADDIE— RKO-Radio.— Old  fashioned,  homey, 
but  a  grand  picture  is  this  love  story  of  Laddie  (John 
Beal)  and  Pamela  (Gloria  Stuart)  whose  romance  is 
bitterly  opposed  by  her  father  (Donald  Crisp). 
Excellent   direction  by  George  Stevens.      (May) 

LADIES  LOVE  DANGER— Fox— A  murder 
mystery  with  lots  of  fun  sandwiched  between  the 
thrills.  Gilbert  Roland,  Mona  Barrie,  Adrienne 
Ames      (July) 

*LES  MISERABLES— 20th  Century-United 
Artists. — A  close-knit  and  powerful  screen  re- 
countal  of  the  Victor  Hugo  classic.  Fredric  March  and 
Charles  Laughton  give  memorable  performances. 
(May) 

LET'S  LIVE  TONIGHT— Columbia.— A  wabbly 
story  gives  Tullio  Carminati  and  Lilian  Harvey  an 
opportunity  to  be  romantic  in  a  gauzy,  waltzy  man- 
ner. Film  lacks  emotional  warmth,  but  cast,  includ- 
ing Hugh  Williams.  Janet  Beecher,  Tala  Birell,  is 
good.      (May) 

LIFE  BEGINS  AT  40— Fox.— You'll  enjoy  this 
film  with  Will  Rogers  in  the  human,  sympathetic 
r61e  of  a  small  town  editor,  Richard  Cromwell  and 
Rochelle  Hudson  for  romance;  and  Slim  Summerville 
and  Sterling  Holloway  to  keep  you  laughing  when 
Will  isn't  on  the  screen.      (May) 

LIFE  RETURNS— Universal.— The  miraculous 
operation  that  Dr.  Robert  E.  Cornish  performs  on  a 
dog.  restoring  his  life  after  death  was  pronounced, 
would  make  a  worthwhile  short  subject.  But  the 
long  introduction  is  boring.     (Apr.) 

LITTLE  COLONEL,  THE— Fox— Shirley  Tem- 
ple cuter  than  ever  as  the  famous  story  book  char- 
acter. Lionel  Barrymore  is  the  testy  old  grandfather. 
Evelyn  Venable  and  John  Lodge  the  child's  parents. 
Tap  dancer  Bill  Robinson  nearly  steals  the  picture. 
(May) 

LITTLE  MEN — Mascot. — A  nice  homey  little 
film  made  from  Louisa  M.  Alcott's  book,  with  Erin 
O'Brien-Moore  as  Aunt  Jo,  Ralph  Morgan  as 
Professor  Bhaer,  and  Frankie    Darro  the  boy    Dan. 

(March) 

LITTLE  MINISTER,  THE— RKO-Radio.  —  A 

beautiful  screen  adaptation  of  Barrie's  famous  ro- 
mance, with  Katharine  Hepburn  as  Babbie  and  John 
Beal  in  the  title  role.  Beryl  Mercer,  Alan  Hale. 
Andy  Clyde,   Donald   Crisp,  top  support.      (March) 


Photoplays    Reviewed     in    the     Shadow    Stage    This    Issue 

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


Page 

Age  of  Indiscretion — M-G-M 70 

Alias  Mary  Dow — Universal 71 

Arizonian,  The — RKO-Radio 104 

Black  Sheep — Fox 71 

Break  of  Hearts— RKO-Radio 68 

Chinatown  Squad — Universal   71 

College  Scandal — Paramount 104 

Escape  Me  Never — British  &  Domin- 
ions-United Artists 68 

Flame  Within,  The— M-G-M 70 


Page 
Frankie  and  Johnnie — Select-RKO  Re- 
lease   104 

Ginger — Fox 70 

Girl    From    10th    Avenue,    The — First 

National 70 

Glass  Key,  The — Paramount 71 

Headline  Woman   The — Mascot 104 

Healer,  The — Monogram 104 

Hooray  For  Love — RKO-Radio 71 

In  Caliente — First  National 71 


Page 

Kliou — Bennett  Pictures 104 

Let    'Em    Have    It — Reliance-United 

Artists 70 

Murder  in  the  Fleet— M-G-M 104 

Nit  Wits,  The— RKO-Radio 104 

No  More  Ladies — M-G-M 69 

Our  Little  Girl— Fox 69 

Paris  In  Spring — Paramount 71 

Public  Hero  No.  1— M-G-M 68 

Under  the  Pampas  Moon — -Fox 70 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE  11 


•  LIVES  OF  A  BENGAL  LANCER— Para- 
mount.— Brittle  dialogue,  swift  direction,  pic- 
torial grandeur,  and  intelligent  production  make  this 
picture  one  you  must  see.  Gary  Cooper,  Franchot 
Tone,  Richard  Cromwell,  Sir  Guy  Standing,  head  an 
excellent  cast.      (March) 

LIVING  ON  VELVET— Warners.— Every  woman 
loves  to  get  her  hands  on  a  terribly  attractive  man 
and  reform  him.  And  when  Kay  Francis  is  the  re- 
former, what  man  has  a  chance?  George  Brent 
didn't.  Warren  William,  Helen  Lowell  help  a  lot. 
Smart  dialogue,  well  done  picture.      (May) 

LOTTERY  LOVER— Fox.— Bright  in  some  spots, 
unfortunately  dull  in  others," this  film  story  with  Lew 
Ayres,  Nick  Foran  and  Peggy  Fears.     (March) 

LOVE  IN  BLOOM— Paramount.— Catchy  songs 
admirably  sung  by  Dixie  Lee  (Mrs.  Bing  Crosby, 
you  know)  and  Joe  Morrison,  plus  the  mad  antics  of 
George  Burns  and  Gracie  Allen,  make  this  bright, 
light  entertainment.      (May) 

LOVES  OF  A  DICTATOR— GB.— An  historical 
drama,  well  cast  and  beautifully  presented,  telling 
the  romantic  story  of  Slruensee  (Clive  Brook)  who 
was  taken  into  the  Court  of  Denmark  as  dictator 
and  fell  in  love  with  the  bride-queen  (Madeleine 
Carroll).     (June) 

MAN  WHO  KNEW  TOO  MUCH,  THE— G.  B  — 

A  neat  and  exciting  little  melodrama  that  keeps  you 
hanging  on  your  chair  every  minute  of  the  way. 
Nova  Pilbeam  (of  "Little  Friend"  fame),  Edna 
Best,  Leslie  Banks  and   Peter  Lorre.      (May) 

MAN  WHO  RECLAIMED  HIS  HEAD,  THE— 

Universal. — As  fine  and  important  a  picture  as  has 
ever  been  made,  with  Claude  Rains  in  a  superb  per- 
formance as  the  pacifist  who  was  betrayed  by  an  un- 
scrupulous publisher.  Joan  Bennett,  Lionel  Atwill. 
(March) 

MARIE  GALANTE— Fox.— Glaring  implausibil- 
ities  keep  this  from  being  a  strong  and  gripping  pic- 
ture. But  Ketti  Gallian,  a  new  French  star,  is  lovely; 
Helen  Morgan  sings  sobbily,  Ned  Sparks  and  Stepin 
Fetchit  are  funny,  Spencer  IT* racy  a  nice  hero.   (Feb.) 

MARINES  ARE  COMING,  THE— Mascot.— A 
breezy  mixture  of  comedy  and  romance  with  William 
Haines  as  a  Marine  Corps  lieutenant  and  Armida 
pursuing  him.  Esther  Ralston,  Conrad  Nagel,  Edgar 
Kennedy.      (March) 

MARK  OF  THE  VAMPIRE— M-G-M.— A  con- 
fused and  incoherent  mystery  which  has  as  its  only 
virtue  some  fine  acting  by  Lionel  Barrymore.    (June) 

MARY  JANE'S  PA— First  National.— Just  aver- 
age. Over-sentimental  entertainment,  with  Guy 
Kibbee  as  Pa  who  deserts  his  family  but  is  eventually 
led  back,  by  a  little  child,  to  rescue  wife  Aline  Mac- 
Mahon.      (July) 

MAYBE  IT'S  LOVE— First  National.— A  rather 
dull  picture  of  the  hardships  of  a  young  couple  dur- 
ing the  first  six  months  of  marriage.  Ross  Alexander 
makes  the  young  husband  interesting.  But  Philip 
Reed,  Gloria  Stuart  and  the  rest  of  the  cast  are 
hampered  by  their  roles.      (Feb.) 

McFADDEN'S  FLATS— Paramount.— Plenty  of 
laughs  and  maybe  a  sniffle  in  this  story  of  the  girl 
(Betty  Furness)  who  goes  away  to  school  and  comes 
back  high-hatting  her  family  and  neighbors.  Walter 
C.  Kelly  is  grand  as  the  hod-carrier  king,  Dick 
Cromwell  is  the  sweetheart.      (May) 

MEN  OF  TOMORROW— London  Films.— Film 
version  of  Anthony  Gibb's  novel,  "The  Young 
Apollo,"  with  Merle  Oberon  and  Robert  Donat.  But 
in  spite  of  cast  and  story  advantages,  this  is  a  jerky, 
incoherent  picture.     (July) 

•  THE  MIGHTY  BARNUM— 20th  Century- 
United  Artists. — A  great  show,  with  Wallace 
Beery,  as  circusman  P.  T.  Barnum,  in  one  of  the  best 
roles  of  his  career.  Adolphe  Menjou,  Virginia  Bruce. 
top  support.      (Feb.) 

MILLION  DOLLAR  BABY— Monogram.— Little 
Jimmy  Fay  is  cute  as  the  youngster  whose  parents 
dress  him  in  skirts  and  a  wig  and  put  him  under  con- 
tract to  a  movie  studio  as  a  second  Shirley  Temple. 
(March) 

MISSISSIPPI— Paramount.— Plenty  of  music, 
lavish  sets,  a  romantic  story  and  picturesque  southern 
atmosphere  make  this  pleasant  entertainment  with 
Bing  Crosby,  W.  C.  Fields,  Joan  Bennett  and  Gail 
Patrick.      (Apr.) 

MISTER  DYNAMITE— Universal.— Eddie  Lowe 
rides  to  glory  in  this  Dashiell  Hammett  yarn  as  the 
slick  detective  who  is  interested  in  justice  principally 
because  it  pays  him  fat  fees.  A  beautifully  paced 
story  that  keeps  you  baffled  and  makes  you  laugh. 
Jean  Dixon,  Esther  Ralston,  Victor  Varconi.      (June) 

12 


MURDER  ON  A  HONEYMOON— RKO-Radio. 
— An  amusing  and  intriguing  mystery,  with  Edna 
May  Oliver  as  the  intrepid  female  amateur  detective 
and  Jimmy  Gleason  the  slow  witted  inspector.  Good 
entertainment.     (Apr.) 

MUTINY  AHEAD— Majestic— Just  an  average 
picture,  a  hybrid  sea-and-crook  drama  with  Neil 
Hamilton's  regeneration  as  the  main  story  thread, 
and  Kathleen  Burke  and  Leon  Ames  in  fair  support. 
(May) 

MY  HEART  IS  CALLING— Gaumont  British  — 
If  you  like  singing — lots  of  it — you  will  find  this  mu- 
sical film  a  treat.  Jan  Kiepura,  famous  European 
tenor,  has  a  grand  voice.  But  why  didn't  they  let 
Marta  Eggerth  sing  more?    Sonnie  Hale  good.  (Apr.) 

MYSTERY  MAN,  THE— Monogram.— Pretty 
meaty,  and  a  good  picture  idea.  But  you  have  to 
like  newspaper  atmosphere  with  hard-drinking  re- 
porters who  can  always  solve  the  mystery.  Maxine 
Doyle  and  Robert  Armstrong.      (May) 


Elissa  Landi  is  a  keen  horsewoman. 
She's  at  the  Riviera  Country  Club 
to  see  one  of  her  favorite  mounts 


MYSTERY  WOMAN,  THE— Fox.— Fairly  in 
teresting  combination  of  romance  and  mystery  con- 
cerning two  spies,  Gilbert  Roland  and  John  Halliday 
both  in  love  with  Mona  Barrie     (March) 

NAUGHTY  MARIETTA— M-G-M— A  thunder- 
ing big  melodious  adventure  picture,  with  lots  of 
romance  and  a  story-book  plot.  You've  never  heard 
singing  lovelier  than  Jeanette  MacDonald  and  Nelson 
Eddy  give  you  in  this  Victor  Herbert  musical.    (Apr.) 

NIGHT  ALARM— Majestic— If  you  like  to  go  to 
fires  you'll  get  a  three-alarm  thrill  from  this  story  of 
a  firebug  and  the  mysterious  blazes  he  starts.  Bruce 
Cabot  and  Judith  Allen  head  the  cast.      (Feb.) 

NIGHT  IS  YOUNG,  THE— M-G-M— A  small- 
scale  "Merry  Widow,"  with  Ramon  Novarro  and 
Evelyn  Laye  singing  agreeably  and  Charles  Butter- 
worth,  Una  Merkel  and  Eddie  Horton  for  fun 
(March) 

NIGHT  LIFE   OF  THE  GODS— Universal.— A 

whimsical  and  fantastic  film  about  a  scientist  who 
discovered  a  formula  for  turning  statues  into  men 
and  men  into  statues.     (March) 

NOTORIOUS  GENTLEMAN,  A— Universal- 
Top  entertainment,  and  full  of  suspense,  is  this  story 
of  a  murderer  (Charles  Bickford)  who  lets  suspicion 
fall  upon  a  woman  (Helen  Vinson)  until  he  is  trapped 
by  Attorney  Onslow  Stevens.     (Apr.) 


NUT  FARM,  THE— Monogram.— What  happens 
when  hicks  arrive  in  the  movie-city  and  outslick  the 
Hollywood  slicker.  Funny  at  times.  Wallace  Ford, 
Betty  Alden,  Florence  Roberts,  Oscar  Apfel.     (Apr.) 

•  OIL  FOR  THE  LAMPS  OF  CHINA— First 
National. — This  fine,  sincere  story  of  an  ideal- 
ist's unwavering  faith  in  his  job  will  remain  long  in 
your  memory.  Pat  O'Brien  is  the  American  oil  com- 
pany's employee  in  China,  Josephine  Hutchinson  his 
wife.  Arthur  Byron,  Jean  Muir.  Excellent  cast, 
A-l  direction       (July) 

ONE  FRIGHTENED  NIGHT— Mascot.— Creepy 

music,  banging  doors,  and  all  the  usual  fol-de-rol  of 
mysteries.  Charley  Grapewin's  acting  is  the  only 
attraction.      (July) 

ONE  HOUR  LATE— Paramount.— New-comei 
Joe  Morrison  steals  the  show.  Helen  Twelvetrees, 
Conrad  Nagel,  Arline  Judge,  all  good  in  this  spritely 
romance.  But  it's  Joe  and  his  sweet  voice  you'll 
remember.      (Feb.) 

ONE  MORE  SPRING — Fox.— A  too-sweet  screen 
adaptation  of  Robert  Nathan's  novel  about  three 
depression  victims  (Warner  Baxter,  Janet  Gaynor 
and  Walter  King)  who  live  happily  together  in  a  too' 
barn  in  Central  Park.      (May) 

ONE  NEW  YORK  NIGHT— M-G-M— A  fast, 
entertaining  mystery-comedy-drama,  played  in  a 
breezy,  highly  enjoyable  manner  by  Franchot  Tone. 
Una  Merkel,  Conrad  Nagel  and  Steffi  Duna.     (Jane1 

PARTY  WIRE— Columbia.— Lots  of  healthy 
laughs  in  this  little  picture  about  the  havoc  small- 
town gossips  stir  up  by  listening  in  on  party  lines. 
Jean  Arthur,  Victor  Jory,  Charley  Grapewin  head  a 
well  chosen  cast.      (July) 

PEOPLE'S     ENEMY,     THE— RKO-Radio.— An 

out-dated  melodrama  with  Preston  Foster  as  the 
gangster  sent  up  for  income  tax  evasion  and  Melvyn 
Douglas,  the  attorney,  whom  he  suspects  of  double- 
crossing.      (July) 

PEOPLE  WILL  TALK— Paramount.— One  of 
of  the  most  charming  of  the  Charlie  Ruggles-Mary 
Boland  comedies.  Leila  Hyams,  Dean  Jagger.  It's 
deft,  human  comedy  for  the  whole  family.     (June) 

PERFECT  CLUE,  THE— Majestic— Not  too 
expertly  made,  but  this  murder-drama-society  play 
has  its  bright  moments,  most  of  them  being  contrib- 
uted by  Skeets  Gallagher,  the  smooth  performance  of 
David  Manners  and  Betty  Blythe.      (Feb.) 

PHANTOM  FIEND,  THE— Twickenham.— A 
real  horror  thriller  based  on  England's  famous  "Jack 
the  Ripper"  crimes.  Ivor  Novello  and  Elizabeth 
Allan.     Not  for  the  children.     (July) 

•  PRESIDENT  VANISHES,  THE— Walter 
Wanger-Paramount.- — A  sensational  screen 
speculation  of  what  would  happen  if  the  chief  execu- 
tive vanished  in  a  crisis.  Top-notch  cast  includes 
Arthur  Byron,  Edward  Arnold,  Janet  Beecher, 
Osgood  Perkins.    Intriguing  and  vital  film  fare.   (Feb.  \ 

PRINCESS  CHARMING— Gaumont- British.— 
Another  version  of  the  old  story  of  the  princess  in 
distress.  Only  the  lovely  presence  of  Evelyn  Laye 
and  handsome  Henry  Wilcoxon  make  this  pleasant 
enough    entertainment        (March) 

PRINCESS  O'HARA— Universal.— Nice  enter- 
tainment,  with  Jean  Parker  as  the  girl  who  becomes  a 
hack  driver  after  her  father  is  killed,  and  Chester 
Morris  the  racketeer  boy-friend.     (June) 

PRIVATE  LIFE  OF  DON  JUAN,  THE— United 
Artists. — Douglas  Fairbanks  is  good  as  the  gay 
Lothario,  who  is  finally  forced  to  give  up  balcony 
climbing  and  settle  down  in  the  country  with  his 
patient  wife.  Benita  Hume,  Binnie  Barnes,  Merle 
Oberon.      (March) 

•  PRIVATE  WORLDS— Walter  Wanger-Par- 
amount.— A  triumph  in  adult  entertainment, 
this  film  radiates  skill  and  understanding.  Claudette 
Colbert  and  Charles  Boyer  give  superb  performances 
as  two  psychiatrists  in  a  hospital  for  mental  cases 
who  suddenly  discover  their  own  lives  tangled  and 
warped.  Excellent  performances,  too,  by  Joan 
Bennett  and  Joel  McCrea.     (June) 

RECKLESS— M-G-M.— The  clever  talents  o: 
Jean  Harlow,  William  Powell  and  Franchot  Tone, 
pooled  for  the  story  of  a  show  girl  who  marries  a 
millionaire  and  comes  to  grief  when  his  suicide  leaves 
her  with  a  ruined  reputation  and  a  baby  to  take  care 
of.      (June) 

RED  HOT  TIRES— First  National.— If  you  care 
for  automobile  racing,  with  crack-ups,  there's  plenty 
of  it.  Lyle  Talbot  is  the  racing  driver,  Mary  Astor. 
Frankie  Darro,  Roscoe  Karns.     (Apr.) 

RED  MORNING— RKO-Radio.— The  lovely 
presence  of  Steffi  Duna  is  the  only  new  thing  in  this 
picture.  Francis  McDonald  gives  a  good  perform- 
ance. Otherwise  it's  the  old  stuff  of  savages  sneaking 
through  forests  with  poisoned  spears,  etc      (Feb.) 


RIGHT  TO  LIVE,  THE— Warners.— Colin  Clive, 
Josephine  Hutchinson  and  George  Brent  capably 
present  Somerset  Maugham's  drama  of  a  crippled 
husband  whose  wife  falls  in  love  with  his  brother. 
A-I    direction   by   William    Keighley.      (May) 

ROBERTA — RKO-Radio.— A  film  treat  you 
shouldn't  miss,  with  Fred  Astaire  really  coming  into 
his  own  as  a  top-notch  entertainer.  An  excellent 
cast,  including  Ginger  Rogers,  Irene  Dunne,  Randy 
Scott,  combined  with  gorgeous  gowns,  excellent 
direction  and  grand  settings,  make  this  one  of  the 
most  delightful  experiences  you've  ever  had  in  a 
theater.      (May) 

•  ROMANCE  IN  MANHATTAN— RKO- 
Radio. — A  well-nigh  perfect  screen  play  with 
Francis  Lederer  as  the  immigrant  lad  who  falls  in  love 
with  Ginger  Rogers  and  wins  her  with  the  help  of  an 
Irish  cop,  J.  Farrell  MacDonald.  Excellent  cast, 
flawless  direction.      (Feb.) 

RUGGLES  OF  RED  GAP— Paramount.— Mary 
Boland,  Charlie  Ruggles,  SaZu  Pitts  and  Charles 
Laughton  in  a  humorous,  adventurous  story  about 
an  English  valet  who  comes  to  America,  to  Red 
Gap,  and  poses  as  a  British  Colonel.  You'll  enjoy 
it.     (March) 

RUMBA — Paramount. — You'll  like  the  native 
rumba  dancers,  and  George  Raft  and  Carole  Lom- 
bard do  some  smooth  stepping.  But  the  story  is 
obvious.     (Apr.) 

•  SCARLET  PIMPERNEL,  THE  —  United 
Artists. — Leslie  Howard  at  his  best  as  a  coura- 
geous young  Englishman  posing  as  a  fop  in  order  to 
rescue  French  noblemen  from  the  guillotine.  Merle 
Oberon  lovely  as  his  wife.  A  swift,  colorful  adventure 
film.     (Apr.) 

•  THE  SCOUNDREL  —  Hecht  -  MacArthur  - 
Paramount. — Noel  Coward  in  the  cold  role  of 
a  heartless,  philandering  publisher  gives  one  of  the 
greatest  performances  ever  recorded  in  this  mag- 
nificently executed  character  study.  Julie  Haydon, 
Hope  Williams,  Alexander  Woollcott.  Stanley  Ridges. 
Martha  Sleeper.     (July) 

SECRET  BRIDE,  THE— Warners.— Barbara 
Stanwyck,  Warren  William,  Grant  Mitchell,  Glenda 
Farrell  and  Arthur  Byron  are  lost  in  the  wordy  mare 
of  this  film's  plot.    (March) 

•  SEQUOIA— M-G-M.— A  beautiful  and  amaz- 
ing picture  in  which  the  life  stories  of  animals 
living  in  the  high  Sierras  will  stir  you  more  than  any 
human  drama.    Jean  Parker,  Russell  Hardie.      (Feb.) 


Beauty  from  a  bird's  eye  view.  Clarence  Sinclair  Bull,  portrait 
photographer,  and  Larry  Barbier,  pictorial  editor  at  M-G-M,  take 
an  altitude  shot  of  seven  brunettes  picked  from  the  chorus  of 
"Broadway  Melody  of  1935"  and  given  term  contracts.  The  seven 
are  Bonnie  Bannon,  Claire  Meyers,  Lorna  Lowe,  Mary  Lou  Dix,  Mary 
Lange,   Wanda    Perry,    Diane   Cook.      They're   potential   star   material 


Dolores  Del  Rio  was  right  pleased 
when  Fay  Wray  completed  her  two 
pictures  in  England  and  returned 
to  Hollywood.    They  are  close  pals 


SHADOW    OF    DOUBT— M-G-M— A    bow    to 

Constance  Collier,  a  grand  old  actress  who  gives  a  lift 
to  this  involved  murder  mystery.  Ricardo  Cortez, 
Virginia  Bruce",  Isabel  Jewell,  Regis  Toomey,  Arthur 
Byron,  Betty  Furness  and  others  lend  good  support. 
(Apr.) 

SILVER  STREAK,  THE— RKO-Radio.— The 
new  streamline  train  is  hero  of  this  picture,  gallantly 
racing  to  Boulder  Dam  to  save  the  lives  of  men  and 
to  win  Sally  Blane  for  Charles  Starrett.  William 
Farnum.  Hardie  Albright,  Edgar  Kennedy.      (Feb.) 

SING  SING  NIGHTS— Monogram.— An  in- 
teresting and  well-sustained  screen  puzzle  centering 
about  three  people  who  confess  singly  to  the  murder 
of  munitions  smuggler  Conway  Tearle.      (March) 

SPRING  TONIC— Fox.— Spotty  entertainmmt. 
with  Claire  Trevor  running  away  from  Lew  Ayres  on 
their  wedding  eve,  and  getting  mixed  up  with  animal 
trainers  and  bootleggers  in  the  persons  of  Walter 
King,  Tala  Birell,  ZaSu  Pitts  and  others.  Good  cast 
is  whipped  by  unconvincing  situations.     (July) 

•  STAR  OF  MIDNIGHT— RKO-Radio.— Wil- 
liam Powell  and  Ginger  Rogers  banter  through 
out  this  sparkling,  guaranteed-to-baffle  mystery. 
Irresistible  wit  eases  the  tension  of  the  drama;  win- 
ning performances  by  all  concerned.     (June) 

STOLEN  HARMONY  —  Paramount.  —  George 
Raft  and  Ben  Bernie  (with  the  boys)  pool  their 
talents  happily  to  make  this  a  thoroughly  enjoyable 
film.  Breezy  dialogue,  catchy  songs,  snappy  dances. 
Watch  for  newcomer  Lloyd  Nolan.  Grace  Bradley, 
Goodee  Montgomery,  Charles  Arnt.     (June) 

STRAIGHT  FROM  THE  HEART— Universal  — 
Baby  Jane  Quigley,  Roger  Pryor  and  Mary  Astor 
in  a  trite  and  obvious  story  concerning  a  young 
politician  who  discovers  love  means  more  to  him 
than  being  mayor.     (May) 


STRANGERS    ALL— RKO-Radio.— A    pip   ot   a 

simple  little  family  picture.  May  Robson  is  the  mother 
who  has  four  children,  all  as  different  as  the  seasons. 
Preston  Foster,  James  Bush.  William  Bakewell, 
Florine  McKinney.  Bakewell's  performance  is  aces 
high.     (June) 

STRANGE  WIVES— Universal.— If  you  think 
in-laws  are  a  joke,  see  Roger  Pryor's  predicament 
when  he  marries  a  Russian  Princess  (June  Clay- 
worth)  and  in  walk  in-laws  Ralph  Forbes.  Cesar 
Romero,  Esther  Ralston,  Walter  Walker,  Valerie 
Hobson.      (Feb.) 


SWELL-HEAD— Columbia.— Okay  for  baseball 
fans.  But  aside  from  the  diamond  stuff,  this  is 
pretty  hackneyed.  Wallace  Ford,  Barbara  Kent, 
and  old-timers  Sammy  Cohen,  the  late  Mike  Donlin 
and  Bryant  Washburn.     (July) 

SWEET  ADELINE— Warners.— Nice  musical 
entertainment  with  sweet  melodies,  lovely  lyrics  by 
Jerome  Kern,  and  charming  Irene  Dunne.  Phil 
Regan  and  Hugh  Herbert  are  excellent.     (March) 

SWEET  MUSIC— Warners.— Disregard  the  story 
and  enjoy  Rudy  Vallee,  debunked,  and  Ann  Dvorak 
who  is  sensationally  good  at  dancing,  singing  and 
acting.  Helen  Morgan,  Alice  White,  Ned  Sparks. 
(May) 

SWEEPSTAKE  ANNIE— Liberty.— A  poor  little 
girl  wins  a  fortune  in  a  sweepstakes  and  finds  plenty 
of  people  to  help  her  spend  it!  Quite  an  entertaining 
little  drama,  in  spite  of  a  few  limps.    (March) 

SYMPHONY  OF  LIVING — Invincible.— Certain 
emotional  power  and  good  music  relieve  the  tedium 
and  pathos  of  this  story  of  a  thwarted  genius  who 
finds  triumph  in  the  glories  of  his  prodigy.  Al  Shean, 
Charles  Judels,  Lester  Lee,  Evelyn  Brent,  John 
Darrow.     (May) 

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13 


I  CONTINUED  FROM  PAGE  9  | 

IT  really  is  a  pleasure  to  see  and  to  hear  such 
'an  actor  as  Frank  Morgan.  What  this 
country  needs  is  relief  from  being  bored  in 
these  trying  times.  Frank  Morgan  gives  us 
that  relief  in  his  pictures. 

Alan  R.  Teuslow,  New  Britain,  Conn. 

IT'S  not  he's  swell  nor  she's  swell,  but  it's 
'they're  swell.  When  a  husband  and  wife  can 
put  on  a  show  like  Al  Jolson  and  Ruby  Keeler 
did  in  "Go  Into  Your  Dance,"  I  call  that  a 
"believe  it  or  not." 

Fred  Astaire  and  Ginger  Rogers  have  talent, 
but  Al  and  Ruby  have  talent  plus  personality. 
I  don't  just  admire  them,  I  love  them  both. 
And  here's  lots  of  wishes  for  "Sonny." 

Mrs.  Lee  Earhart,  Greensburg,  Indiana 

IN  spite  of  popular  criticism,  or  perhaps  be- 
'cause  of  it,  sex  and  gangster  pictures  are 
steadily  growing  in  popularity  Surely  from 
such  we  can  derive  nothing  but  disillusion- 
ment and  false  standards.  What  we  crave 
is  an  escape  from  life's  greedy  annoyances. 
And  what  better  escape  could  we  have  than 
the  movies,  provided  we  could  but  raise  the 
standard  of  the  average  motion  picture  pro- 
gram to  what  it  ought  to  be.  Get  away  from 
sex  and  crime,  suggestive  and  irregular  love 
affairs,  and  all  other  questionable  adventures. 
After  all,  what  moral  lesson  can  they  possibly 
convey?  They  merely  set  exotic,  false  stand- 
ards of  living  for  everyone. 

Mrs.  Sybil  Donaldson,  Ottawa,  Can 

IT  was  tin  can  day  at  the  movies.  Two  tin 
'cans  passed  any  kid  in.  There  were  tins  of 
every  size,  shape,  color — and  odor.  In  the 
midst  of  it  all,  a  little  fellow  dragged  his  small 
sister  up  to  the  box-office  and  presented  three 
tins.  The  ticket  lady  asked  where  the  other 
tin  was. 

"Ain't  three  enough?"  he  complained. 
"Two  for  me,  one  for  sis.  She's  only  half  as 
old  and  half  as  big  as  me  " 


The  two  halves  of  the  world  of  Photoplay 
readers  may  learn  what  each  other  thinks 


The  ticket  lady  smiled  and  motioned  for  the 
manager.  The  little  boy  explained  his  plight 
to  him.  The  manager  laughed  and  shook  his 
head.  Whereupon,  "sis"  undid  a  small  bundle 
she  carried,  took  something  from  it  and  thrust 
the  something  into  the  manager's  hands 
"  It's  for  you,"  she  said. 

Thus  three  tin  cans  and  a  wilted  flower  got 
big  brother  and  little  sister  into  the  movies 
Leslie  H.  Lott.  Hendersonville,  N.  C 

C^LORIA  SWANSON  played  the  lead  in 
^-^"Music  in  the  Air"  looking  as  young  as 
ever,  thanks  to  Fox  studios.  Gloria  was  the 
most  brilliant  of  screen  stars  ten  years  ago  and 
could  be  the  same  today  with  the  right  direction 
and  story  assigned  to  her.  Wonderful  as  she 
was  in  "Music  in  the  Air,"  it  was  not  the 
picture  for  Gloria  to  display  her  great  talent  in 
Charles  G.  McKee,  Winchester,  Virginia 

\  Y/HY  not  more  of  Carl  Brisson?  We  have 
*^  only  seen  him  twice  in  Australia,  but  in 
both  pictures  he  was  delightful.  What  a  treat 
to  see  an  actor  who  can  really  do  something 
Of  course,  lots  of  them  can  act,  but  Carl 
Brisson  does  more,  he  can  sing  and  dance,  as 
well  as  being  more  than  ordinarily  pleasing 
to  the  eye. 

Violet  Inglis,  Randwick,  Australia 

I  HAVE  but  recently  seen  Carl  Brisson  in 
'  "All  the  King's  Horses,"  and  I  think  he  was 
very  good.    Besides  being  a  good  actor,  he  has 


Arline  Judge,  perched  on  the  stool,  visited  the  Paramount  "Ac- 
cent on  Youth"  set  to  watch  her  husband,  Wesley  Ruggles,  stand- 
ing over  Sylvia  Sidney,  direct  Sylvia  and  Herbert  Marshall,  smiling 
at     Arline.       That's     Romaine,     Wesley's     secretary,     script    on     knee 

14 


Rumor  has  linked  the  name  of  the 
petite  Mary  Brian  with  the  opera 
and  radio  tenor,  Nino  Martini,  but 
here's  something  to  ponder:  Nino 
is  escorting  the  delectable  Astrid 
Allwyn     round    about     Hollywood! 


a  wonderful  voice.  He  should  have  an  op- 
portunity to  make  more  pictures  and  sing 
more  songs. 

Laurice  Shapou,  New  Bern,  N.  C. 

A  FTER  seeing  "It's  a  Small  World,"  I've 
'  ^realized  that  it  is  a  pretty  small  world 
after  all  if  the  artifice  of  Hollywood  can  be  so 
successfully  applied  to  the  realism  of  a  rural 
community.  "It's  a  Small  World"  is  by  no 
means  a  great  picture,  because  it  is  lacking  in 
plot  and  theme,  but  it  seems  somehow  to  have 
caught  something  more  important  than  that. 
The  picture  seems  to  contain  a  newer  and 
more  complete  element  of  naturalness,  both 
in  acting  and  in  photography.  It  offers  a 
distinctly  different  technique,  one  in  which 
the  actors  are  real  people  doing  real  things, 
like  breathing  and  talking  and  living.  And 
that,  to  my  way  of  thinking,  is  something 
grand. 
Ralph  C.  Bvfield,  Indianapolis,  Indiana 

\  Y/HY,  with  such  capable  little  actresses  as 
**  tiny  Helen  Mack,  do  the  producers  con- 
tinue adding  so-called  "new  talent"  to  the  fold? 
Helen  Mack  has  a  depth  to  her  acting  that 
few  possess  and  I,  for  one,  should  like  to  see 
her  given  roles  worthy  of  her  ability  instead  of 
a  part  such  as  was  hers  in  "College  Rhythm." 
D  H.  Piugree.  Waltham,  Mass. 


AFTER  his  triumphant  appearance  on  the  screen  in  three 
films,  Tullio  Carminati  has  turned  to  London  for  a  vaca- 
tion, after  which  England  will  see  him  on  the  stage.  On  his 
return  to  America  he  expects  to  resume  picture-making.  Just 
how  long  he  will  be  gone,  Mr.  Carminati  himself  has  no  idea 


15 


y 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE   13 


WEST  OF  THE  PECOS— RKO-Radio.— A  good 

Western,  with  lots  of  action  of  some  clever  comedy 
situations.  Richard  Dix  as  the  cowboy  hero,  Martha 
Sleeper,  Louise  Beavers,  Samuel  Hinds  and  Sleep'n' 
Eat  are  all  A-l.      (Feb.) 


WHEN  A  MAN  SEES  RED— Universal.— Here 
Buck  Jones,  as  hard-riding  and  square  shooting  as 
ever,  finds  himself  appointed  guardian  of  pretty 
Peggy  Campbell  who  inherits  the  ranch  of  which 
Buck  is  foreman.  Lots  of  chases,  trick  riding  and 
rescues.      (Feb.) 


WHILE  THE  PATIENT  SLEPT— First  National 
— Just  another  murder  mystery,  thin  in  spots.  Aline 
MacMahon  and  Guy  Kibbee  are  in  top  form;  Allen 
Jenkins,  Robert  Barrat,  Lyle  Talbot  and  Patricia 
Ellis  hold  up  support.      But  the  story  sags.      (June) 


•  WHOLE  TOWN'S  TALKING,  THE— Co- 
lumbia.— Edward  G.  Robinson,  as  two  other 
men,  gives  his  finest  performance  in  a  brilliant  picture. 
Excellent  support  by  Jean  Arthur.     (Apr.) 


WICKED  WOMAN,  A— M-G-M.— Good  work 
by  the  cast  lifts  this  into  interesting  entertainment. 
Mady  Christians  excellent  as  the  woman  who  kills 
her  husband  to  save  her  family.  Charles  Bickford, 
Jean  Parker.  Betty  Furness  top  support.      (Feb.) 


WINGS  IN  THE  DARK— Paramount.— An  avia- 
tion story  with  a  heart.  Grand  performances  by 
Myrna  Loy  as  a  stunt  flyer,  and  Gary  Grant,  her 
blind  aviator  lover.     (Apr.) 


WINNING  TICKET,  THE— M-G-M— Comedy 
capers  cut  by  Ted  Healy,  Leo  Carrillo  and  Louise 
Fazenda  over  the  disappearance  of  a  winning  sweep- 
stakes ticket.     (Apr.) 


WOMAN  IN  RED,  THE— First  National.— 
Sparkling  dialogue  freshens  up  this  old  story  of  the 
poor  girl  married  into  society.  Good  performances 
by  Barbara  Stanwyck,  Gene  Raymond  and  Genevieve 
Tobin.      (May) 


WOMEN  MUST  DRESS— Monogram.— A  nice 
little  domestic  drama  by  Dorothy  Reid,  widow  of  the 
still-beloved  Wally.  Interestingly  handled;  Minna 
Gombell's  performance  is  outstanding.     (Apr.) 


Wally  Beery,  Jean  Harlow  and  Clark  Gable  are  together  in  a  picture 
again  for  the  first  time  in  five  years.  They  are  the  tops  in  M-G-M's 
"China    Seas."      Their   last    production,    as    a    trio,    was   "Secret   Six" 


$10  RAISE — Fox. — The  saga  of  the  routine  clerk 
who  can't  get  married  without  a  ten  dollar  raise  is  a 
delightful  story  in  the  capable  hands  of  Edward 
Everett  Horton.  Karen  Morley  is  his  romance; 
Alan  Dinehart  the  villain.     (June) 


TIMES  SQUARE  LADY— M-G-M.— Virginia 
Bruce  moves  another  notch  toward  stardom  as  the 
Iowa  girl  who  goes  to  Broadway  to  manage  some 
shady  enterprises  she's  inherited.  Newcomer  Robert 
Taylor  and  Pinky  Tomlin  are  grand  I     (May) 


TRANSIENT  LADY— Universal.— A  murder 
and  a  lynching  for  excitement.  Gene  Raymond  for 
romance,  June  Clayworth  and  Henry  Hull  for  acting, 
but  this  story  lacks  the  necessary  direction  to  make 
it  the  really  powerful  stuff  it  might  have  been.  (May) 


TRAVELING  SALESLADY— First  National  — 
A  light,  airy  little  comedy  at  which  you  can  just 
relax  and  look  and  laugh.  Joan  Blondell,  Glenda 
Farrell,  Hugh  Herbert,  William  Gargan  and  Ruth 
Donnelly.      (June) 

UNDER  PRESSURE— Fox.— Victor  McLaglen 
and  Edmund  Lowe  as  sand  hogs  engaged  in  the  dan- 
gerous business  of  cutting  a  tunnel  under  the  East 
River.     Exciting  entertaiment.     (Apr.) 

UNFINISHED  SYMPHONY,  THE— Gaumont- 
British. — The  musical  score  alone — Franz  Schubert's 
compositions  played  by  the  Vienna  Philharmonic 
Orchestra — puts  this  on  the  must  list  for  music 
lovers.  The  film  story  of  the  musician's  life  is  inter- 
esting too.      (March) 


UNWELCOME  STRANGER,  THE— Columbia. 
■ — Little  Jackie  Searl  is  the  crippled  child  around  a 
race-track  on  whom  Jack  Holt  blames  a  streak  of 
bad  racing  luck.  Just  so-so  entertainment,  but 
Jackie,  Holt,  and   Mona  Barrie  are  good.      (July) 

16 


•  VAGABOND  LADY— Hal  Roach-M-G-M  — 
A  spirited,  delightfuly  mad.  and  most  enjoyable 
comedy  with  Robert  Voung  really  coming  into  his 
own  as  the  captivating  scape-grace  son  of  a  too,  too 
dignified  family.  Evelyn  Venable  is  the  romantic 
prize.  Good  performances,  too,  by  Reginald  Denny 
Frank  Craven.      (June) 


VANESSA— HER     LOVE    STORY— M-G-M.— 

Helen  Hayes  is  excellent  as  Walpole's  lovely  heroine, 
but  the  film  as  a  whole  leaves  something  to  be  de- 
sired. Good  portrayals  by  May  Robson  and  Otto 
Kruger.  Robert  Montgomery  is  inadequate  as 
Benjie.      (May) 


VILLAGE  TALE— RKO-Radio.— A  somewhat 
sordid  drama  of  rural  hates,  jealousies  and  thwarted 
loves,  with  Randolph  Scott,  Robert  Barrat,  Kay 
Johnson,  and  a  good  supporting  cast.     (July) 

WEDDING  NIGHT,  THE  —  Sam  Goldwyn- 
United  Artists. — A  tragic  story,  beautifully  told,  with 
a  powerful  love  theme  concerning  a  Polish  farm  girl 
and  sensitive  young  novelist.  Anna  Sten  and  Gary 
Cooper  superb  in  the  leads.  Excellent  support. 
(Apr.) 


WEREWOLF  OF  LONDON,  THE— Universal. 
— If  you  like  blood-curdling  excitement,  chills  and 
creeps,  you'll  enjoy  shivering  to  this  shocker  with 
Henry  Hull  as  the  werewolf  who  becomes  bestial 
when  the  moon  is  full.  Warner  Oland,  Valerie  Hob- 
son,  Spring  Byington.  Leave  the  children  at  home. 
(July) 

WEST  POINT  OF  THE  AIR— M-G-M— A 
father-son  story,  with  Wallace  Beery  as  an  old  Army 
sergeant  and  Robert  Young  his  son  who  returns  from 
West  Point,  his  father's  superior  officer.  In  addition 
to  an  appealing  story,  there  are  some  of  the  most 
thrilling  flight  sequences  you've  ever  seen.  Maureen 
O'SulIivan  is  romantic  prize.      (May) 


Little  Patsy  O'Connor,  all  dressed 
up  in  her  best  bib  and  tucker,  has 
a  chat  with  her  pal  Alan  Dinehart. 
They're    in    "Redheads    on    Parade" 


i 


A*">"- 


■ 


The  laughing  lady  is  Ruthelma  Stevens,  and  Spencer 
Tracy,  tortured  by  her  ridicule,  swears  to  himself  that 
some  day  he  will  laugh  and  she  will  suffer.  It's  a  dramatic 
moment   from    the    Fox   version    of    "Dante's    Inferno" 


1  i   -1-  i    4"  4-  t1  4  '  f" 


"•it" 


Eugene  Roberl  Richee 


Carole  rhymes  with  peril — and  if  you  don't 
think  Miss  Lombard  means  danger  to  a  man's 
heart,  you  don't  know  your  blondes.  Carole 
posed  for  the  photographer  just  after  return- 
ing from  a  grand  vacation.  She's  at  work  again 
now,  in  Paramount's  "Hands  Across  the  Table" 


Clarence  Sinclair  Bull 


Having  conquered  the  hearts  of  America, 
Myrna,  at  this  writing,  is  giving  Europe  a  break. 
No,  Miss  Loy  hasn't  gone  in  for  foreign  films.  It 
is  just  a  long-deserved  vacation  abroad  she  is 
enjoying.  During  the  last  few  years  Myrna  has 
been  one  of  the  hardest  working  stars  in  films 


But  It's  a  nice  crowd  when  the  three  are  Joan  Crawford, 
Robert  Montgomery  and  Franchot  Tone.  Joan's  the  ob- 
ject of  both  these  gentlemen's  affections  in  M-G-M's  pic- 
ture version  of  the  Broadway  success,  "No  More  Ladies" 


P  H  O  T  O  P  L  AY 

CLOSE-UPS 

AND    LONG-SHOTS 


B      Y 


K 


T       H       R      Y       N 


DOUGH 


R      T 


PREDICT  that  a  certain  delectable  shade  of  blue  is  going  to  sweep  the  country. 

And  like  so  many  new  fashions  we  have  the  screen  to  thank  for  it.    This  shade 

happens  to  typify  the  second  great  change  that  has  taken  place  in  motion 
pictures  the  past  eight  years.  Indeed,  "Becky  Sharp  blue"  is  symbolic  of  the 
revolution  that   has  overtaken   us  practically  overnight. 

Just  as  in  1927  the  "Jazz  Singer"  set  scores  of  writers  to  banging  excitedly 
their  typewriters,  so  the  press  is  now  enthusiastically  proclaiming  the  triumph 
of  the  new-color  process  as  it  appears  in  the  film  "Becky  Sharp."  The  technicians 
behind  this  invention  have  mastered  every  color  from  scarlet  to  green.  So  if  I 
pick  out  and  emphasize  a  certain  shade  as  worn  by  Miriam  Hopkins  in  the  role  of 
Becky,  it  is  because  I  know  women.  When  they  see  her  blonde  loveliness  in 
perfect  harmony  with  her  clothes  they  are  going  to  be  enchanted.  The  effect  will 
be  so  realistic.  And  that,  I  believe,  is  the  supreme  compliment  to  Dr.  Kalmus, 
who  has  labored  many  years  to  bring  Technicolor  to  its  present  perfection. 


T  is  an  interesting  fact,  deserving  of  comment,  I  think,  that  when  Pioneer 
Pictures  began  photographing  "Becky  Sharp,"  Photoplay  was  the  first  publica- 
tion to  give  the  story  to  the  public.  That  was  seven  months  ago.  Not  only  did 
this  magazine  describe  the  entire  technical  process,  but  it  also  forecast  the  effect 
upon  the  entire  motion  picture  industry,  upon  the  actors  themselves  and  upon 
picture  audiences.  Perhaps  we  were  not  as  omniscient  as  that  statement  might 
make  us  appear,  for  the  potentialities  of  the  new  color  art  had  already  been  made 
visible  in  that  miniature  but  flawless  gem,  "La  Cucaracha,"  released,  like  "Becky 
Sharp,"  by  RKO-Radio.  Photoplay  had  carried  its  comment  on  the  great  promise 
indicated  by  "La  Cucaracha,"  and  with  the  filming  of  "Becky"  it  was  obvious 
that  a  new  era  in  pictures  had  arrived. 


A  HAPPY  combination  of  men  and  circumstances  is  responsible  for  this 
film  at  this  time.  "La  Cucaracha"  had  been  a  trial  balloon  that  proved  at 
the  box-office  the  public's  reaction  toward  color — when  that  color  was  in  every 
respect  true  to  what  the  eye  expected.  Into  the  scene  came  "Jock"  Whitney,  a 
young  man  with  his  hundred  millions  of  dollars,  eager  to  advance  a  great  art; 
Robert  Edmond  Jones,  a  master  of  stage  settings,  who  had  contributed  his  fine 
technique  to  John  Barrymore's  "Hamlet,"  "Mourning  Becomes  Electra"  and  a 
score  of  other  plays;  Rouben  Mamoulian,  master  director  of  Hollywood;  Ned  E. 
Depinet,  Vice-president  of  RKO-Radio;  and  M.  H.  Aylesworth,  President  of 
National  Broadcasting  Corporation,  an  affiliate  of  RKO-Radio.  Each  man  did  his 
part — financial,  technical,  artistic,  with  none  of  the  interference  of  one  head  with 
another  that  too  often  in  picture  production  has  led  to  a  stalemate  or  a  flop. 


21 


When  you  see  "Becky  Sharp"  you'll  be  sure  to  note,  amid  all  the  brilliance  and 
softness  of  reds,  blues,  greens  and  a  score  of  others,  one  color  I  won't  have  to  tell 
you  to  look  for.  You'll  find  "Becky  Sharp  blue"  for  yourself.  That  is,  of  course, 
if  you  are  a  woman. 


I/IDNAP  vultures  have  on  several  occasions  threatened  Hollywood,  but  have 
never  been  able  to  make  good  their  threats.  Everyone  knows  how  the  youngsters 
of  famous  stars  are  guarded  by  hefty  men  displaying  formidable  "gats."  Ann 
Harding  has  a  very  complete  system  of  protective  devices  about  her  home  and 
estate  to  protect  her  daughter  Jane. 

The  Al  Jolsons  are  also  taking  exceptional  precautions  with  respect  to  the 
recently  adopted  little  Al,  Jr.  Architects  have  already  designed  a  "baby  wing"  to 
the  Jolson  mansion.  It  will  be  made  kidnap-proof.  No  outsider  will  be  able  to 
approach  the  baby  without  setting  off  alarms.  In  addition,  the  wing  will  con- 
stitute one  of  the  most  perfect  nurseries  ever  conceived,  so  far  as  sanitary  conditions 
dietary  arrangements,  etc.,  are  concerned.  Al  and  Ruby  are  putting  more  money 
into  kidnap  and  health  protectives  for  the  baby  than  was  spent  for  the  famous 
Dionne  quintuplets  hospital. 

It  took  the  couple  a  few  years  to  make  up  their  minds  about  that  adoption  hut 
they  surely  are  going  in  for  the  idea  now  in  a  big  way. 


PTHEL  BARRYMORE'S  announcement  that  she  is  retiring  from  the  stage 
brings  sharply  to  our  attention  the  fact  that  the  present  generation  of  this 
famous  family  of  actors  has  been  before  the  public  more  years  than  most  of  us 
realize.  Ethel,  then  in  her  early  'teens,  made  her  stage  debut  in  1804,  as  Julia  in  the 
old  Sheridan  classic,  "The  Rivals."  Lionel's  first  theatrical  role  was  also  in  that 
same  play,  though  a  year  earlier.  His  celebrated  grandmother,  Mrs.  John  Drew, 
was  also  in  the  cast.  John,  for  a  Barrymore,  was  a  little  late  in  getting  his  start. 
Not  until  1903,  at  the  age  of  twenty-one,  did  we  find  him  before  a  Chicago  audience 
in  "Magda."  The  famous  trio  vary  in  age,  from  John  to  Lionel,  by  a  little  less 
than  four  years. 

Ethel's  retirement  is  relatively  early  for  the  traditions  of  her  family.  She  is 
reported  as  saying  that  the  stage  has  lost  something  in  recent  years.  She  an- 
nounces her  plan  of  opening  a  school  of  dramatics  in  Washington.  But  whether 
on  or  off  stage  or  screen,  a  Barrymore  can  never  be  forgotten. - 


A  LLIANCE  FILMS,  LTD.,  an   English  corporation,  put  on  a  novel  stunt  in 
New  York  City.    They  showed  previews  of  ten  important  films  to  motion  pic- 
ture magazine  editors  and  film  critics — all  in  five  days'   time.      One  each    after- 
noon and  evening. 

The  two  that  are  of  special  interest  to  Americans  are  "Mimi,"  featuring  Douglas 
Fairbanks,  Jr.  and  Gertrude  Lawrence,  and  "Radio  Parade  of  193.>,"  "a  satire  on 
English  broadcasting,  with  over  forty  radio,  stage  and  screen  stars,"  as  the  in- 
vitation announced.  That  gives  us  all  an  opportunity  to  look  over  a  pretty  big 
slice  of  British  talent,  at  one  swoop. 


rM)WN  in  Arkansas  a  college  sorority  has  announced  that  it  will  boycott  all  of 
Jean  Harlow's  pictures  because  she  wasn't  "nice  to  the  girls."  It  seems  that 
the  sorority  clubbed  their  pin  money  together  and  put  in  a  long  distance  call  to 
Jean.  Jean  told  the  telephone  operator  that  she  didn't  know  any  one  in  Arkansas. 
Of  course,  the  girls  had  the  kindest  intentions  in  the  world,  but  they  shouldn't 
blame  Jean.  If  those  collegians  were  as  much  subject  as  Jean  to  the  calls  of  the 
outside  world  they  would  understand,  forgive  and  forget.  You'll  remember  how 
Clark  Gable  had  to  fly  all  over  Texas  before  he  could  ground  his  plane  because  of 
the  crowds  at  t lie  landing  fields. 


22 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


23 


r^ccent  on  \outh" 


s 


hould  a  girl  marry  a  marf  of  her  own  age 
or  should  she  choose  a  more  mature  husband? 
Can  a  girl  in  her  twenties  find  happiness  with 
a  man  twice  her  age?  Granted  that  May  and 
December  are  mismated;  but  what  about  June 
and  September? 

Millions  of  girls  for  millions  of  years  have 
asked  themselves  these  questions  and  attempted 
o  answer  them  in  their  own  lives. 


■L  \ow  the  question  —  and  one  of  the  several  possible 
answers  —  has  been  made  the  theme  of  one  of  the  most 
charming  screen  romances  of  the  season,  Paramount's 
"Accent  on  Youth".  .  .  As  a  stage  play  "Accent  on 
Youth"  won  acclaim  from  the  Broadway  critics  and  tre- 
mendous popularity  with  the  theatre-goers.  Opening  late 
in  1934  it  promises  to  continue  its  successful  run  well  into 
the  summer  of  1935. 

Sylvia  Sidney  plays  the  screen  role  of  the  girl  who 
comes  face  to  face  with  this  age-old  question.  She  is 
adored  by  young,  handsome  and  athletic  Phillip  Reed 
and  she  is  loved  by  the  brilliant  and  successful  but  more 
mature  playwright,  Herbert  Marshall  .  .  .  Which  man  shall  she  choose?  .  .  .  That  is  the  question 
around  which  the  entire  plot  revolves  and  to  answer  it  in  print  would  spoil  the  delightful  suspense 
which  the  author,  Samson  Raphaelson,  developed  to  a  high  degree  in  his  original  New  York  stage 
success  and  which  Director  Wesley  Ruggles  maintains  with  equal  success  and  charm  in  the  screen  play. 

In  the  supporting  cast  are  such  well-known  players  as  Holmes  Herbert  and  Ernest  Cossart.  The  latter  is 
playing  the  same  role  on  the  screen  as  that  which  he  created  in  the  original  Broadway  stage  production. 


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Robert  Edmond  Jones,  one  of  the  foremost  scsnic  de- 
signers of  the  American  stage,  an  authority  on  color,  who 
designed  the  sets,  costumes  and  directed  the  lighting  for 
"Becky  Sharp."     Has  he  had   a   hand   in   making   history? 


Wi 

BECKY   SHARP 

REVOLUTIONIZE 

HOLLYWOOD? 


/  / 


/  / 


IF  ever  Hollywood  was  rooting  for  a  picture,  the  whole  town 
was  rooting  for  the  triumph  of  "Becky  Sharp."  To  begin 
with,  no  more  significant  production  has  come  out  of  Holly- 
wood since  Al  Jolson  sang  a  mammy  song  in  "The  Jazz  Singer," 
first  of  the  successful  talking  pictures  that  revolutionized  the 
entire  industry.  The  history  of  motion  pictures  has  been 
marked  frequently  by  such  revolutionary  milestones  since  D. 
W.  Griffith  produced  "The  Birth  of  a  Nation,"  which  proved 
the  limitless  scope  of  spectacle  upon  the  screen. 

Now,  after  more  than  a  year  of  preparation  and  the  expendi- 
ture of  more  than  a  million  dollars,  comes  "Becky  Sharp,"  first 
feature-length  film  to  introduce  the  new  full  color  Technicolor 
process.  Upon  the  slim  shoulders  of  this  heroine  of  Thackeray's 
"Vanity  Fair,"  rests  the  responsibility  of  hurrying  or  retarding 
the  next  great  step  in  Hollywood  progress — color.  No  wonder 
all  of  Hollywood  kept  anxious  eyes  on  "Becky  Sharp."  for  the 
future  of  Hollywood  was  in  this  pioneering  color  film 

24 


A  no  more  significant  movie  has 
been  turned  out  since  the  first 
talkie  than  this  the  first  fea- 
ture-length, all-color    production 


Then,  too,  Hollywood,  good  old  blase  Hollywood,  was  in- 
trigued by  the  organization  of  the  aptly  named  Pioneer. Pic- 
tures just  as  Americans  have  always  been  intrigued  by  the 
drama  of  typically  American  success  stories  There  was  drama 
aplenty  in  the  story  behind  the  making  of  "  Becky  Sharp," 
drama  that  encompassed  accidents,  illnesses,  even  death.  Holly- 
wood knows  the  whole  amazing  story  and  you  should,  too. 

Its  beginning  might  be  said  to  date  back  ten  years.     It  was 


By    JACK    GRANT 


Miriam  Hopkins  (seen  with 
G.  P.  Huntley,  Jr.)  is  in  the 
title  role  of  the  new  color 
film.  Upon  the  slim  shoulders 
of  Thackeray's  heroine  rests 
much  of  the  responsibility 
of  hurrying  or  retarding 
Hollywood's    programs 


in  the  fall  of  1925  that  Meriam  C.  Cooper  with  his  partner, 
Ernest  Schoedsack,  emerged  from  the  Malay  jungles  with  a 
completed  motion  picture  they  called  "Chang."  That  their 
picture  became  one  of  the  most  successful  wild  animal  films 
ever  made  was  not  the  source  of  as  much  pride  on  Cooper's 
part  as  might  be  imagined.  He  mourned  the  product  of  a 
year's  hard  work  and  privation  because  it  was  not  good  enough 
The  real  beauty  of  the  jungle  had  escaped  the  camera    Nothing 


Rouben  Mamoulian,  directing  a 
scene  between  Miriam  Hopkins 
and  Sir  Cedric  Hardwicke,  sees 
color  as  an  emotional  factor. 
How    far    will    his    ideas    go? 

Kenneth  MacGowan  as  pro- 
ducer has  carried  the  burden 
of  the  hindrances  in  the  year's 
preparation  and  the  spending 
of     a     million     on     "Becky" 


in  black  and  white  could  capture  or 
re-create  the  tropical  riot  of  colors 
An  obsession  for  color  photog- 
raphy literally  consumed  Cooper.  He 
talked  color  night  and  day.  "We  do 
not  live  in  a  black  and  white  world 
Why  should  we  have  only  black  and 
white  motion  pictures?  "  he  asked 
No  one  seriously  listened  to  Cooper 
Then  he  met  Dr.  Herbert  Thomas  Kalmus,  founder  of  Techni- 
color, who  had  been  experimenting  with  color  photography 
since  1915.  One  of  the  first  color  films,  "Toll  of  the  Sea,"  was 
produced  in  a  two-color  process  in  1921,  but  Dr.  Kalmus  and 
his  associates  were  still  striving  for  its  improvemuit  The 
meeting  of  Cooper  and  Kalmus  marked  the  crossing  of  the 
paths  of  our  first  two  characters  in  the  drama  behind  the  mak- 
ing of  "Becky  Sharp."  I  please  turn  to  page  100] 


25 


The 

PRIVATE  LIFE 

of 

Ginger 
Rogers 


She's  the  riddle  of  Hollywood 
— this  incomparable  dancing 
favorite  and  madcap  girl  of 
the  screen  who  has  gone  quiet 


By  WARREN   REEVE 


LEW; 
we  w 
fully. 


EW  and  I  haven't  been  to  a  Hollywood  party  since 
ere  married,"  admitted  Ginger  Rogers  cheer 


And  by  the  way  she  said  it,  I  suddenly  knew  that  a 
whole  lot  of  pity  was  being  wasted  on  Ginger  Rogers. 

The  prosaic  home  life  of  Ginger  and  Lew  Ayres  per 
sists  in  puzzling  a  town  which  just  can't  understand  how 
a  star  as  gaily  alive  and  glamorous  as  Ginger  can   be 


26 


There  are  those  in  Hollywood  who 
claim  Lew  Ayres  has  a  hermit  complex 
and  keeps  his  spirited  wife  too  far  re- 
moved from  the  bright  spots  which 
once  she  frequented.  But  Ginger  loves 
her  new  domesticity.  Bride  and  groom, 
above,  coming  out  of  the  Little  Church 
of  the   Flowers,  Then   they  skipped  off. 


content  with  a  soda-pop  existence  when  her  personality  seems 
to  cry  for  champagne. 

There  have  been  rumors  and  speculations,  guesses  and  gossip 
about  Ginger's  happiness  ever  since  she  married  Lew  Ayres 
There  have  been  crocodile  tears  shed  in  abundance  for  the 
spirited,  life-loving  girl  who  dropped  out  of  the  bright-light 
circuit  when  she  married  a  boy  with  what  you  might  call  a 
hermit  complex. 

I  would  like  you  to  see  about  all  this  yourself. 

But  first,  I  would  like  to  flash  back  for  a  bit  of  a  prologue, 
a  bit  of  a  prologue,  ladies  and  gents. 

It  was  the  night  of  their  first  date.  And  what  a  night! 
They  stood  together,  shaking  and  uncomfortable  in  the  lobby 
of  the  theater  after  a  first  act  about  which  neither  could 
remember  a  thing. 

Any  particular  vibrations  their  newly  acquainted  personal- 
ities might  have  cooked  up  were  sadly  shamed  by  the  seismic 
nip-ups  of  an  expiring  earthquake,  which  had  decided  to  cele- 
brate this  auspicious  occasion  by  tumbling  a  few  assorted 
Southern  California  towns  to  the  ground  and  panicking  Holly- 
wood and  environs  into  a  state  of  hysteria. 

He  was  nervous  because  he  thought  she  was  afraid.  She 
had  the  jitters  because  she  knew  darned  well  she  was  afraid 
— and  she  knew  he  was  nervous. 

Their  eyes  bumped  in  furtive  sidewise  glances. 

"Let's  get  out  of  here." 

"Let's,"  she  said. 

"What'll  we  do?"  he  asked. 

They  say  that  at  times  like  these — in  critical  moments  of 
great  natural  drama — fires,  earthquakes,  floods — the  real  in- 
dividual comes  out — people  bare  their  true  souls. 

"Let's  go  somewhere,"  said  Ginger  Rogers  to  Lew  Ayres, 
"and  plav  ping-pong!" 


There  you  are.  Of  course,  it  doesn't  prove  anything.  But 
it  and  a  whole  lot  of  other  things  endow  me  with  more  than 
a  sneaking  suspicion  that  Ginger  Rogers  rather  fancies  the 
way  she  and  Lew  Ayres  go  about  their  own  particular  design 
for  living,  which  is  so  utterly  incomprehensible  to  Hollywood 
and  which  anyone  will  tell  you  marks  them  as  Hollywood's 
most  humdrum  couple. 

In  fact,  I  would  go  so  far  as  to  say  that  it's  every  bit  as 
much  her  idea  as  his,  which — can  you  take  it? — plunges  me 
into  a  second  prologue — or  maybe  it's  just  the  last  half  of 
the  first. 

It  was  the  eve  of  their  wedding.  Inside  the  Little  Church 
of  the  Flowers,  festooned  and  blossom-fragrant,  they  stood 
before  the  holy  man  who  had  just  pronounced  them  man  and 
wife.  The  bride,  radiant,  shimmering  and  lovely  in  the  too. 
too  exquisite  altar  creation  for  which  she  had  travelled  six 
thousand  miles,  raised  her  lips.  The  groom,  in  the  very  first 
morning  coat  and  gray  striped  trousers  of  his  experience 
(especially  tailored  for  the  occasion),  complete  with  stock 
gardeniaed  lapel  and  with  his  damp  brow  still  creased  with 
the  red  imprint  of  an  unaccustomed  topper,  lowered  his.  (Lips, 
of  course!) 

Outside,  bug-eyed  thousands  pressed  perspiring  guards. 
Beyond  at  the  Ambassador  Hotel  well  wishing  friends  crowded 
to-  the  elaborate  wedding  reception. 

They   kissed.      Everybody    sighed       Whispered    Mrs.    Lew 
Ayres  in  her  new  mate's  good  ear — 
"Let's  get  out  of  here!" 
"But  the  reception — " 

"Let's  skip  it — I'll  meet  you  in  some  real  clothes." 
And  the  going  away  outfit  of  Mr.  and  Mrs.  Lewis  Ayres  (nee 
Ginger  Rogers)  as  they  fled  in  a  Ford  for  the  mountains,  would 
hardly  have  made  the  style  section  of  the  Leadville  Bugle. 

Lew  sported  squeaking  corduroys,  a 
lumberjack  shirt  and  an  old  battered  hat 
he  had  acquired  at  the  World's  Fair  for 
fifty  cents  Ginger  blushed  properly  in 
beach  slacks,  sweater,  a  somewhat  age- 
blacked  leather  coat  and  a  beret! 

That'll  be  all  the  prologues  Now 
down  to  current  cases 

It  is  true  that  Mr.  and  Mrs.  Lew  Ayres 
at  home         [  please  turn  to  page  96  ] 


The  Texas  personality  girl  with  pump- 
kin-seed hair,  fresh  out  of  high  school, 
made  all  the  parties  and  met  all  the 
people  when  she  first  came  to  Holly- 
wood. Now  she  is  a  glamorous  dancer 
of  stardom.  But  she  reflects  the  hap- 
piness of  her  new  home  life,  a  quiet 
life.     Her  pet  Siamese's  name  is  "Sime" 


THE  SEX-JINX 


If  you  have  It,  advertise.     If  you  haven't,  advertise  just  the  same.     There's 


Peggy  Hopkins  Joyce  said:  "I  don't  think  anyone  has  been 
really  in  love  with  me,  but  it  doesn't  matter,  because  no- 
body would  believe  it."  Lupe  Velez  cleverly  "sold"  her  ap- 
peal, while  Jean  Harlow  may  be  "emotionally  cool"  after  all 


By  MARY 


WHEN  Elinor  Giyn  gave  out  her  now  famous  dictum, 
the  sex-shot  that  was  heard  around  the  world — "You 
either  have  IT  or  you  haven't  it,"  she  forgot  one  im- 
portant reservation! 
You  don't  even  need  it,  if  von  can  foot  people  into  thinking  you 
have  it! 

The  "name"  for  lure-appeal  is  as  good  as  the  "game"  at  the 
box-office;  and  no  place  in  the  world  is  this  more  true  than  in 
Hollywood,  where  we  really  prefer  to  be  fooled,  if  the  act  is  good 
enough. 

I'll  never  forget  something  Peggy  Hopkins  Joyce  said  when 
she  was  in  Hollywood  for  a  picture  a  couple  of  years  ago 
Peggy,  whose  chief  claim  to  man-trapping  seemed  to  lie  in  a 
perfectly  gorgeous  disposition  and  an  almost  touching  sense  of 
gratitude,  let  down  her  braids  one  afternoon  and  remarked:  "I 
haven't  been  in  love  with  anvone  for  vears  and  T  don't  think 

28 


anyone  has  been  really  in  love  with  me.  But  it  doesn't  matter, 
because  no  one  would  believe  it — and  so  mv  box-office  goes  on 
just  the  same!" 

I  know  Jean  Harlow  pretty  well,  and  it  is  my  personal  opinion 
that  she  is  an  emotionally  cool  girl.  Jean  is  attracted  to  the 
type  of  man  who  pampers  and  babies  her  rather  than  to  the 
thrill-packing  Clark  Gables  of  life,  as  witness  the  mature,  older- 
type  men  she  has  married.  Yet  people  look  at  me  as  though  I'd 
taken  leave  of  my  senses  when  1  advance  this  theory  Jean's 
reputation  for  T.  N.  T.  and  sex-dynamite  is  so  firmly  planted 
that  she  could  trade  on  her  siren-reputation  the  rest  of  her  life 
if  she  never  looked  at  another  man. 

Mae  West  talks  the  best  sex-appeal  you've  ever  heard  The 
world,  the  more  important,  Hollywood,  is  completely  sold  on 
the  idea  that  Mae  slays  'em  The  result  is  the  pleasant  tinkle 
of  silver  running  through  the  box-office     Every  new  husband- 


ON  STARDOM 


the  formula  that  brings  success  in  Hollywood.  They  believe  what  you  tell  them 


Robert  Young  can't  get  away  from  the  effects  of  his  con- 
ventional private  life.  The  public  tacks  a  non-sex  label  on 
him.  Claudette  Colbert  turned  vamp  with  startling  results. 
Rumors    Charles    Boyer    was    flirting    won    many    admirers 


ANDERSON 


claim  to  crop  up  is  just  so  much  fuel  on  the  bonfire  of  her 
reputation.  So  Mae,  who  has  devoted  the  last  fifteen  years  of 
her  life  to  her  work,  can  go  on  her  hard-working  way  unworried 
.  .  with  a  wise-crack  now  and  then  serving  the  same  purpose 
as  a  new  scalp  at  her  belt ! 

Merle  Oberon,  with  the  generous  sprinkling  of  freckles  across 
her  nose,  laughed  when  she  said: 

"I'm  glad  the  reputation  for  being  a  charmer  preceded  me 
to  Hollywood.  Now  I  don't  have  to  do  anything  about  it.  The 
men  will  automatically  flirt  with  me  and  the  women  will  auto- 
matically dislike  me." 

Lupe  Yelez  has  lasted  for  years,  and  outlasted  far  stronger 
talents  than  her  own  on  the  strength  of  her  "bad,  bad  Lupe" 
salesmanship.  Another  way  of  saying  it  is,  "smart,  smart 
Lupe"  .  .  .  smart  Mae,  clever  Jean  and  super-clever  Peggy 
Tovce. 


But  if  the  reputation  for  having  sex-appeal  can  work  miracles 
...  the  reputation  for  not  having  it  can  put  a  blight  on  the  most 
promising  career  in  Hollywood! 

In  spite  of  Hays  office  rulings  and  clean-up  drives  Glamour 
.  .  .  Lure  .  .  .Personal  Excitement  are  still  the  open  sesame 
to  screen  opportunity  Sell  Hollywood  and  you've  sold  the 
world! 

The  system  is  a  cinch;  romance  rumors  to  the  gossip  column- 
ists; a  new  escort  with  every  new  gown;  scads  of  orchids  if  you 
have  to  send  them  to  yourself;  a  narrowed-eye  and  a  slanting 
eyebrow,  coupled  with  just  the  vaguest  hint  that  your  new  lead- 
ing man  is  intrigued  .  .  and  the  smarties  of  Hollywood  fall 
hook,  line,  and  sinker. 

On  the  other  hand,  you  could  have  the  innate,  but  unadver- 
tised.  lure  of  a  Cleopatra,  and  the  acting  ability  of  a  Bernhardt 
or  a  Mansfield,  and  if  vou  don't  f  please  turn  to  page  103  ] 

29 


I  KNOW  MYRNA  LOY- 
BUT  NOT  VERY  WELL 


In  her  quiet  way,  Myrna  Loy 
is  proud  of  her  work  in  "Broad- 
way  Bill,"   with   Warner   Baxter 


THERE  are  three  stories  going  the 
rounds  why  Myrna  Loy  is  absent- 
without-leave  in  Europe  as  this  is 
written: 

First,  that  she  did  a  run-out  on  "MaEquerade,"  retitled 
"Escapade,"  because  the  unsophisticated  heroine  was  not  con- 
genial and  because  she  believed  she  could  not  do  her  best  work. 

Second,  that  M-G-M  replaced  her  with  Luise  Rainer  in  the 
cast  opposite  William  Powell  as  a  disciplinary  step  over  con- 
tract and  salary  arguments 

The  third  concerns  the  insistent  rumor  that  Myrna  will  be- 
come the  bride  of  Arthur  Hornblow,  Jr.,  as  soon  as  his  legal 
separation  from  his  wife  becomes  final  in  divorce.  And  Horn- 
blow  is  now  in  Europe  on  business. 

But,  as  is  usually  the  case  with  anything  directly  concerning 

30 


Hollywood  tried  hard  to  type 
Myrna  in  Oriental  and  half- 
breed    roles    which    she   disliked 


Myrna  Loy's  shyness  permits 
her  to  unfold  her  charm  and 
beauty  only  before  the  camera 


the  red-headed  girl  who  shared  box-office 
honors  with  Claudette  Colbert  for  the 
most  successful  picture  of  the  past  year, 
no  one  knows  a  darn  thing  about  the  truth 
oj  any  oj  it!     Simply  because  they  don't  know! 

If  Garbo's  isolation  has  earned  her  the  title  of  Hollywood 
recluse;  if  Dietrich's  Teutonic  sullenness  sets  her  apart  as  our 
leading  "mystery,"  then,  surely,  our  own  Montana-bred  Myrna 
is  the  authentic  Miss  X  of  Hollywood — the  provocative  "un- 
known quality." 

Searching  about  for  story  angles  on  Myrna,  the  puzzled 
Hollywood  writer  is  invariably  met  with  the  press  agent  query: 
"  Why  not  do  a  story  on  the  angle  of  The  Star  Without  Stardom 
.  .  .  or  those  tricks  that  have  come  to  mean  stardom  with  the 
average  player?    Why.  she's  never  been  out  of  the  State  in  ten 


l&. 


Many  call  her  the  star  without  stardom 
yet  they  find  no  explanation  for  her 
utter  indifference  to  publicity.  She 
is  actually  miserable  in  the  spotlight 


By    DOROTHY    MANNERS 


is 


Montana-bred  Myrna  Loy  is 
the  authentic  Miss  X  about 
Hollywood.  No  one  seems 
to  know  the  whys  to  the 
riddle    of    her    personality 


Despite  her  success  in  "The 
Thin  Man,"  Myrna  feels  that 
too  many  pictures  with 
even  William  Powell  is  not 
a     good     thing     for    either 


years  until  recently.  Only  been  in  Montana  and  California  in  her 
whole  life.  Never  seen  a  Broadway  play  (this  was  before  her  recent 
flight),  never  been  married,  never  been  rumored  engaged  to  a 
millionaire,  never  had  her  name  on  the  front  page  of  a  newspaper. 
She  behaves  more  like  somebody's  secretary  than  a  famous  ac- 
tress."   So  you  say:   "Yes — but  why? " 

That's  where  you  have  them. 

No  one  seems  to  know  the  whys  to  the  riddle  of  her  strange, 
evasive  personality. 

For  the  past  six  months  Myrna  and  I  have  enjoyed  the  status  of 
tenant  and  landlord,  respectively.  Last  October  she  rented  my 
home  in  Westwood  for  six  months;  and  it  was  from  the  old  ances- 
tral manse  that  she  shook  the  dust  of  Hollywood,  M-G-M  and 
Westwood  from  her  slender  heels  during  business  battles  (anyway, 
I  hope  that  leak  in  the  roof  had  nothing  to  do  with  it). 

It  is  typical  of  the  secretive  way  f  please  turn  to  page  87  ] 


CAL  YORK'S  GOSS 


D 


All  alone!  Regal  Dolores  Costello 
who  has  finally  sued  tempestuous 
John  Barrymore  for  a  divorce  and 
a  flat  settlement  of  $75,000  at- 
tends  a   peaceful   symphony   concert 


Ernst  Lubitsch  and  his  inseparable 
cigar  were  hosts  at  a  gathering  hon- 
oring Princess  Catherine  of  Greece 
(left).  Also  there  were  Gladys 
Swarthout  (opera  star),  Jeanette 
MacDonald     and     Marlene     Dietrich 


I  ELA  ROGERS  called  up  her  daughter, 
'-Ginger. 

"The  apartment's  on  lire!"  she  shouted. 

"We'll  be  right  over,"  said  Ginger. 

When  they  arrived  the  blaze  was  out.  Lew 
Ayres,  carrying  his  ever  present  miniature 
movie  camera,  was  disgusted  and  bitterly  dis- 
appointed. 

"I  wanted  to  get  some  fire  shots,"  he  ex- 
plained. 

That's  how  bad  the  movie  making  bug  has 
bitten  Lew 


32 


KAWt,  WEST'S  tastes  in  art  are  simple. 
v       In    her    gold-and-white    apartment    in 
the   fashionable    Ravenswood    in    Hollywood, 
Mae  has  but  one  picture  in  the  front  room. 

It  is  a  painting  of  herself  a  bit  au  naturel 
and  it's  labeled  "Sex." 

Incidentally,  Mae's  skyscraper  menage  is 
now  in  the  hands  of  a  new  majordomo.  Daisy 
is  her  name.  She  took'the  place  of  Mae's  form 
cr  maid  Libby,  who  succumbed  to  the  lure  of 
the  camera.  Libby  now  goes  in  exclusively 
for    the    celluloid    drama       She's    makmg    a 


picture  with  Walter  Wanger,  affectionately 
known  in  Hollywood  as  "The  Lone  Star 
Wander." 

'  KAISS    DVORAK,"    quavered    an    ardent 

collegiate  admirer  on  the  campus  of  the 

University    of    California    at    Berkeley,    "will 

you  scratch  your  name  on  my  new  car?" 

Ann  gasped.     Such  a  nice,  shiny  new  car. 

"I   don't   want    to  do   that,"   she   protested. 

Hut  he  wanted  her  to — so  there  you  are — 

another   concession    to    the   autograph    craze. 


OF    HOLLYWOOD 


Nino  Martini,  the  latest  movie  "find" 
from  the  opera  and  radio  fields,  now 
under  the  Fox  banner,  was  the  guest  of 
honor  at  a  party  given  by  Jesse  Lasky. 
Everybody  who  was  anybody  was  there. 
You'll  readily  recognize  this  galaxy: 
Edward  G.  Robinson,  Francis  Lederer, 
Bob  Hoover  and  Anita  Louise  ('tis  said 
it's  a  romance!),  then  Frank  Morgan, 
Mr.  Lasky,  Janet  Beecher,  and  last  but 
far  from    least,    Nino    Martini,   in    person 


Ann  appeared  at  the  University  while  in  San 
Francisco. 

DMT  you  didn't  know  that  Lyle  Talbot's 
'-'name  is  "Lysle  Hollywood  Talbot,"  but,  if 
you  do.  then  you'll  know  it's  no  gag  when  you 
read  here  that  his  grandmother  Hollywood  has 
heen  visiting  him. 

Grandmother  Hollywood  is  a  sprightly  little 
lady  from  Omaha,  Nebraska.  Maybe  she 
thought  she  had  better  run  out  and  look  over 
these  girls  she'd  been  reading  about  who  were 
toying  with  her  grandson's  heart.  Anyway, 
when  she  arrived  a  few  weeks  ago,  Lyle  took 
her  on  a  tour  of  the  night  spots  and  held  a  few 
gay  Hollywood  parties  for  her.  She  made  a 
big  hit  with  everyone,  but  she  did  not  try  to 
crash  the  movies.  Said  Omaha  might  be  a 
little  dull  after  the  visit  but  it  was  better  for 
a  steady  diet 

(^HARLIE  FARRELL  and  Ralph  Bellamy 
^-'started  their  Palm  Springs  Racquet  Club 
for  pleasure. 

Then  they  discovered,  after  the  season  was 
over,  that  they'd  cleared  $49  on  the  sandwich 
stand  and  had  cleared  their  investment  carry- 
ing charges. 

Next  year  they're  going  to  expand.  Two 
new  courts  and  a  membership  campaign. 


Presenting  another 
well-known  couple  at 
the  Lasky  festivities 
for  Nino  Martini:  read- 
ily recognizable,  Herb- 
ert Marshall,  Gloria 
Swanson,  and  a  friend 


Virginia  Bruce's  latest 
escort  is  a  count, 
Count  Carpegna.  They 
are  about  to  join  the 
host  of  celebrities  at 
the  noted  gathering 
place,    the    Trocadero 


Do  you  recognize  the 
gentleman?  It's  Harold 
Lloyd  with  Mrs.  Lloyd, 
left,  and  it  looks  as 
though  Harold  is  get- 
ting off  a  story  for 
Joan     Marsh's     delight 

33 


Paul  Muni  takes  time 
out  from  his  heavy 
dramatic  roles  and 
escorts  Mrs.  Muni  to 
the  popular  Chil- 
dren's Benefit  show, 
in  which  they  take  a 
very     lively     interest 


Can  this  be  possible? 
Here's  Howard 
Hughes  as  escort  to 
the  delectable  Merle 
Oberon  at  the  Chi 
d  r e  n ' s  Benefit  and 
looking  glum!  But 
Merle  seems  to  be 
far,  far  away  as  well! 


It  was  Frank  Fay's 
honor  (and  he  seems 
well     pleased     about 

t)  to  be  Master  of 
Ceremonies  at  the 
Benefit.  Wife  Barbara 
Stanwyck  is  quite  de- 

ghted,  alio.  Frank 
and  Barbara  are  the 
closest  of  family  two- 
somes in  all  Holly- 
wood.     Great  pals 


Hollywood  so  far  has  given  them  grand 
support — because  most  of  Hollywood  is  in 
Palm  Springs  during  the  winter — that  is,  out- 
side of   working   hours. 

DICHARD  BOLESLAWSKI,  the  famous 
^foreign  director,  was  a  bit  late  on  the  set 
that  morning.  To  make  matters  worse,  he 
was  holding  up  a  horde  of  extras. 

As  he  finally  entered,  one  of  the  $7.50-a-day 
boys,  unaware  of  his  nearness,  said,  "What 
does  that  Russian  so-and-so  mean,  holding 
us  up  like  this?  " 

Boleslawski  stepped  up  and  bowed. 

"Pardon  me,"  he  said,  "you  mean  that 
Polish  so-and-so." 

V/OU   won't  have   much    trouble   running  a 
'   popularity    contest    at    Warner    Brothers 
since  Marion  Davies  moved  in. 

Whenever  Marion  is  hungry  or  thirsty  on 


her  set  she  assumes  everyone  else  is  too.  So 
instead  of  ordering  sandwiches  for  herself, 
she  orders  mammoth  trays.  And  instead  of 
orange  juice  in  glasses,  she  commands  buckets 
for  the  entire  crew. 
Nice  lady. 

IN  Copenhagen,  capital  of  Jean  Hersholt's 
homeland,  Denmark,  there  is  a  meeting  place 
for  all  good  Americans  known  as  the  "State 
Park." 

There  they  gather  on  Fourth  of  Julys  and 
such  to  ease  their  nostalgia.  About  the  place 
hang  flags  of  every  state  in  the  Union — except 
Oklahoma. 

Recently  Jean  approached  Will  Rogers  and 
asked  him  to  send  a  flag  of  his  native  state 
where  it  was  sad!)'  lacking.  The  gift  would  be 
most  welcome  and  appreciated,  he  said. 

"Dern,"  said  Will,  "I  don't  even  know  what 
the  state  flag  looks  like." 


Volunteered  a  nearby  helper:  "They're  all 
in  the  dictionary,  Mr.  Rogers." 

"That  doesn't  help  me,"  said  Will,  "I 
know  less  about  the  dictionary  than  I  do 
about  state  flags!" 

ANN  DVORAK'S  comeback  trail  has  been 
'  a  rough  one.  The  girl  who  zoomed  star- 
wards  after  "Scarface"  has  never  recaptured 
her  promise  since  she  deserted  films  for  her 
honeymoon  with  Leslie  Fenton. 

But  now  in  "G  Men" — the  reverse  English 
on  the  "  Scarface"  picture — Ann  has  apparently 
hit  her  stride  again.  When  the  picture  was 
released,  she  was  billed  third,  beneath  Mar- 
garet Lindsay.  But  so  many  people  wrote  to 
Warners  protesting  that  she  should  be  right 
next  to  Jimmy  Cagney  that  they've  changed 
the  order.  And  that  changed  her  status  at 
the  studio.  Now  she's  a  Number  One  lead- 
ing lady. 


34 


Mr.  and  Mrs.  Fredric 
March  (the  beautiful 
Florence  Eldridge) 
were  no  small  part  of 
the  throng  of  great 
and  small  which 
turned  out  for  the 
Benefit  which  will 
provide  aid 
to  many  underpriv- 
ileged children 
about      Hollywood 


Above,  Stephen  Ames 
is  obviously  a  great 
deal  more  interested 
in  wife  Raquel  Torres 
than  in  what  is  going 
on  on  the  stage  at 
the  Benefit.  Can  you 
blame    him,    say    we? 


Here's  a  foursome 
you  see  frequently 
palling  around:  San- 
dra Shaw  and  hand- 
some husband  Gary 
Cooper,  exotic  Dolo- 
res Del  Rio  and  hus- 
band-star d  i  r  e  c- 
tor     Cedric     Gibbons 


V/OU'LL  never  know  just  how  happy  the 
double  arrival  of  Mr.  and  Mrs.  Richard 
Dix's  sons  made  Hollywood's  most  expanding 
proud  papa. 

Rich  has  been  praying  for  a  son  ever  since 
the  stork  flapped  his  wings.  Nothing  against 
daughters,  at  all,  for  Rich  is  devoted  to  his 
daughter.  But  daughters  change  names,  and 
it  just  happens  that  there  are  only  two 
Brimmers  (his  real  name)  in  the  country — 
Rich  and  his  father.    And  now  there  are  four 

Incidentally,  the  Dix's  hadn't  decided  on 
names  for  the  two  husky  "football  players" 
when  I  talked  them  over  with  Richard.  But 
when  he  was  a  kid,  his  nick  name  was  "Pete." 

So  the  monikers,  pro  tern,  are  "  Pete"  and 
"Re- Pete." 

THE  Gene  Raymond-Ann  Sothern  "orchid 
'  feud"  put  a  crimp  in  Cupid's  arrows — but 
it  did  all  right  for  art. 


Gene  and  Ann,  working  together  in  "  Hooray 
for  Love,"  started  a  romance,  which  looked 
verra,  verra  promising  to  Hollywood.  Then  a 
columnist,  doubtless  twisting  his  black 
moustache,  wrote  that  Gene  sent  Ann  orchids 
daily.  Gene  denied  vehemently,  saying  he 
wouldn't  send  orchids  to  any  gal.  And  this 
burned  Ann  to  cinders. 

Well — the  air  was  a  bit  frigid  the  rest  of  the 
picture — and  what  made  it  worse  was  that  the 
big  love  scenes  hadn't  been  shot! 

Just  to  show  you  that  everything's  back- 
wards in  Hollywood — when  they  were  made, 
they  turned  out  to  be  the  best  love  scenes 
either  Gene  or  Ann  had  ever  made! 

But  it  didn't  patch  things  up  privately. 

A  N  ardent  press  agent  at  Metro-Goldwyn- 
'  *Mayer  released  to  the  waiting  world  the 
news  that  Clark  Gable  was  planning  to  cut 
short   a   glorious   career   as   a   star    in    1940 


Immediately  Clark  was  besieged  by  anxious 
inquiries  about  his  "five  year  plan." 

Said  Clark  with  honest  humility:  "I 
haven't  any  such  plan.  How  do  I  know  T'll 
even  be  here  in  1940?  How  do  I  know  I'll  last 
that  long  on  the  screen?  I'll  have  to  wait  until 
1940  to  tell  you  about  my  plans". 

THE  erection  of  Connie  Bennett's  Holmby 
Hills  house  was  a  drawn  out  saga  in  Holly- 
wood. Connie  busied  herself  about  the  build- 
ing for  the  many  months  that  the  carpenters- 
toiled  on  it. 

It  was  practically  a  career. 
Then  when  it  was  finally  finished,  after  a 
labor  of  love,  she  went  down  town  on  one  after- 
noon off  from  the  studio  and  bought  all  the 
furniture  for  the  whole  house — in  four  hours! 
It  was  auspiciously  warmed  with  a  very  fancy 
and  official  housewarming. 

I  PLEASE  TURN  T'>  PAGE   112  | 

35 


Rochelle  did  not  know 
Rogers  in  Claremore, 
Oklahoma,  but  now  he 
calls  her  "Ro-shelley" 
and  she  always  calls 
him  "Uncle  Bill."  He 
is    grand    to    her,    too 


On  the  Set  With 

WILL  ROGERS 

As  told  by 

ROCHELLE   HUDSON 

to    REGINALD    TAVINER 

After  making  four  pictures  with  her  fellow 
townsman  of  world  fame,  this  pretty  ingenue 
tells    us    how    Will    behaves    in    the    studio 


WELL    maybe  all    Will   Rogers  does 
know  is  what  he  reads  in  the  papers 
—but  you  should  see  the  stacks  and 
stacks  of  papers  he  reads! 

I've  watched  him  reading  them  now  while 
playing  with  him  in  four  of  his  recent  pic- 
tures—"Doctor  Bull,"  "Mr.  Skitch,"  "Judge 
Priest"  and  "Life  Begins  at  40" — and  al- 
though reading  newspapers  isn't  all  Will  Rogers 
does  on  the  set  by  a  long  shot,  his  newspaper 
reading  would  be  considered  a  career  in  itself 
by  almost  any  other  man  And  all  he  knows 
is  undoubtedly  the  reason  why  Vice-President 
Garner  sent  him  the  telegram  he  did. 

It  seems  that  each  year,  according  to  an  old 
Washington  custom,  the  Vice-President  ha* 
to  give  a  dinner  to  the  President  and  his  Cab 
inet.  It  seems  also  that  Garner  had  never 
been  known  to  stay  up  until  nine  P.  M.  and  that 
presidential  dinners  ordinarily  begin  then.  And 
President  Roosevelt,  well  aware  of  all  this,  was 
"ribbing"  his  running-mate  a  bit. 

Anyway,  it  was  while  we  were  making  "Doc- 
tor Bull"  that  Will— who  will  hereinafter  be 
called  Bill  because  that's  what  he's  always 
called  at  the  studio — told  us  on  the  set  that 
when  the  usual  time  came  for  the  presidential 
dinner  and  Mr.  Garner  had  apparently  decided 
to  skip  it  so  that  he  could  go  to  bed  at  his  ac- 
customed hour,  Mr.  Roosevelt  wrote  him  a 
letter  asking,  in  effect,  What  about  that  dinner 
vou're  supposed  to  give  me?" 


36 


The  next  day  Bill  got  the  telegram  from  Mr. 
Garner  saying,  "What  do  I  do?"  Bill  immediately 
wired  back  to  hold  everything — he'd  fly  right  over. 
He  did,  and  in  Washington  he  arranged  for  a  bang-up 
bill  of  talent  to  come  and  entertain  at  the  dinner,  and  a"mong 
the  acts  was  a  juggler  from  New  York,  to  whom  Bill  gave  cer- 
tain instructions. 

Bill  fixed  everything  beautifully.  President  Roosevelt  and 
all  the  Cabinet  ministers,  all  waiting  for  Mr.  Garner  to  nod  off 
in  his  chair  so  that  they  could  give  him  the  works,  never  got 
the  chance.  Bill  kept  his  eye  on  the  Vice-President  constantly, 
and  every  time  he  suspected  Mr.  Garner  might  be  getting 
sleepy  he  gave  the  juggler  a  wink.  Whereupon  the  juggler 
would  start  juggling,  let  a  few  dinner  plates  and  so  on  come 
down  on  the  floor  with  a  crash. 

Vice-President  Garner  stayed  awake  until  the  wee  small 
hours  of  the  morning  and  that  is  why,  when  the  dinner  was 
given  this  year,  we  had  to  finish  up  "Life  Begins  at  40"  so 
that  Bill  could  attend.  Mr.  Garner  wired  him  again  to  come 
without  fail — and  to  be  sure  and  bring  the  juggler  with  him. 

That's  just  one  of  the  stories  Bill  loves  to  tell  when  he  grows 
reminiscent  on  the  set  and  when  Bill  grows  reminiscent  the 
cameras  wait. 

Nothing  is  photographed  at  such  times,  of  course,  because 
we're  not  in  front  of  the  cameras.  Just  the  same,  there  are 
millions  of  feet  of  priceless  Rogers  film  left  on  the  Fox  cutting- 
room  floors  because  of  Bill's  habit  of  ad  libbing  his  dialogue  as 
he  goes  along.  Nobody  ever  knows  just  what  he's  going  to 
do  or  just  what  he's  going  to  say. 

Incidentally,  my  own  four  pictures  with  him  are  probably 
some  sort  of  a  record  for  an  ingenue  in  Rogers  films.  You 
never  know  when  your  cue  is  coming  or  whether  you're  going 


to  get  it  at  all.  I  know  that  in  my  own  case  listening  for  cues 
that  never  came  had  me  ad  libbing  to  myself  in  my  sleep  long 
before  my  first  picture  with  Bill  was  finished. 

Just  occasionally,  however,  Bill  himself  goes  "up"  in  his  lines. 
I  remember  in  particular  one  scene  in  "Life  Begins  at  40"  which 
we  took  fifteen  times,  and  that's  a  record  for  a  Rogers  picture. 
In  the  scene  Bill  and  I  were  walking  down  a  street  and  he  had 
one  of  those  long  philosophical  dialogues  of  his  to  say.  Bill 
always  rewrites  his  script  so  that  yours  is  quite  useless  and 
even  after  he's  rewritten  it  he  changes  it  some  more  with  every 
take. 

Previous  to  taking  this  scene  I  had  been  following  him 
around  the  set  asking  him,  "Bill,  what  are  you  going  to  say?" 
and  when  George  Marshall,  the  director,  called  us  I  still  hadn't 
the  remotest  idea.     I  told  George  so. 

"Just  sit  tight,"  he  replied,  "and  we'll  see  what  happens." 

What  actually  happened  was  that  we  took  it  twelve  times, 
over  and  over,  each  time  Bill  stubbing  his  tongue  somewhere. 
By  some  miracle  I  managed  to  come  in  just  right  each  time. 
Then,  on  the  thirteenth  take,  Bill  got  his  long  speech  off 
perfectly — and  /  blew  up. 

I  just  stood  there  with  my  mouth  wide  open,  staring  at 
him,  and  couldn't  say  a  thing.  The  whole  scene,  of  course, 
was  ruined.  f  please  turn  to  page  106  ] 


37 


MAE  WEST  TALKS 


"I'm  a  single  gal  with 
a  single  track  mind, 
and  it  doesn't  run  to 
matrimony,"  Mae 
says,   emphatically 


Mae  West  is  not  only  an  ardent  fight  fan 
(seen  here  at  a  bout),  but  a  scrapper  in  her 
own  right,  as  eight  men  who  phoned  and 
called    her   "wife"   know    to   their   own    sorrow 


"Every  time  the  postman  rings,"  says  Mae, 
"I  get  a  dozen  proposals.  I  ought  to  sue 
'husbands'  for  alienation  of  propositions." 
She's  with  Paul  Cavanagh,  "Goin'  to  Town" 


"M; 


RRIAGE,"  said  Mae  West,  "is  wonderful!" 
'Of  course,"  she  added,  "I'm  just  guessing,  but  it 
I  must  be  wonderful.   Already  I've  got  for  a  husband  a 
dozen  guvs  I've  never  met.     Peggy  Hopkins  Joyce  can't  tie 
that." 

Hollywood's  Number  One  bachelor  girl,  grass  widow  or 
spouse  (you  name  it)  flashed  her  famous  upper  row  of  ivory 
and  then  curtained  it  quickly  with  serious  lips.  Her  arched 
brows  lowered. 

"Look  here,"  she  said,  "you  say  you  want  to  know  the  truth 
about  my  'marriage.'  Well,  if  you  want  to  know  the  truth,  the 
whole  truth  and  nothing  but  the  truth,  I'm  beginning  to  get 
just  a  little  burned  up  about  this  whole  marriage  business. 
It  was  funny  for  a  while — even  to  me.  Then  I  got  a  little  an 
noyed.  Now  I'm  getting  just  plain  sore.  I  didn't  mind  it  so 
much  when  it  was  just  one  marriage — but  now  it's  practically 
bigamy!" 

We  were  talking,  of  course,  about  the  completely  crazy-quilt 
pattern  of  mixed  dates,  double  identities,  confusing  coincidences 
and  controversial  claims  which  have  made  the  marital  (or  un- 
marital)  status  of  La  Belle  West  on  a  puzzling  par  with  the 
eternal  hen-egg-egg-hen  dispute.  Did  she  or  didn't  she?  Is  she 
or  isn't  she?  Newspapers  have  even  printed  editorials  con- 
gratulating Mae  on  pushing  Hitler's  jingoistic  jitters  and  the 
Veterans'  Bonus  off  the  front  page. 

It  was  the  first  time  Mae  had  unbosomed  herself  on  the 
subject  which  she  had  just  confessed,  was  giving  her  fits.  Up 
until  now  she  had  contented  herself  with  a  rapid  fire  volley  of 
telephonic  "no's"  to  all  questions,  ranging  from  the  laughing, 
amused  "No"  to  the  dangerous,  now-you-lay-off-of-me  "NO!" 

"  There's  a  saying,"  she  reminded,  "  that  when  a  woman  says 
'maybe'  she  means  'yes'  and  when  she  says  'no'  she  means  'may- 
be.'   But  not  me.    When  I  said  'no' — I  didn't  mean  maybe!" 

38 


Just  picture  a  penthouse — or  anyway  an  apartment — 'way 
up  in  the  sky.  All  in  white  and  gold  and  satin  and  silk.  With  a 
couple  of  polar  bear  skins  spread  out  on  the  floor  to  lend  their 
cooling  effect  to  the  heated  lady  of  the  house  in  a  mood  to  slam 
the  door  on  the  Fuller  brush  man's  foot.  And  all  because  a 
scattered  crop  of  Mae  Wests  and  Frank  Wallaces  had  ap- 
parently put  the  Marrying  Mdivanis  to  shame — and  put  all 
the  answers  up  to  Mae. 

"Since  the  first  of  the  year,"  Mae  revealed,  "eight  different 
guys  have  called  me  up  to  tell  me  I  married  'em.  In  Oshkosh 
or  Oscaloosa,  in  Tulsa  or  Toledo.  Now  it's  Milwaukee  and 
points  East.  They've  been  traveling  men,  singing  waiters 
dance  men,  reporters — but  not  a  single  millionaire — darn  it! 

"Which  makes  it  bigamy — and  big  o'me,  too,  if  you'll  stand 
for  a  punk  pun.  The  point  is,"  pointed  Mae,  "I  like  a  laugh, 
like  anyone  else.  I've  got  an  elastic  sense  of  humor — but  if  you 
stretch  it  too  far,  it  snaps.  A  gag  is  a  gag — and  if  this  one 
gave  the  guy  a  chance  for  a  job,  then  it's  all  right,  with  me. 
But  the  gag  has  gone  too  far." 

The  determined  jaw  of  Battling  Jack  West's  daughter 
settled  back  into  place.     She  smiled. 

"It's  all  right  to  have  a  man  around  the  house,"  she  ex- 
plained, "but  when  you  wake  up  every  morning  to  find  a  new 
husband  with  your  grapefruit — say,  I'm  beginning  to  feel  like 
the  Dionne  quintuplets.  When  you  come  up  to  see  me  now  you 
have  to  look  cross-eyed — or  use  mirrors." 

"Getting  down  to  one  particular  lord  and  master,"  I  said 
"what  about  this  Frank  Wallace  in  New  York?" 

Mae  dropped  a  stitch  with  her  eyebrows.  "Well — what 
about  him?"  she  repeated.  "I'm  like  Will  Rogers—all  I  know 
is  what  I  read  in  the  papers,  and  I've  quit  reading  about 
Wallace.     I  never  went  much  for  the  comics,  anyway." 

"He  says  you  married  him  in  Milwaukee." 


ABOUT  HER  "MARRIAGE 


// 


To 
KIRTLEY     BASKETTE 


"It  was  funny  for  a  while — 
even  to  me,"  says  Mae.  "It 
wasn't  so  bad  when  it  was 
just  one  marriage,  but  now 
it's   practically   bigamy!" 


Frank  Wallace  of  New 
York  might  have  para- 
phrased the  title  of  one 
of  Mae's  pictures.  "She 
Done  Him  Wrong."  He 
claims  that  Mae's  denial 
has    made    him    suffer 


"The  only  thing  I  know  about 
Milwaukee,"  said  Mae,  "is  that 
they  make  beer  there.    It's  pretty 
good  beer — but  it  never  was  good 
enough  to  make  me  get   married  anc 
then  forget  about  it." 

"Then,"    I    rallied,    "he   says   you 
played  Omaha." 

"Wrong  again,"  said  Mae,  "I  pickec 
Nellie  Flag.  Us  girls  have  got  to  stick  to- 
gether," she  explained.  "I  wish  I  had 
played  Omaha,"  she  sighed  wistfully,  "on 
the  nose." 

"Pardon  me,"  I  said,  "but  I  mean  the 
town." 


Mae's  "Belle  of  the  Nineties" 
(with  Roger  Pryor)  could  apply 
to  the  number  of  males  who  are 
yelping  that  she  deserted  them 


Genial  Jim  Timony,  Mae's 
manager,  has  not  escaped 
the  "husband"  touch.  They 
labeled  him  such  last  year 


"Oh,"  said   Mae,  "I 
thought  you  meant  the 
horse.      Well,   either  way, 
it's  a  horse  on  me.    I  never 
played  either  one." 
"This  Wallace  quotes  cer- 
tain figures,"  I  began. 
"I've  heard  some  favorable 
quotes  on  mine,"  interrupted  Mae. 

"Let's  take  a  look  at  his  figures — " 
I  began  again. 

"You  wouldn't  be  interested  in 
taking  a  look  at  mine,  would  you?" 
queried  Mae.  "I  think  it  speaks- for 
itself.     What  do  you  think?" 

39 


All  these  so-styled  ex- 
husbands  of  Mae's  have 
quoted  heart-balm  fig- 
ures. "But,"  says  Mae, 
"I've  heard  some  favor- 
able quotes  on  mine." 
And  these  two  pictures 
can   well   bear  that  out 


"I'm  not  thinking,"    1  assured  her. 
mind  if  I  open  a  window?" 

"Not  at  all,"  said  Mae,    "but  don't  fall  out— 
and  don't  shout  for  help." 

"Hardly,"  I  replied  gallantly.  "Now  about  these 
husbands — " 

"Husbands,"  said  Mae  airily,  "are  all  right  in 
their  place." 

"But  you  never  placed  one?" 

"Listen — "  said  Mae,  poking  the  polar  bear  rug 
with  a  determined  French  heel,  "let's  get  this 
settled  once  and  for  all.  I'm  not  married.  I  never 
have  been  married.  Not  to  Frank  Wallace.  Not  to 
Jim  Timony,  my  manager — they  used  that  one 
last  year.  Not  to  that  fellow  in  Texas — what  was 
his  name — Burmeister?  Nor  to  the  guy  in  Illinois, 
nor  to  anybody  else.  Shall  I  draw  a  diagram? 
I'm  a  single  gal  with  a  single-track  mind — and  it  doesn't  run 
to  matrimony." 

"Well — that  seems  to  be  that,"  I  gasped.  "You  wouldn't 
be  kidding  me?" 

Mae's  glance  missed  me  and  killed  a  fly  on  the  wall. 

"And  another  thing,"  she  proceeded  in  the  same  tone  of 
voice,  "if  I  ever  do  get  married,  nobody  is  going  to  have  to  dig 
around  into  a  lot  of  records  to  find  out  about  it.  After  a  girl 
has  put  a  lot  of  time  and  effort  into  getting  her  man,  she's  got  a 
right  to  brag  about  it.     Believe  me,  I'll  brag  plenty.." 

"I  can  say  then,"  said  I,  "that  you  consider  marriage  a 
commendable  condition?" 

"Marriage,"  quoted  Mae,  "is  a  great  institution.  As  I've 
always  said,  no  family  should  be  without  it.  What's  the  matter 
don't  you  feel  well?" 

"I  was  just  wondering,"  I  ventured,  to  explain  that  vacant 
look,  "how  come  with  your-uh-appeal,  you've  managed  to 
stay  in  that  well  known  state  of  single  blessedness  as  long  as 
you— uh — say  you  have?" 

"Stop  wondering,"  said  Mae.  Her  eyes  became  serious,  "In 
the  first  place,  I've  never  felt  up  until  just  recently  that  I  could 


get  married,  if  I'd  wanted  to.  My  folks  made  a  lot  of  sacrifices 
for  me  when  I  was  a  kid.  We  were  a  family  that  was  close 
together.  I  had  obligations  as  long  as  my  mother  and  dad 
were  alive.  My  life  hasn't  been  any  bed  of  roses.  I  never  felt 
anything  like  secure  until  just  recently.  I've  never  felt  free  to 
get  married." 

I  knew  the  story  of  Mae's  devotion  to  her  parents.  It  was  a 
pretty  fine  thing,  as  anyone  in  Hollywood  knows 

She  shook  off  the  serious  mood  with  a  grin. 

"Besides,"  she  said,  "maybe  I've  never  met  the  right  guy — 
one  that  I  liked  well  enough  to  tie  up  with  for  life." 

"No  chances?" 

"What  do  you  mean,  'no  chances'?"  Mae  bridled,  "say, 
every  time  the  postman  rings  twice  I  get  a  dozen  proposals 
from  guys  who  must  have  gone  to  school  at  a  mail  order  college. 
Not  bad,  either.  Of  course,  there  was  the  widower  who  said 
he'd  let  me  mother  his  six  kids,  but  then  there  was  another 
from  a  gent  in  some  foreign  country  who  wanted  to  make  me  a 
duchess,  or  a  maha ranee — maybe  it  was  a  queen.  And  that 
reminds  me — since  the  papers  have  been  full  of  this  marriage 
stuff,  I  don't  get  as  many  offers  [  please  turn  to  page  91  | 


40 


CLARENCE 


NO  wonder  Irene  Hervey  photographs  beautifully.  She's  had  a  lot  of 
practice  at  it.  Irene's  father  was  a  picture-taker  in  Santa  Monica, 
and  his  daughter  grew  up  around  cameras,  so  she  doesn't  scare.  She  is 
considered  one  of  the  most  promising  young  actresses  on  the  Metro  lot 


41 


WHAT  REALLY  HAPPENS 
TO  MOVIE  CHILDREN? 


Here's  the  answer  to  that 
question  by  the  mother  of 
one  of  the  few  really 
'gifted  children"  in  pic- 
tures. It's  the  true  story 
of    little    Anne    Shirley 

By   HELEN    WHITFIELD 


The  Anne  of  today  and  the  Anne  of  only  three 
years  ago.  She's  growing!  At  left  she's  taking  a 
cameraman's  eye  view  of  the  set.  Above  (down 
front,  second  from  right)  as  the  Czar  Nicholas1 
youngest  daughter  in  "Rasputin  and  the  Empress" 


THIRTEEN  years  ago  a  frail,  travel -stained  woman, 
carrying  a  heavy  three-year-old  child,  stood  beside 
a  meager  pile  of  luggage  in  the  Los  Angeles  Santa 
Fe  station  and  wept. 

Hurrying  passengers  stared  curiously  for  a  moment 
and  then  rushed  on.  She  was,  obviously,  one  of  the 
swarm  of  movie-struck  mothers  who,  along  with  their 
inevitably  pretty  progeny,  had  laid  siege  to  Hollywood 
ever  since  Baby  Peggy  and  Jackie  Coogan  had  trippec 
over  a  few  pots  of  gold  so  unexpectedly  the  year  before. 


42 


The  simple  naturalness  of  her  acting  in  "Anne 
of  Green  Gables"  brought  new  fame  to  Miss 
Shirley.    Tom   Brown   is  the  boy   in  the   picture 


Though  Anne  has  been  in  pictures  for  some 
thirteen  years,  Mrs.  Shirley  begs  mothers  to 
keep    their    children    away    from    the    studios 


No  one  stopped  to  question  the  woman's  un- 
checked tears,  because  the  townfolk  were  wary  of  a 
hard  luck  story  and  a  touch  for  carfare  to  the  film 
suburb. 

But  the  other  day  Mrs.  Mimi  Shirley,  mother  of 
Anne  Shirley,  Hollywood's  sixteen-year-old  talent 
find  of  1935,  told  me  why  she  sobbed  on  that  soot- 
darkened   platform   thirteen  years  ago. 

"I  had  come  from  New  York  to  put  my  baby 
into  pictures,  and  I  wept  because  I  could  find  no 
other  way  of  surviving  in  a  world  that  has  no  work 
to  offer  a  mother  who  insists  upon  keeping  her  chil 
with  her. 

"  I  had  in  my  handbag  two  letters  to  two  prominent  directors 
and  those  bits  of  paper  represented  my  final  hope  of  keeping 
a  single  roof  over  both  our  heads,  and  the  certainty  of  two 
quarts  of  milk  a  day  for  Anne.  And  I  let  those  tired  and 
bitter  tears  fall  because  I  had  to  trade  my  baby's  beauty  for 
such  necessities." 

Rut  there  were  many  months  during  the  thirteen  years  that 
followed  when  this  child's  immature  talent  and  loveliness  did 
not  earn  even  the  scraps. 

And  although  Anne  Shirley  signed  a  featured  RKO  contract 
six  months  ago  following  her  first  grown-up  role  in  "Anne  of 
Green  Gables,"  her  mother  refuses  to  discuss  or  consider  the 
eminent  possibility  of  her  child's  belated  stardom  or  its  golden 
sequel  of  comfort  and  security. 

It  is  about  those  barren  months,  those  thorny  thirteen  years 
that  Mimi  Shirley  wants  to  talk,  and  talk  loud  enough  for 
every  mother  in  America  to  hear  her 


"I  want  to  tell  the  truth  about  what  really  happens  to  the 
average  movie  child  and  its  family  in  Hollywood,"  she  told  me. 
"If  only  it  were  possible  for  me  to  speak  directly  and  personally 
to  all  those  mothers  who  are  now  looking  with  envious  eyes  at 
the  rocketing  fame  and  salary  of  little  Shirley  Temple,  I  know 
I  could  save  hundreds,  perhaps  thousands  of  homes. 

"Whenever  I  see  a  newly-arrived,  hopeful  mother  leading 
her  child  to  the  studio  gates,  I  want  to  shriek  out  at  her,  stop 
her  by  force  and  make  her  listen  to  me.  I  want  to  ask  her  if 
she  can  go  three  days  in  a  row  without  food,  manage  to  keep 
a  landlady  waiting  a  year  and  a  half  for  the  rent,  work  twelve 
hours  a  day  on  her  feet  in  a  grocery  store  to  keep  her  baby 
from  starving  between  studio  calls. 

"I  want  to  scream  at  her  that  my  own  child  with  excellent 
personal  introductions  to  the  biggest  directors  was  able  to 
earn  only  an  average  of  seventeen  dollars  a  week  during  the 
best  seasons     And  I  want  to  [  please  turn  to  page  89  ] 


43 


WHAT  WAS  THE  BEST 


Picture  of  1934? 


Vote  for  the  one  you  think 
should  win.    Your  ballot  counts. 

FIFTY  OUTSTANDING  PICTURES 
OF  1934 


Previous  Winners  from    1920 
to  Now 

1920 

"HUMORESQUE" 

1921 

"TOL'ABLE  DAVID" 

1922 

"ROBIN  HOOD" 

1923 

"THE   COVERED   WAGON" 

1924 

"ABRAHAM  LINCOLN" 

1925 

"THE  BIG  PARADE" 

1926 

"BEAU  GESTE" 

1927 
"7TH  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

"ALL  QUIET  ON  THE 

WESTERN   FRONT" 

1931 

"CIMARRON" 

1932 

"SMILIN"    THROUGH" 

1933 

"LITTLE  WOMEN" 

44 


Affairs  of  Cellini,  The 
Age  of  Innocence,  The 
Barretts  of  Wimpole 

Street,  The 
Belle  of  the   Nineties 
British  Agent 


Broadway  Bill 
Bulldog    Drummond 

Strikes  Back 
Catherine  the  Great 
Chained 
Cleopatra 
Count  of  Monte  Cristo. 

The 
Death   Takes  a    Holiday 
Evelyn  Prentice 
Flying    Down   to   Rio 
Gallant  Lady 
Gay  Divorcee,  The 
George  White's  Scandals 
Great   Expectations 
Handy  Andy 
Here  Comes  the  Navy 
House   of   Rothschild,  The 
It  Happened  One  Night 
Judge  Priest 
Kid    Millions 
Life  of  Vergie  Winters, 

The 
Little   Miss  Marker 
Lost  Patrol,  The 


Madame    Du    Barry 
Men   in  White 
Merry   Widow,   The 
Mrs.   Wiggs   of   the 

Cabbage  Patch 
Music  in  the  Air 
Nana 

No  Greater  Glory 
Now   and    Forever 
Of  Human  Bondage 
One    Night   of   Love 
Operator    I  3 
Painted   Veil,  The 
Oueen   Christina 
Sadie    McKee 
She  Loves  Me  Not 
Thin   Man,  The 
Treasure    Island 
Twentieth  Century 
Viva   Villa 
We    Live   Again 
What    Every   Woman 

Knows 
Wild    Cargo 
Wonder    Bar 


HAVE  you  cast  your  vote  for  the  best  picture  of  1934?  Ballots  are  pouring  in,  and 
if  you  haven't  sent  in  your  choice,  do  it  now  and  help  award  the  Photoplay  Gold 
Medal. 

The  Gold  Medal  is  the  supreme  award  of  the  year  for  a  motion  picture.  It  is  the  only 
honorary  distinction  that  movie-goers  themselves  have  a  chance  to  bestow  on  a  film. 
The  entire  movie  world  watches  and  waits  for  your  decision  with  great  interest,  because 
your  choice  indicates,  not  what  an  individual  or  a  small  group  think,  but  what  the  motion 
picture  public  considers  best. 

Think  back  over  all  the  pictures  you  saw  and  enjoyed  during  the  past  year  Consider 
them  carefully,  then  choose  one  of  them,  and  send  in  your  choice.  Before  making  your 
final  decision,  consider  critically  the  film's  outstanding  performances,  the  expertness  of 
direction,  the  effectiveness  of  photography. 

Above  is  a  list  of  fifty  outstanding  pictures  released  during  1934.  This  list  will  help 
you  recall  many  films  you  enjoyed.     But  your  choice  is  not  limited  to  these. 

There  are  no  rules  for  you  to  follow,  no  restrictions.  All  you  need  to  do  is  vote  for  the 
picture  you  liked  best.  A  ballot  is  printed  on  this  page  for  your  convenience.  But 
you  do  not  need  to  use  the  ballot — a  scrap  of  paper  or  a  postal  card  will  do  as  well. 


PHOTOPLAY  MEDAL  OF  HONOR  BALLOT 
EDITOR,  PHOTOPLAY  MAGAZINE 
1926  BROADWAY,  NEW  YORK  CITY 

In    my  opinion   the    picture    named    below   is  the 
best  motion  picture  production  released  in    1934 

NAME  OF  PICTURE 


3  Men  On  A  Horse 


Director  Lloyd  Bacon  and 
Cameraman  George 
Barnes  and  wife,  Joan 
Blondell,  had  a  long  chat 
between  acts.  But  they 
can't  be  talking   comedy! 


There  is  no  doubt  that  "3 
Men  On  A  Horse"  is  right 
up  Bill  Gargan's  alley. 
Mrs.  Gargan  is  taking  it 
quietly,  but  you  can  see 
a  twinkle  about  to  break 


WE  WILL  NEVER  UNDERSTAND 

Cary  Grant  in  Hollywood 

This  charming  person  has  built  around  his  inner 
self  a  dam  of  isolation  that  is  impenetrable! 


Possibly    "Wings    in    the    Dark,"    which    he    did 
with    Myrna    Loy,    is    a    fitting    title    for    Cary 


This    was    once    a    triangle    without    a    rift — Cary,    his    wife    Virginia 
Cherrill,    and    Randolph    Scott — but    then    Virginia    sued    for    divorce 


THIS  is  my  first  and  last  story  on  Cary  Grant. 
For  I  know  our  friendship  will  never  survive  a  second 
pen  and  ink  vivisection  of  his  soul.  And  not,  mind  you, 
because  there  are  any  secret  corners  in  this  tall  Englishman's 
past  that  would  flare  up  painfully  under  a  thorough  biograph- 
ical probing. 

Cary  suffers  from  the  strangest  of  Hollywood  phobias. 

At  the  risk  of  sounding  hopelessly  trite,  I  must  somehow 
make  you  believe  that  honestly  and  sincerely,  he  cannot  bear 
to  see  his  name  in  print. 

This  malaise,  naturally,  is  not  stirred  up  by  good  or  bad  re- 
views of  his  pictures,  art  in  magazines  or  routine  news  items 
concerning  his  picture  work.  But  I  have  seen  Cary  look  ap- 
palled and  liverish  for  days  following  the  publication  of  what 
most  players  would  consider  an  innocuous  enough  interview 

A  misquotation  or  a  misstatement  of  fact  in  a  newspaper 
which  is  considered  all  in  the  day's  work  by  the  average  Holly- 
wood celebrity,  can  make  him  actively  ill. 

Call  it  what  you  will,  an  act,  a  fetish,  a  Garbo  pose.  But 
I  know  that  Cary  carries  this  burden  honestly,  and  what  is 
really  admirable,  he  keeps  taking  it  on  the  chin  in  absolute 
silence.  Only  a  handful  of  his  closest  friends  have  discovered 
this  superfastidious  streak  that  makes  him  cringe  from  any 
public  revealment  with  a  self-consciousness  that  is  torture. 

I  experienced  repeated  head-on  collisions  with  Cary's  pe- 
culiar aversion  dating  from  the  day  he  signed  his  Paramount 
contract  in  1931. 

Because  I  was,  at  that  time,  in  charge  of  magazine  publicity 
for  the  same  studio,  I  received  must-go  orders  to  get  a  story  on 
Grant  published  in  every  motion  picture  publication.  A  large 
order,  but  I  considered  the  job  a  cinch  with  a  new  personality 
to  present,  especially  a  personality  that  was  six  feet,  two  inches 
tall,  handsome  and  undeniably  charming. 

46 


But  the  Cary  Grant  publicity  campaign  proved  to  be  the 
greatest  flop  of  my  press  agent  career.  I  worked  like  a  fiend 
for  months.  I  dragged  scribes  in  droves  to  his  dressing-room 
onto  the  set,  into  his  home. 

My  efforts  were  rewarded  with  a  mere  dribble  of  stories  con- 
cerning the  facts  of  his  birth,  education  and  stage  career  and 
then  things  came  to  a  complete  and  dismaying  standstill. 

I  did  not  know  then  that  Cary  was  running  a  campaign  ol 
his  own,  and  directing  it  more  skilfully  than  mine.  His  gra- 
ciousness  to  the  press  was  as  flawless  as  it  was  disarming.  He 
showered  reporters  with  sincere  hospitality.  There  was  always 
lunch,  tea  or  cocktails  awaiting  them  as  well  as  an  avalanche 
of  talk  that  never  quite  got  around  to  Mr.  Grant's  opinions  on 
anything  less  abstract  than  the  Versailles  Treaty  And  the 
adjective  jerkers  never  failed  to  leave  him  smiling  broad  smiles 
that  vanished  abruptly  enough  when  they  sat  down  at  their 
typewriters  to  turn  out  a  Cary  Grant  yarn. 

And  because  Hollywood  publicists  die  very,  very  hard,  1 
stooped  to  pumping  his  few  close  friends,  even  his  cook  and 
John,  the  negro  house  boy.  And  I  garnished  the  few  ill-gotten 
crumbs  with  appetizing  bait  and  fed  it  to  a  press  hungry  for 
intimate  news  on  Cary.  But  when  the  first  of  those  distinctly 
personal  items  flared  into  print,  my  studio-toughened  conscience 
felt  its  only  painful  tweak  in  a  full  decade. 

I  saw,  for  the  first  time,  Cary's  eyes  lacerated  with  a  sound- 
less writhing. 

I  thought  then  that  time  and  Hollywood  would  teach  Cary 
as  it  had  other  reticent  Britishers  before  him,  to  ignore  film- 
land's peep-show  publicity.  I  recalled  my  lively  jousts  with 
Clive  Brook  and  Herbert  Marshall  and  felt  assured '  that 
Cary's  complete  cure  was  just  around  the  corner  But  I  was 
wrong. 

Cary  Grant  will  never  know  peace  as  long  as  his  name  spells 


4  Vrm 


By    JULIE    LANG    HUNT 


news.  His  fixation,  or  complex  or  mania  (it  is  difficult  to 
find  the  exact  words  for  Cary's  hyper-sensitivity)  was 
planted  during  his  childhood,  and  it  was  unwittingly 
nurtured  during  a  strangely  solitary  youth. 

He  was  only  ten  the  winter  he  was  called  home  from 
school  because  his  mother  had  died  suddenly.  At  tljat 
age  a  boy  is  very  close  to  his  mother 

He  found  himself  unexpectedly  bereft  of  a  single  outlet 
for  all  his  boyish  confidences.  There  was  no  one  in  his 
small  world  to  listen  with  sympathy  and  patience  to  his 
imaginative  secrets  and  immature  philosophies. 

The  average  hobble-de-hoy  of  ten  would  rapidly  fill 
such  a  breech  with  boon  companions,  but  Cary  unfor- 
tunately for  was  it  really  fortunate)  was  never  the  ro- 
bust, commonplace,  game-loving  English  schoolboy. 

He  recalls  but  a  single  chum  during  his  entire  term  at 
school,  a  Horace  Phillips.  And  the  tie  between  them  has 
never  been  broken  although  many  years  and  endless 
miles  have  separated  them  since  they  were  twelve. 

During  his  final  years  at  school,  Cary  remembers  that 
he  spent  most  of  his  game  and  play  hours  studying  be- 
cause he  had  to  win  scholarships  to  pay  his  tuition. 
There  was  no  time  left  to  join  the  rowdy  cliques  that 
gathered  nightly  in  the  dormitories  for  the  natural  ado- 
lescent recreation  of  snickering  confessions  and  boastful 
bullyragging. 

You  see,  he  missed  all  the  elementary  lessons  in  the 
art  of  expressing  to  outsiders  his  hopes,  his  dreams  and 
his  despairs.  Xext  to  Horace,  his  closest  companion  was 
silence. 

Perhaps  all  this  explains  the  few  women  who  have  played 
any  serious  part  in  his  life.  Recently  Cary  told  me  that 
in  spite  of  all  his  splendid       f  please  tl'rx  to  page  84  1 


Not  even  Randy  Scott,  his 
closest  pal,  has  the  key 
to  Grant's  nature.  This  is 
in  happier  days:  Vivienne 
Goye,  Randy,  Virginia,  Cary 


Locked  up  in  his  own  past,  present,  and  future, 
Cary  Grant  is  somewhat  of  an  enigma — no  one  can 
get  over  the  outside  barriers   into   what  he  thinks 

47 


THE  FIGHTS 


The  American  Legion's 
fights  drew  a  host  of 
movie  stars.  Above, 
Pat  O'Brien  and  his 
wife  are  absorbed  in 
the  movements  of  the 
fighters.  Leaning  out, 
Pat  senses  a  knockout 


Clark  Gable  takes  his 
eyes  from  the  fight- 
ers in  the  ring  long 
enough  to  light  up. 
Countess  di  Frasso 
at  his  right.  Clark's 
wife  was  in  the  party 


Chester  Morris  with  his 
beautiful  wife,  Suzanne, 
study  the  program  for  the 
next  bout  on   the   schedule 


There  is  considerable 
yelling  to  do  at  the 
fights,  so  Bert  Wheel- 
er wants  Joe  E. 
Brown  to  give  him  a 
few  pointers.  But  Joe 
turns  bashful,  only 
giving  Wheeler  a  grin 


48 


George  Raft  knows  what  the 
fighting  game  is  all  about. 
He  did  some  of  it  himself 
in  the  old  days.  But  now 
he  enjoys  most  of  the  bouts 
held  around  Hollywood.  His 
lady    friend    is    Virginia    Pine 


Cameraman  Fink  catches 
three  ardent  fight  fans  en- 
joying themselves  at  the 
American  Legion's  fights. 
Ann  Dvorak  and  hubby  Leslie 
Fenton  look  right  happy,  as 
does  Charlie  Ruggles,  at  left 


DON'T  LOVE  ME! 


^synopsis  of  preceding  installments) 


^HE  was  a  nurse,  and  two  men  came  under  her  care.  Sam 
O  Werks  coveted  her,  Gregory  Cooper  loved  her  He  faced  a 
serious  operation,  but  told  her  if  she'd  marry  him,  he'd 
live.  She  married  him,  and  he  lived,  only  to  die  under 
suspicious  circumstances.  On  Werk's  testimony,  she  was 
cleared  in  the  death,  but  then  Werks  demanded  her  to  turn 
over  to  him  a  $10,000  check  left  her  by  Cooper.  Werks  said 
he  had  falsified  his  testimony  to  clear  her  in  Cooper's  death. 
She  ran  away,  to  Hollywood,  and  a  break  in  the  movies 
But  then  her  first  director,  Sohlki,  the  most  noted  in  Holly- 
wood, was  murdered— as  she  wailed  outside  his  home  in  hi< 


car.  She  had  seen  a  mysterious  woman  enter  the  house,  and 
not  leave,  but  site  remained  silent  in  the  subsequent  in- 
vestigation because  it  would  mean  her  career.  Her  second 
director,  Scott  Deering,  fell  in  love  with  her,  but  remained 
strangely  aloof  until  the  night  of  a  party,  at  which  she  learned 
the  identity  of  the  mysterious  woman  'who  had  entered  Sohlki' s 
house.  That  night,  Scott  proposed.  Less  than  a  week  later, 
she  was  sealed  at  Scott's  desk,  in  his  apartment,  happily 
content  with  Scott,  when  she  noticed  the  return  address  of  a 
letter  to  Scott — it  'was  from  Sam  Werks!  Did  he  intend  to 
blast  her  firs!  peace  and  happiness? 


WAS  staring  fascinated  at  the  fateful  envelope  when  Scott 

came  back  with  two  steaming  hot  toddies.  That's  what  had 

taken  him  so  long — boiling  the  water — and  probably  lapping 
up  a  couple  of  quick  ones  for  himself  in  the  meantime 

It  was  too  late  now  to  put  the  letter  in  my  bag  and  runaway 
with  it.  Besides,  I  wasn't  sure  that  was  what  I  wanted  to  do 
Did  it  matter  what  Sam  Werks  had  to  say  to  Scott?  I  some 
way  felt  that  my  fiance  would  not  believe  it.  Or,  if  he  did 
believe  it,  that  he  wouldn't  care. 

Scott  swept  Sam's  letter  and  everything  else  onto  the 
floor  to  make  a  space  for  himself  to  sit  on  the  edge  of  his  desk 
facing  me. 

He  handed  me  a  goblet.  "Drink  that,  Moppet.  We're 
going  to  play  the  last  sequence  of  our  picture  and  you'll  need  a 
stimulant."     He  sat  facing  me,  but  not  looking  directly  at  me 

"You've  had  too  much  your- 
self already,"  I  said,  putting  the 
steaming  drink  on  the  desk. 

"Don't  be  prim,  Moppet,"  he 
admonished,  gulping  down  half 
the  contents  of  his  own  glass.  "I 
haven't  had  nearly  enough 
Dutch  courage.  I  know,  be- 
cause I'm  still  afraid  of  what 
I've  got  to  tell  you." 

I  started  to  get  up  from  the 
swivel  chair.  He  gave  me  a 
push  back  into  it. 

"Sight    tight,   Rochelle.      As 
usual  we're  going  to  play  this 
scene  around  you."  He  laughed, 
bitterly  and  a  little  uncontrollably 
actor  moves,  but  you  just  sit  the  way  you  always  do — merely 
looking  your  own  damnable  desirable  self." 

Scott  grinned,  his  most  sardonic,  exasperated  grin.  "I've 
laughed  myself  sick  when  I've  done  this  on  the  set — watched 
poor  saps  go  slowly  crazy  while  I  directed  you  to  look  at  them 
the  way  you're  doing  now  and  ordered  you  not  to  let  them 
touch  you." 

"But  Scott,  you  can  touch  me." 

"No  I  can't.    That's  not  in  the  script." 

"Please — take  me  in  your  arms."  I  rose  from  the  chair 
again  and  put  my  hands  on  his  shoulders. 

He  looked  at  me  strangely — his  eyes  wrere  level  with  mine  as 
he  sat  there  on  the  edge  of  the  desk  and  I  stood  before  him. 

He  shook  his  head.  "You'd  only  be  sorry — and  God  help 
me,  so  would  I." 


She  seemed  cursed  with  tragedy 
and  death — a  beautiful  woman 
all  men  fell  in  love  with  or 
desired,  fatally  so — a  woman 
misunderstood  and  maligned  or 
feared   by  others  of  her  sex! 


"The  camera  moves,  the 


"Is  it  because  of  what  you  think  I've  done?"    My  mind  was 

on  that  letter  lying  on  the  floor.     Perhaps  it  had  been  opened. 

"What  you've  done!     My  dear,  what  have  you  ever  done 

except  look  like  an  angel  from  hell?     Why  do  you  think   I 

never  touch  you — why  I've  never  really  kissed  you?" 

I  tried  to  remember  back.  He  never  had  embraced  me 
except  casually — as  a  friend  might  do.  I  had  liked  being  with 
him  for  that  reason.  It  was  the  English  reserved  manner,  I 
had  thought. 

The  effort  of  trying  to  recollect  must  have  clouded  my  eyes 
Anyway,  he  misinterpreted  it. 

"You  see,"  he  said.  "It  isn't  what  you've  done — it's  what 
1  am.  Once — that  day  when  I  asked  you  to  come  and  live 
with  me — I  hoped  that  it  wouldn't  make  any  difference.  We 
have  so  much  fun  together  that  I  thought  companionship  would 

be  enough.  But  when  I  saw 
you  this  afternoon  with  those 
babies  and  you  held  that  little 
one  close — " 

I  smiled.  "She  was  sweet, 
wasn't  she?" 

" — then  I  knew  what  you 
were  put  on  earth  for."  He  fin- 
ished his  drink.  Slowly  he  said, 
"  My  dear,  I.  can't  have  any 
babies." 

My  expression  must  have 
been  one  of  dazed  incomprehen- 
sion.   But  he  went  on:  "You've 
been  a  nurse  and  you've  lived  in 
Hollywood  for  three  years — 
surely  I  don't  have  to  draw  you  a  diagram." 
"It  wouldn't  matter,"  I  started  to  say. 
He  interrupted.     "Not  at  first.     I  know  that      But  later, 
when  you  began  to  grow  old,  when  you  were  no  longer  the 
poster  idol  of  the  public,  you'd  begin  to  wonder  why  life  had 
cheated  you.     You  see,  a  man  like  myself  understands — he 
understands  too  much.    If  you  don't  want  this  toddy  I'll  drink 
it  before  it  gets  cold — no  good  when  they're  cold." 

My  next  move  was  wrong.  I  did  finally  understand  what  he 
was  trying  to  tell  me  and  a  great  wave  of  pity  surged  up  in  my 
breast.  He  was  like  a  child  himself  and  my  impulse  was  to 
pillow  his  head  on  my  shoulder  and  comfort  him 
But  when  I  made  the  gesture  he  repulsed  me. 
"Get  away  from  me,"  he  ordered,  and  pushed  me  aside 
with  a  wide  sweep  of  his  arm. 

There  was  a  huge  bookcase  at  that  side  of  the  desk.     I  fell 

49 


No  man  can  strike  me,  even  when  he's  drunk. 
"Damn  you,"  I  cried  hotly,  "if  you  want  me 
to  hate  you,  I  do — and  you'd  better  look 
out!"     Then  I  noticed  Scott's  man  at  the  door 


ILLUSTRATIONS  BY 
JAMES  MONTGOMERY   FLAGG 


against  it  with  a  crash  that  shattered  the  glass  in 
both  of  the  doors. 

No  man  can  do  that  to  me  even  when  he's  drunk- 
I  picked  myself  up.  There  were  no  punctures,  al- 
though I  would  not  have  known  it  if  there  had  been. 

"Damn  you,"  I  said  hotly.  "If  you  want  me  to 
hate  you,  all  right.  I  do  and  you'd  better  look 
out—'.' 

Scott  started  to  laugh.  Then  he  stopped — and  1 
followed  his  gaze  toward  the  door. 

It  stood  open  and  on  the  sill  stood  a  Jap — 
Scott's  man,  I  supposed. 

"What  are  you  doing  here,  Tamaki?"  Scott  de- 
manded. 

The  boy  hesitated.  "I  come  back  for  top-coat. 
Cold  night.    Door  she  is  unlock." 

"I  left  it  that  way.  Get  out  and  stay  out.  This 
is  a  private  fight."  Scott  threw  an  empty  glass  at 
his  servant.     It  broke  against  the  closing  door. 

Scott  yelled  with  laughter.  "  What  a  swell  topper 
for  our  scene,  Moppet!  I'm  sorry  I  shall  never 
direct  it." 

He  was  drunker  than  I  thought.  My  anger 
melted  instantly.  "Let  me  put  you  to  bed,"  I 
suggested. 

"Not  going  to  bed,"  he  declared.  "Going  to 
have  a  drink — all  by  myself,  as  usual." 

He  started,  weaving  a  little,  toward  the  kitchen 
door. 

But  he  didn't  make  it.  Instead  he  toppled,  like  a 
falling  tower  in  the  newsreel  shots,  and  lay  inert 
upon  the  floor. 

I  tried  to  move  him,  to  drag  him  to  the  sofa,  but 
he  was  too  heavy.  So  I  compromised  by  bringing 
some  of  the  pillows  to  him  and  arranging  them  under 
his  head,  and  putting  a  blanket  from  the  bedroom 
over  him. 

He  opened  his  eyes  and  looked  up  at  me  dully. 
"Thanks,  Moppet.  Nice  to  have  seen  you.  Good- 
bye." 

I  watched  him  for  a  minute.  He  was  sleeping  very 
soundly. 

So  I  cried  a  little.  I  don't  often  do  that.  I 
wasn't  sure  that  I  knew  whom  I  was  sorry  for — 
both  of  us,  I  guess.  I  had  never  cared  that  much 
for  anyone  before. 

And  he  seemed  very  gone  away  from  me. 
Finally  I  turned  to  go.     My  gloves  were  on  the 
desk.     I  put  them  on  and  turned  out  all  the  lights 
but  one. 

Then  I  let  myself  out  of  the  apartment. 

CHAPTER  XXIII 


The  switchboard  attendant,   in   the  lobby,   was 
reading  and  paid  no  attention  to  me  when  I  let  myself  out  of  the 
elevator  and  went  out  to  the  street. 

I  recollected  when  I  stood  on  the  sidewalk  that  I  did  not 
have  a  car  but,  fortunately,  a  cruising  taxicab  swung  in  toward 


the    curb    and    the    driver    held    the    door    invitingly    open. 
When  he  inquired,  "Where  to?"  I  didn't  know  the  answer. 
I  had  no  desire  to  go  home — not  yet  anyway. 
"Sunset  Boulevard,"  I  decided.     "I'll  tell  vou  where  later." 


50 


I  relaxed  my  body  against  the  seat  cushions  but  my  mind 
climbed  tirelessly  against  the  glass  walls  of  the  pit  into  which 
I  seemed  to  have  fallen. 

In  a  way  I  loved  Scott.     And,  in  much  the  same  way,  I 


imagine,  he  loved  me.  It  seemed  as  if  he  needed  me.  And  yet 
perhaps  I  only  drove  him  to  deeper  depths  of  despair.  I 
didn't  know  what  to  do — never  see  him  again  or  go  back  as 
soon  as  I  had   composed   myself  and  try  to  make  him  think 


that  everything  was  all  right.  Perhaps  he  would  awaken  with 
no  recollection  of  the  nightmare  of  our  recent  interview. 

I  wished  desperately  that  there  was  someone  to  whom  I 
could  turn  for  advice.  I  tried  to  think!  Uncle  Lou.  He 
was  in  New  York.  Freddie  Gay.  He  would  laugh  at  me- 
lt would  be  a  boisterous  joke  to  him. 

Perhaps  someone  who  did  not  even  know  me — an  impersonal 
father  confessor.  I  don't  know  why  or  how  the  name  of  Dr. 
Khanandi  flashed  into  my  brain.  Perhaps  it  was  because  I 
had  been  hearing  it  so  often  recently.  His  success  as  a  psychic 
consultant  was  at  its  heights.  He  had  helped  others— so  they 
said;  maybe  he  could  tell  me  what  to  do. 

I  tapped  on  the  glass  window  to  the  driver. 

"Do  you  know  where  Dr.  Khanandi  lives?"  I  asked. 

"Sure.     I've  been  there  a  coupla  times." 

"Take  me,  please." 

I  have  told  elsewhere  in  this  narrative  of  my  visit  to  the 
turbaned  soothsayer,  of  his  warning  to  me  that  death  was  the 
inevitable  fate  of  men  who  came  into  the  intimate  circle  of 
association  with  me,  and  of  my  departure  from  his  office  with 
his  heartfelt  wish  that  he  would  never  see  me  again  ringing 


in  mv  ears 


LA  BREA  Avenue,  where  Dr.  Khanandi's  sanctum  was  lo 
cated,  is  not  a  very  good  place  to  pick  up  a  taxi. 

I  got  all  the  way  to  Hollywood  Boulevard  without  seeing 
any  but  private  conveyances.  There  would  be  a  cab-stand 
at  the  Roosevelt  Hotel,  so  I  turned  in  that  direction. 

The  Boulevard  was  very  gay.  I've  said  that  it  was  just  be- 
fore Christmas.  All  the  shops  were  open  late  and  the  street 
itself  was  brilliantly  illuminated  with  colored  lights.  Every 
lamp-post  during  the  holiday  season  bore  a  shield  or  a  star 
spangled  device  of  some  sort  and  on  it  was  painted  the  likeness 
of  one  of  the  motion  picture  stars.  There  was  one  of  me  just 
the  other  side  of  the  El  Capitan  Theater.  Across  the  street, 
Grauman's  Chinese  Theater  was  showing  an  all-star. picture 
in  which  I  had  a  part.  My  name  was  in  electric  letters  strung 
across  the  highway  above  the  traffic.  Red  flannel  Santa  Claus 
suits,  stuffed  with  weary  men,  stood  on  the  corners. 

I  wasn't  seeing  any  of  this  but  I  knew  it  was  there.  Actually 
my  mind  was  in  the  throes  of  a  terrible  fear.  Khanandi  had 
said  that  men  who  loved  me  must  die.  Of  course  I  didn't 
believe  that  he  knew  anything  about  it,  but  I  wished  I  had  not 
gone  to  talk  to  him.  Instead  of  comfort  from  the  interview  I 
had  gained  only  added  trepidation. 

He  had  been  right  about  my  past.  Gregory  Cooper  had 
loved  me.  He  had  died.  William  Sohlki  had  tried  to  make  me 
his  mistress.     He  was  dead.     Scott  Deering! 

SCOTT  loved  me — in  his  own  way  perhaps,  but  it  was 
the  nearest  to  affection  of  which  he  was  capable. 

All  of  a  sudden  I  wanted  to  be  by  his  side.  I  felt  someway 
that  if  I  were  there  nothing  could  happen  to  him. 

So  I  quickened  my  pace. 

In  front  of  the  Egyptian  Theater  a  man  turning  out  from  the 
forecourt  nearly  bumped  into  me. 

He  started  to  apologize  and  then  said,  "Hello,  Miss  Adair." 

It  wasLanny  Barnes,  grinning  from  ear  to  ear  under  his  funny 
stubbly  little  moustache. 

I  could  have  hugged  the  boy.    Here  was  a  friend  at  last. 

"Lanny,"  I   said,   "have  you  got  a  car  anywhere  near?" 

He  laughed.  "It  ain't  much  of  a  car  but  it's  parked  right 
around  the  corner." 

"Will  you  take  me  to  Mr.  Deering's  apartment?" 

"Sure  will,"  he  answered  evenly,  although  I  am  positive 
that  his  bushy  eyebrows  elevated  slightly  as  he  remembered 
how  late  it  was. 

I  laughed  a  little.  Lanny  had  such  a  high  opinion  of  me. 
"I'm  worried  about  him,"  I  explained.  "He  was  tight  and  we 
quarreled.     I  want  to  see  if  he's  all  right." 

Lanny  was  reassuring.  "Sure,  he's  all  right.  Can't  faze 
that  Britisher." 

But  he  took  me  to  his  car  just  the  same  and  we  started  off 
toward  the  Grassmere  Apartments.    Lanny's  automobile  made 


so  much  noise  that  conversation  was  well-nigh  impossible 
There  wasn't  anything  I  wanted  to  explain  to  him  anyway. 
Not   then.      It   might  have  been  better  if  I   had  explained. 

At  the  entrance  of  the  apartment  building  two  cars  were 
standing.  One  of  them  had  a  driver  in  police  uniform.  I 
must  have  looked  closely  at  him  as  I  passed  because  he  spoke 
to  me. 

"  Good  evening,  Miss  Adair." 

"Hello,  officer,"  I  was  rather  popular  with  the  police  force 
because  I'd  appeared  at  a  couple  of  their  benefits. 

Lanny  Barnes  took  me  to  the  elevator  inside  and  pushed  the 
button. 

"Shall  I — er — can  I  do  anything  else  for  you?"  he  asked 
diffidently. 

I  rea.d  his  thoughts  "Would  you  mind  waiting,  Lanny? 
I'm  not  going  to  stay  " 

There  was  no  attendant  at  the  switchboard  and  before  the 
elevator  came  down  from  the  upper  floors  a  red  light  popped 
out  on  the  board  and  a  call  began  to  buzz. 

I  had  that  impulse  we  always  have  to  answer  a  telephone 
summons,  but  the  elevator  door  opened  just  then  and,  after  a 
man  got  out,  I  entered. 

The  door  closed  and  I  pushed  the  fourth  floor  button 

When  I  got  out  of  the  elevator  and  looked  down  the  corri 
dor  towards  Scott  Deering's  apartment  I  was  surprised  to  see 
that  his  door  stood  open. 

As  I  drew  nearer  I  heard  voices  and  when  I  started  to  go  in 
a  policeman  barred  my  way. 

But  I  could  see  through  the  doorway. 

Scott  Deering  lay  on  the  floor  just  where  I  had  left  him,  his- 
head  on  a  pillow  but  the  blanket  thrown  back. 

Every  window  in  the  room  was  wide  open  and  a  man  with  a 
stethoscope  was  leaning  over  Scott  listening  to  his  heart. 

Another  man  sat  at  Scott's  desk  writing  notes,  while  a  third 
was  standing  in  the  middle  of  the  floor  questioning  the  Japanese 
house-boy  whom  Scott  had  called  Tamaki 

I  TOOK  in  most  of  this  subconsciously.  My  attention  was 
primarily  focused  on  Scott  Deering  as  he  lay  there  on  the 
floor.  The  color  of  his  face  and  the  set  expression  of  his 
slightly  open  mouth  told  me  more  than  the  perfunctory  ac- 
tivities of  the  doctor. 

I  must  have  gasped  in  horror. 

The  Jap  turned  toward  the  door.  When  he  saw  me  he  began 
to  speak  rapidly  in  Japanese. 

"Say  it  in  American,"   the  detective  sergeant  ordered. 

Tamaki  realized  that  his  excitement  had  carried  him  back 
to  his  more  familiar  language.  "Excuse,  pliss,  Honorable 
Policeman."  Then  he  pointed  at  me.  "There  stands  woman 
who  make  high  talk  with  my  master." 

"Oh — quarreled  with  him,  huh? " 

"Like  I  tell  you  before." 

"Let  her  in,  Joe." 

I  entered  the  room  reluctantly. 

"Oh,  it's  you,  Miss  Adair,"  said  the  detective  sergeant,  a 
little  less  harshly.     "What  do  you  know  about  this?" 

"  What — what's  the  matter5  " 

"Deering's   suffocated — dead,    ain't    he,    Doc?" 

The  doctor,  who  was  putting  away  his  stethoscope,  nodded. 

"We  couldn't  have  saved  him  if  we'd  got  here  half  an  hour 
ago." 

"Suffocated?"  I  echoed.    "How?' 

"Gas,"  replied  the  detective  sergeant — his  name  was 
Clancy.  "We  found  the  gas  radiator  turned  on  full  and  all 
the  windows  tight  shut.     Suicide,  I  guess." 

"But  I  turned  on  that  radiator,"  I  said. 

"What  for?" 

"To  heat  the  room.  It  was  cold  when  we  came  in  earlier  in 
the  evening." 

"You  have  to  light  those  things,"  the  detective  observed 
mildly,  "or  else  they  don't  do  any  good." 

"I  did  light  it — I  remember  distinctly.' 

The  detective  wasn't  paying  much  attention  to  my  reply. 
He   was  jiggling  the  telephone       |  please  turn  to  page  92  I 


52 


FORECAST 

FOR  EARLY 

FALL 

BY    KALLOCH 

COLUMBIA    DESIGNER 


THE  woman  who  will  appear  fashionable 
this  Fall,  and  at  all  other  times,  for  that 
matter,  will  have  a  certain  vagueness  about 
her  clothes.  She  will  look  as  if  she  doesn't 
know  what  she  has  on.  All  worry,  fuss  and 
study  will  be  over  and  forgotten  with  the  plan- 
ning and  fitting.  The  clothes  will  play  up  to 
her.  They  will  launch  her.  She  will  never 
launch  them.  Hair,  too,  will  follow  this  idea 
of  vagueness  or  lack  of  self-consciousness.  No 
fancy  coiffures.  It  will  be  worn  close,  re- 
strained, with  the  feeling  of  the  small,  sleek 
head. 

Much  fur  for  trimming  any  time  in  the  year 
but  especially  in  the  Fall,  is  one  of  my  favorite 
ideas. 

Our  smart  young  woman  this  Autumn  will 
wear  tweeds.  One  of  my  thoughts  would  be 
a  combination  of  two  different  patterns  in 
tweed  of  the  same  weight.  A  dress  of  the  semi- 
chemise  type  (loose  top  and  slim,  straight  skirt) 
in  tiny  checked  tweed  with  an  enormously 
wide  leather  belt.  Over  it,  a  plaid  or  large 
checked  coat  lined  with  the  tiny  checked 
material  of  the  dress.  With  this  should  be 
worn  a  stitched  hat  of  either  design  of  the  cos- 
tume. The  fur  used  on  the  coat  shoidd  be 
either  lynx  or  badger. 

There  will  be  some  new  and  interesting  in- 
novations throughout  the  entire  Autumn  wardrobe: 

DAYTIME  CLOTHES 


Colors:     Henna,  battleship  gray,  dark  red.     Any  colors  that 
suggest  warmth,  coziness  and  durability  are  good  for  Fall. 


The  star  of  "Love  Me  Forever,"  Grace  Moore,  in  a  Kalloch  de- 
sign, featuring  the  plentiful  use  of  gray  krimmer,  an  Autumn 
favorite.  Hip-length  cape  is  lined  with  sheer  gray  wool  of  the 
frock.    Four-square  cap  of  krimmer  and  fabric  by  John  Frederics 


Fabrics:  A  return  to  fur  suits  in  a  large  way,  the  best  furs  being 
broadtail  and  leopard.  A  great  deal  of  stiff  Lyons  velvet 
for  suits  and  luncheon  dresses. 

Line:  Extremely  short  skirts  will  be  worn,  fourteen,  fifteen 
inches  from  the  floor,  even  sixteen  if  the  wearer  has  good 
legs.  We  shall  revert  to  the  old     [  please  turn  to  page  95  J 


AUTUMN  WARDROBE 

from 
"LOVE. ME  FOREVER" 


Over  this  gray  sheer 
wool  frock,  Miss  Moore 
wears  the  krimmer  cape 
shown  on  the  previous 
page.  Stitched  lacings, 
bows,  belt  and  pocket 
flap,  with  tiny  nickel  but- 
tons and  belt  buckle  for 
a  metal  touch.  The 
matching  John  Frederics 
hat  has  a  veil,  the  ends 
hanging  down  at  the  back 


Miss  Moore's  daytime 
suit  is  made  of  finely 
checked  black  and  white 
wool  with  a  blouse  of 
black  velvet.  Twin  nickel 
leaves  clasp  cravat  and 
belt.  The  draped  black 
velvet  hat  has  a  sus- 
picion of  forehead  veil, 
and  the  half-moon  bag 
is  of  black  suede  with 
trimming  of  gunmetal  kid 


Hunter's  green  Lyons  velvet  and 
leopard  combine  their  richness  in 
an  afternoon  suit.  There  is  a  de- 
cided flare  in  the  cut  of  Miss 
Moore's  jacket  and  the  sleeves 
are  gathered  at  the  shoulder.  The 
hat  of  costume  fur  and  fabric  is 
the  new  eyeline  type,  the  bag  of 
briefcase  style.  Opposite,  is  the 
blouse    of    gold    and    green    lame 


The  shorter  skirt  is  evidenced  in 
Miss  Moore's  restaurant  frock  of 
black  Lyons  velvet.  Chalk-white 
Venetian  lace  at  collar,  cuffs  and 
drawn  through  twin  paillette  eye- 
lets at  front.  The  jacket  back 
peplum  and  skirt  are  scalloped. 
A  John  Frederics  sailor  of  black 
velvet  completes  the  costume.  All 
other     fashions     are     by     Kalloch 


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For  early  Autumn,  Miss 
Wray  will  wear  a  navy- 
blue  crepe  frock  of  ex- 
quisite lines.  Very  fine 
shirring  moulds  waistline, 
which  is  circled  by  a  red 
patent  leather  belt  in  leaf 
design.  Upstanding  de- 
tachable collar  of  white 
pique,   waffle   design 


^ 


\ 


On  returning  from  London  to  Holly- 
wood, Fay  Wray  replenished  her  Paris 
wardrobe  with  smart  late-Summer  ad- 
ditions. Above,  a  red  and  white  printed 
crepe,  two-piece,  with  red  belt.  White 
hat,  fabric  crown,  shantung  brim  and 
flat  bow.    An   unusual  white  calf  bag 


Opposite,  a  dinner  gown 
of  printed  chiffon  that 
looks  as  if  its  flowers 
were  hand-brushed  on  in 
water  colors.  Narrow 
floral  panels  form  skirt 
back  with  slight  train. 
Miss  Wray's  "flop  hat" 
is  natural  leghorn  with 
red  poppies  and  facing 


M  NEW  YORK 


An  afternoon  or  dinner 
scene,  this  large  shan- 
tung picture  hat  in  a 
shiny  brilliant  blue. 
From  the  velvet  band 
are  scattered  colorful 
field  flowers.  A  flatter- 
ingly fashionable  shape 
for  many.  All  of  Miss 
Wray's  hats,  gowns, 
and  bags  are  from 
Bruck-Weiss,  New  York 


Silhouette  for  evening. 
Yards  of  diaphanous 
black  net,  embroidered 
with  huge  white  flow- 
ers, worn  over  a  trim 
taffeta  foundation.  At 
the  waistline  are  two 
great  flowers,  one 
white,  one  red.  A  set- 
ting for  a  grand  en- 
trance. Miss  Wray's 
bag  is  a  circular  frou- 
frou of  black  net  ruffles 


BY 

COURTENAY 

MARVIN 


Jean  Parker,  embodiment  of 
youth,  in  a  style  repertoire  for 
the  debutante.  For  iate-Sum- 
mer  dining  and  dancing,  a 
white  embroidered  organdy, 
its  bouffant  sleeves  caught 
with  flaming  poppies,  a  wide 
red  belt  at  the  slim  waist. 
Tiny    covered    button    closure 


Floral  tones  on  a  printed  dim- 
ity, quaintly  styled  to  comple- 
ment Jean's  curls.  Above 
puffed  sleeves,  ruffles  outline 
the  shoulders;  small  velvet 
bows  parade  down  the  bodice, 
and  the  skirt  has  the  new 
smart  fulness  below  hips.  A 
lovely  late-Summer  inspiration 


For  early  Fall  formals — gray 
chiffon  with  a  cluster  of  pink 
apple  blossoms  at  front  waist- 
line. Tiny  capelets  below  front 
and  back  shoulders  and  a  gra- 
cious swirl  in  Jean's  skirt. 
Fashion  flashes  from  Holly- 
wood emphasize  gray  for  both 
daytime    and    evening    styles 


ACCENT 


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A. 


Removal  of  Jean's 
loose  jacket  shows  a 
petal-pink  crepe  top, 
horizontally  tucked  and 
with  the  important  new 
full  sleeves.  Charming 
across  a  candle-lighted 
table  and  sophisticated 
enough    for    dinner 


Foshions  from  Bullock's- Wilshire,  Los  Angeles 

Much  can  be  said  in 
favor  of  Jean's  navy- 
blue  silk  crepe  suit. 
Here  is  the  practical 
aspect  for  afternoon 
shopping  or  other  er- 
rands. Meet  a  dinner 
escort  with  a  correct 
dinner    dress    beneath 


m 
fatWiBII 


Above,  plaid  tie  silk, 
for  early  Fall.  Jean's' 
Royal  Stewart  plaid 
has  a  cravat  and 
belt  of  navy-blue 
taffeta,  intricate 
seaming  above  the 
waistline  and  a  col- 
lar fastening  over  tie 


Jean's  year-around- 
tailleur  in  a  gray 
wool.  A  surprise- 
blouse  and  slip  are 
one,  to  assure  neat 
waistline.  "Blouslip," 
in  blue  taffeta  dot- 
ted in  white,  is  a 
grand,  new  thought 


GLENDA 
FARRELL 


T-- 


/ 


t! 


Against    Miss    Farrell's    white 
grand  piano,  black  chiffon  and 


jh 


striki 


lace  make  a  striking  picture. 
Bands  of  lace  and  chiffon  for 
the  graceful  kimono  sleeves; 
numerous  shirred-in  godets  for 
the  floating  fulness  at  skirt 
hemline.  Rhinestone  clips  on 
the    belt    for    a    little    sparkle 


Studies  of  Glenda  Farrell  in 
her  San  Fernando  Valley  home. 
For  leisure  hours  the  blonde 
comedienne  wears  a  geometri- 
cally designed  waffle  print  in 
turquoise.  The  cowl  cape 
fastens  to  the  square  neck- 
line with  magenta  clips.  From 
Fashionette   Shop,    Hollywood 


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An  Oriental  trend  in  Miss  Far- 
rell's two-piece  dinner  gown 
of  heavy  striped  white  crepe 
with  its  enormous  burtons  of 
rhinestones  and  rubies.  The 
type  that  solves  the  question 
of  whether  or  not  to  dress. 
Miss  Farrell's  next  picture  will 
be     "We're     in    the     Money" 


%>, 


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'■** 


Ann  Dvorak,  star  of  "Broad- 
way Joe,"  caught  in  a  playful 
moment  at  Malibu.  Ann  is 
holding  thrillingly  dangerous 
water  skiis  and  wearing  a  fig- 
ure moulding  Catalina  Swim 
Suit.  The  suit  is  designed  for 
comfort  and  a  slim,  graceful 
silhouette    for    sand    and    sea 


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DEAS 


Knee-lengths  for  the  sports 
girl  and  for  Maxine  Doyle, 
who  shows  the  extreme  free- 
dom and  comfort  of  the  ab- 
breviated stocking.  Elastic 
woven-in  tops  finished  with  a 
lacy  design.  Mojud  Hosiery, 
also  showing  smart  navy  hose 
popular    this    navy-blue    year 


Our  grandmothers'  palm  leaf 
fans  undoubtedly  inspired 
this  coquettish  air  cooler  in 
glass  and  cellophane  composi- 
tion. Frances  Drake  found  this 
in  I.  Magnin's,  Hollywood.  The 
handle  and  wrist  strap  are  of 
gold  or  silver  kid.  An  import, 
useful    as   well    as   ornamental 


\       „ 


I 


V 


/' 


IT  took  years  of  pleading  to  lure  Helen  Gahagan 
from  Broadway  to  Hollywood.  The  stage  star  is 
now  under  contract  to  RKO-Radio  and  working  on 
her  first  film,  "She,"  in  which  Miss  Gahagan  plays 
the  role  of  queen  of  the  mythical  kingdom  of  Kor. 
In  private  life  she  is  the  wife  of  Melvyn  Douglas 


Robert  W  Coburn 


r  ERT  and  pretty  is  Marion  Davies,  wearing  a  smocked  taffeta  jacket  for 
her  role  in  "Page  Miss  Glory."  Long  known  as  one  of  the  easiest  and 
most  amiable  of  stars  to  work  with,  Marion,  in  this  picture,  plays  the 
role    of    a    highly    temperamental    actress.      It's  .her   first    Warner   film 


William  Walling.  J 


W  HEN  Gertrude  Michael  went  on  her  vacation  she  spurned  the  fashion- 
able beach  and  desert  resorts,  and  chose  a  secluded  ranch  in  the  Central 
California  country.  When  friends  sought  her  out,  they  found  the  young 
Paramount  actress  enjoying   her  sun   bathing   in   a   field   of  sweet  clover 


When  Mr.  Muni  flees,  the 
only  person  he  contacts 
is  Mrs.  Muni.  And  when 
he's  gone,  she's  in  full 
charge.  While  he  was 
doing  a  disappearing 
act  Bella  signed  a  movie 
contract  for  him.  Other- 
wise Paul  Muni  might 
never  have  entered  films 


By    RUTH 
RANKIN 


THE  DISAPPEARING  MUN 

Now  you  see  him,  now  you  don't!    But  if  you  do,  don't 
follow,  for  it's  ten  to  one  that  Paul  is  vanishing  again 


EVERY  six  months  or  so,  Paul  Muni  gets  fed  up  and  walks 
out. 
Well,  if  it  were  not  for  your  job  and  the  little  woman, 
wouldn't  you?  Of  course  Muni  has  both— but  they're  different 
They  give  him  time  off.  They  have  to.  If  it  hadn't  been  foi 
that  time  off,  there  wouldn't  be  any  Muni  on  the  screen  today! 
After  he  made  "Seven  Faces"  for  Fox,  some  time  ago,  Muni 
called  it  quits.  That  was  the  end  of  his  screen  career,  so  far  as 
he  was  concerned.  He  went  through  a  make-up  ordeal  in  this 
picture  seldom  equalled  by  any  actor.  Then  it  turned  out  that 
the  seven  characters  he  played  were  so  well  realized  and  so 
different  that  few  persons  were  aware  Muni  was  playing  all 
of  them!  To  top  it  all,  a  fan  letter  came  from  Europe  saying 
the  writer  liked  best  his  characterization  of  the  judge — which 
was  practically  the  only  character   Muni  didn't  play 


They  wanted  him  to  be  a  second  Lon  Chaney,  and  Muni 
didn't  want  to  be  a  second  anyone.     He  had  other  ideas. 

He  left  Hollywood  in  a  fine  attack  of  the  doldrums  and  vowed 
he  would  never  come  back.    The  stage  was  his  metier  anyway 
and  he  would  stick  to  it.  .  .  . 

And  Muni  would  never  have  returned — if  he  hadn't  dis- 
appeared. 

He  hasn't  discussed  the  subject  before,  because  Muni  isn't 
much  of  a  discusser  of  his  personal  experiences,  as  you  may  have 
heard.  This  account  of  his  return  to  pictures  came  up  casually 
during  a  conversation. 

"I  used  to  go  away  alone  often,"  Muni  was  saying.  "I 
think  when  a  man  feels  he  isn't  fit  to  live  with  another  minute, 
the  kindest  thing  he  can  do  is  go  off  by  himself  until  he  gets 
over  it.  f  please  turn  to  page  102  1 

65 


Seeing  Stars 
with  Mitzi 


Hollywood's  a  very  merry 
spot  these  days!  But  Mitzi 
takes  time  out  for  a  mysteri- 
ous, tow-headed  Romeo  and 
a    peep    into    a    gay    future 


HEY-HEY,  JOANIE! 
You  know  what  you  are?  A  little  oink-oink!  I 
scribble  my  fingers  to  the  bone  telling  you  where  I've 
been,  and  what  I've  did,  and  how  do  you  reply?  "Tell  me 
more!"  Not  even  a  teensy  word  about  your  folks,  your  figger, 
or  your  big,  tall  'n'  handsome.  Step  into  the  corner  and  make 
shame! 

Well,  come  out  of  the  corner  and  I'll  tell  you  about  my  mys- 
terious hero.  I  don't  know  much  about  him,  but  Glenda  Farrell 
found  him  in  the  cards.  She  says  he's  strong  and  handsome  and 
.  .  .  tow-headed!  Who  do  you  suppose  that  could  be?  Glenda 
thinks  she's  such  a  whiz  at  the  future  stuff. 

She  was  taking  fashion  pitchers  one  day  for  our  magazine  and 
I  galloped  in  'cause  I  wanted  to  see  her  new  clothes,  and  also  the 

66 


How  that  Lombard  lady  gathers  the  men 
around  her!  Here's  Carole  with  Cary  Grant, 
Clark  Gable  and  Ricardo  Cortez — a  trio  most 
other   women   just  dream   of.      Ah,   Hollywood! 


The  Countess  de  Margret  and  Mr.  Cary  Grant 
were  cornered  for  a  picture  at  a  birth- 
day party.  The  Countess  de  Margret  is  one 
of    the    most    beautiful    women    in    Hollywood 


new  interior  decorations  that  she's  been  doing  all  by  herself. 
(Very  nifty,  and  inexpensive,  too.)  In  between  posing  in  her 
new  black  dinner  dress  and  slipping  into  a  smartie  sports  rig,  I 
got  to  showing  her  some  exercises.  Where?  On  her  beauteous 
white  rug  in  her  bedroom.  We  waved  our  props  and  clutched 
our  tummies  and  wriggled  to  1,  2,  3,  4.  After  these  contortions, 
Glenda  slipped  into  her  dress,  draped  herself  languidly  in  the 
doorway  of  her  living-room,  and  Art  went  on  undisturbed. 

Of  course,  food  had  to  come  in  somewhere.  So,  after  the 
fashions  were  on  film,  we  slipped  upstairs  to  her  brown,  white 
and  copper  play-room  and  et  offn  card-tables  .  .  .  white 
leather  ones  with  big  copper  tacks.  Then  Glenda  the  Mystic 
got  out  her  cards.  I  have  a  gaily  pink  future.  Money,  travel 
marriage,  infants.  Familiar?  But  Glenda  did  give  it  a  bit  of  a 
twist,  Joan.  To  the  four  winds  with  the  dark,  slender  Romeos. 
I  get  me  a  hootin-tootin'  tow-head!    Whee-ee-ee-e! 

Poddon  me  while  I  tear  off  a  sigh.     Talking  of  heroes,  and 


Card  sharp — when  it  comes  to  telling  fortunes.  Glenda 
Farrell  is  advising  Mitzi  what  the  future  holds.  At  the 
moment  it  seems  that  Glenda  has  found  something 
very    exciting.       But    Mitzi    looks    dubious    about    it    all 


When  Biliie  Burke  (right)  was  guest  speaker  on  a  radio 
program  to  raise  funds  for  the  Children's  Home  Finding 
Society,  Josephine  Hutchinson,  one  of  Hollywood's  newest 
stars  from  the  stage,  went  down  to  the  station  to  applaud 


big,  black-eyed  ones  makes  me  rage  at  that  there  Carole 
Lombard  who  magnetized  three  of  the  nicest  gents  at  a 
birthday  party,  Cary  Grant  was  one.  Ricardo  Cortez  was 
two.  And  Heart-Throbs  Gable  was  three!  Wadda  wench!  All 
fancied  up  in  floatey  gray  chiffon  that  gives  one  that  irresis- 
tible allure,  she  left  all  of  the  other  wimmen  sitting  on  the 
edges  while  she  blithely,  and  hilariously  held  court. 

There  was  another  dame  who  didn't  do  so  badly,  the 
Countess  de  Margret  in  stiff  black  taffeta,  who,  we  decided, 
looked  so  much  like  Garbo  and  a  little  like  Dietrich,  but  is  much 
more  fun  than  both. 

While  generously  orchiding  the  beauties,  a  Winchell  to  Ann 
Alvarado  who  is  a  bit  of  a  luscious  herself.  And  it  was  good  to 
see  stunning  Aileen  Pringle  again.  Pixie-faced  Buster  Collier 
was  there  with  his  fine  new  bride.  Present  also  were  Sally 
Eilers,  Doris  Warner  LeRoy,  Mrs.  Gable  and  Louella  Parsons, 
the  columnist.    But  where  were        [  please  turn  to  page  98  1 


67 


THE     NATIONAL    GUIDE    TO      MOTION     PICTURES 


*fo  BREAK  OF  HEARTS— RKO-Radio 


KATHARINE    HEPBURN    discards    her    old-fashioned 
costumes  and  returns  to  a  modern  role,  giving  one  of  the 
finest  performances  of  her  career. 

Hepburn  is  the  sensitive  and  impoverished  young  com- 
poser who  marries  a  famous  symphonic  director  (Charles 
Boyer)  after  a  Cinderella  romance.  Her  happiness  and  her 
marriage  are  suddenly  wrecked  when  she  overhears  two 
gossips  linking  her  husband's  name  with  another  woman. 
From  this  point  on  the  film  builds  up  a  terrific  emotional 
suspense.  Its  poignancy  is  heightened  in  the  telling  by  being 
presented  against  a  background  of  really  fine  symphonic  music 

Hepburn  and  Boyer  give  performances  of  sterling  merit 
John  Beal,  as  the  millionaire  playboy  who  rescues  Hepburn 
and  Jean  Hersholt  as  the  old  music  master,  are  excellent. 


-^PUBLiC  HERO  NO.  I—  M-G-M 


THE  second  G-men  picture  to  hit  the  screen,  and  plenty 
happens.  With  a  lot  of  grand  humor,  and  a  well  knit 
story,  this  almost  escapes  the  gangster  stigma.  It  would 
have  been  a  good  picture  without  a  shot  fired. 

Chester  Morris,  as  Jeff  Crane  of  the  Department  of 
Justice,  has  his  first  real  chance  since  "Alibi"  and  uses  it. 
Jean  Arthur  establishes  herself  firmly  as  the  leading  flip- 
but-serious  ingenue  with  all  the  answers  Joseph  Calleia 
plays  perfectly  the  role  of  Sonny,  the  Dillinger  of  the  gang. 
And  Lionel  Barrymore  has  a  character  role  he  can  really 
get  his  teeth  in,  as  the  gang's  doctor,  a  delightful  banjo- 
playing  old  dipsomaniac. 

Paul  Kelly,  Lewis  Stone  and  others  complete  the  capable 
cast.     Direction  is  good 

68 


The 


Shad 


ow 


A  Review  of  the   New   Pictures 


VV  ESCAPE  ME  NEVER— British  &  Dominions- 
United  Artists 

LIGHTED  by  the  magic  of  Elisabeth  Bergner's  divine 
acting,  this  is  a  magnificent  motion  picture.  With  vir- 
tually the  same  cast  that  appeared  in  the  stage  play  in  New 
York  and  London,  and  with  the  story  changed  but  little, 
"Escape  Me  Never"  loses  nothing  in  the  screening  and 
gains  much.     It  is  a  better  film  than  it  was  a  play. 

You  have  never  seen  a  finer  performance  on  the  screen 
than  the  one  Miss  Bergner  gives  as  Gemma,  the  waif  who, 
with  her  tiny  baby,  is  "adopted"  by  Sebastian  Sanger,  a 
young  musical  genius.  Their  mad-cap,  poverty-stricken 
existence  together,  the  complications  that  arise  when  Sebas- 
tian is  attracted  by  the  wealthy  fiancee  of  his  brother,  Caryl, 
are  woven  into  a  story  which  gets  pretty  whimsical  in  spots 
but  is  always  vivid  and  engrossing. 

The  role  of  Gemma  gives  Miss  Bergner  a  wide  range  for 
her  talents.  And  she  plays  the  waifish,  comedy  bits  in  the 
early  part  of  the  film  and  the  later  scenes  of  tragedy  and 
heartbreak,  with  equal  brilliance  and  beauty. 

Miss  Bergner  was  fortunate,  too,  in  having  excellent  sup- 
port. Hugh  Sinclair  is  always  convincing  as  the  egocentric 
young  Sebastian  and  Griffith  Jones  is  perfectly  cast  as  Caryl. 

Dr.  Paul  Czinner  (Elisabeth  Bergner's  husband)  directed 
and  the  direction  and  camera  work  are  well-nigh  flawless. 
Some  of  the  scenes  in  Venice  and  in  the  Dolomites  are  breath- 
taking in  their  beauty     Don't  miss  this  one 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


THE   BEST   PICTURES   OF  THE   MONTH 


ESCAPE  ME  NEVER 
PUBLIC  HERO  NO.  1 
IN  CALIENTE 


BREAK  OF  HEARTS 
OUR  LITTLE  GIRL 
NO  MORE  LADIES 


THE  BEST  PERFORMANCES  OF  THE  MONTH 

Elisabeth  Bergner  in  "Escape  Me  Never" 

Katharine  Hepburn  in  'Break  of  Hearts" 

Charles  Boyer  in  "Break  of  Hearts" 

John  Beal  in  "Break  of  Hearts" 

Robert  Montgomery  in  "No  More  Ladies" 

Arthur  Treacher  in  "No  More  Ladies" 

Edward  Everett  Horton  in  "In  Caliente" 

Maureen  O'Sullivan  in  "The  Flame  Within" 

Jane  Withers  in  "Ginger" 

Chester  Morris  in  "Public  Hero  No.  1" 

Jean  Arthur  in  "Public  Hero  No.  1" 

Bette  Davis  in  "The  Girl  from   I Oth  Avenue" 

Casts  of  all  photoplays  reviewed  ivill  be  found  on  page  no 


^NO  MORE  LADIES— M-G-M 

A  PERFECT  darb  of  a  flossy  comedy,  with  Robert 
Montgomery  at  his  best  and  Edna  May  Oliver  a  lovely 
anachronistic  grande  dame  who  wears  trains  all  the  time  and 
says  "scram."  Joan  Crawford  looks  lovely  though  as  ex- 
aggerated as  ever,  but  she  has  some  grand  dialogue,  as  has 
the  entire  cast.  It's  about  a  girl  who  marries  a  so-called 
incurable  polygamous  play-boy,  with  the  idea  that  it  can't 
last,  that  they  will  be  absolutely  "honest."  She  cures  him 
with  his  own  medicine.  The  medicine  Joan  uses  is  Franchot 
Tone  and  he  is  very  easy  to  take.  Charlie  Ruggles  decorates 
the  cast  with  his  amiable  dipsomania  and  a  sheep-dog  named 
Rover. 

Arthur  Treacher  is  a  very  delightful  Englishman-being- 
English.  Reginald  Denny,  Vivienne  Osborne,  Joan  Bur- 
field,  David  Horsley,  complete  the  cast  which  provides  a 
laugh  a  minute.  The  picture  is  elaborately  dressed  in 
clothes  you  will  never  see  anyone  wear,  the  characters  live 
in  amazing  houses  like  operating  rooms  with  white  net 
curtains.  None  of  it  will  ever  happen  to  anyone,  but  it's 
fun  to  see. 

While  "No  More  Ladies"  is  the  grandest  possible  vehicle 
for  Robert  Montgomery — as  it  is  a  picture  that  brings  out 
his  dashing,  care-free  qualities  beautifully,  and  thereby  per- 
haps he  overshadows  Crawford — yet  M-G-M's  brilliant  lady 
will  prove  as  pleasing  as  ever.    A  picture  you  must  see. 


^  OUR  LITTLE  GIRL— Fo> 


MADE  to  order  for  you  Shirley  Temple  fans,  Shirley  is 
cuter  than  ever,  refreshingly  natural  and  talented 
enough  to  carry  the  trite  story.  She  is  the  daughter  of  a 
nice  young  doctor,  Joel  McCrea,  and  Rosemary  Ames.  The 
doctor's  work  interferes  with  his  home  life — and  then 
arrives  Lyle  Talbot,  the  other  man.  Shirley  keeps  the 
home  intact,  with  the  triangle  problem  glossed  over  in 
favor  of  cute  youngsters,  led  by  Shirley,  behaving  with 
natural  charm.  No  harrowing  emphasis  on  pathos,  and 
the  proper  spirit  is  maintained  to  make  it  a  suitable  vehicle 
for  the  little  star.  Erin  O'Brien  Moore  is  the  doctor's 
nurse.  J.  Farrell  MacDonald  lends  good  support,  plus  a 
Scotty  puppy.  Human  and  pleasant  picture — and  it's  all 
Shirlev's 


* 


IN  CALIENTE— First  National 


HFRE'S  a  bright  spot  of  entertainment,  if  you're  in  the 
mood  for  musical  comedy  and  lots  of  foolishness  in  a 
gay  Mexican  setting. 

Financier  Edward  Everett  Horton  shanghies  his  pal,  Pat 
O'Brien  to  Agua  Caliente  to  keep  him  from  marrying  gold- 
digger  Glenda  Farrell.  Down  there  Horton  hires  beautiful 
Dolores  Del  Rio  to  vamp  O'Brien,  and  Del  Rio,  a  famous 
dancer,  agrees  when  she  learns  that  O'Brien  is  the  editor  of 
a  magazine  who  panned  her  dancing.  Things  get  compli- 
cated when  Pat  proposes  to  Del  Rio  and  Glenda  appears. 

There  are  plenty  of  laughs,  for  Horton  is  at  his  funniest. 
Besides  the  headliners,  you'll  enjoy  Leo  Carrillo  as  Del 
Rio's  villain  uncle,  the  dancing  of  the  famous  De  Marcos 
team,  and  the  singing  of  Phil  Regan  and  Winifred  Shaw. 

69 


SELECT     YOUR      PICTURES     AND     YOU     WON'T 


UNDER  THE 
PAMPAS 
MOON— Fox 


ginger- 
Fox 


A  FAST  romantic  comedy,  with  Warner  Baxter  and  Ketti 
Gallian.  It's  all  about  a  man  chasing  a  stolen  race-horse 
and  finding  a  girl.  Baxter  with  his  "Old  Arizona"  accent, 
vigor  and  gaucho  wardrobe,  is  the  Warner  we  have  missed.  A 
good  evening  with  stirring  music  and  lyrics.  John  Miljan, 
Jack  LaRue,  Rita  Cansino,  Armida,  all  excellent 


JANE  WITHERS  is  your  excuse  to  hunt  this  up  right  away. 
Despite  a  thick  layer  of  hokum  and  familiar  story  twists— 
a  little  slum  girl  humanizes  a  Park  Avenue  family — the  per- 
formance of  Hollywood's  latest  wonder  child  makes  it  grand 
entertainment.  Jackie  Searl  is  at  home  as  the  regenerated 
sissy      O.   P.   Heggie  and   Walter  King    top    the  adults 


THE  FLAME 

WITHIN— 

M-G-M 


LET  "EM  HAVE 
IT — Reliance- 
United  Artists 


WOMAN  psychiatrist  Ann  Harding  cures  her  dipsomaniac 
patient,  Louis  Hayward,  then  almost  falls  in  love  with 
him.  But  the  sober,  industrious  Herbert  Marshall  wins  out. 
Maureen  O'Sullivan  gives  a  brilliant  performance  as  the 
neurotic  heiress.  Edmund  Goulding  wrote  and  directed.  His 
penchant  for  masquerades  is  shown  in  two  fancy  dress  parties 


AGAIN  machine  guns  rattle  as  the  G-men  close  in  on  the 
underworld.  All  the  thrills  of  the.  old  gangster  pictures 
but  with  your  sympathies  this  time  for  Uncle  Sam's  heroic 
sleuths.  Richard  Arlen,  Harvey  Stephens,  Eric  Linden,  on 
the  side  of  justice,  with  Virginia  Bruce  and  Alice  Brady  lend- 
ing sentiment  and  comedy.     Destined  to  be  big  box-office 


THE  GIRL 
FROM    I  Oth 
AVENUE— 
First  National 


AGE  OF 

INDISCRETION 

—M-G-M 


THIS  is  the  old,  old  story  of  the  millionaire  socialite  who 
marries,  in  a  drunken  moment,  the  poor  little  shop  girl. 
Bette  Davis  gives  a  good  performance  as  the  girl  who  reforms 
her  husband,  braves  his  snobbish  friends  and  tries  to  win  his 
love.  Colin  Clive,  Alison  Skipworth  and  Ian  Hunter  top  the 
support.     Just  so-so  entertainment 


THIS  is  the  old  divorce  question  all  over  again.  The  sym- 
pathy here  is  with  the  father  (Paul  Lukas)  and  the  climax 
is  a  courtroom  scene  where  Lukas  and  his  wife,  Helen  Vinson, 
battle  for  little  David  Jack  Holt,  their  son.  May  Robson  has 
a  dramatic  moment  that  is  a  highlight.  Madge  Evans  sup- 
plies sweet,  silent  love  interest.     David  steals  the  picture 


70 


HAVE     TO      COMPLAIN       ABOUT     THE      BAD     ONES 


ALIAS  MARY 

DOW— 

Universal 


hvvF*! 

L  ^  v^,,:^ 

eJBLJ 

HOORAY 
FOR  LOVE- 
RKO-Radio 


A  PLEASANT,  interesting  little  picture  which  is  important 
because  of  Sally  Eilers'  performance.  Sally  is  at  her  best 
as  a  tough  babe  suddenly  dropped  in  the  midst  of  riches,  when 
she  impersonates  a  kidnapped  daughter.  Complications  are 
logical,  and  the  cast  is  well  chosen.  Ray  Milland  is  an  up 
and-coming  leading  man  who  gets  better  and  better 


THIS  back-stage  musical  is  a  luzzy  carbon  copy  of  the 
original  "42nd  Street"  formula.  Bill  Robinson  and  "Fats" 
Waller  top  the  talent  in  a  Harlem  song  and  dance.  Ann 
Sothern  and  Gene  Raymond  carry  a  luke-warm  love  story, 
but  their  voices  don't  quite  put  over  the  catchy  tunes  Pert 
Kelton.  Thurston  Hall    Etienne  Girardot. 


BLACK 

sheep- 
Fox 


CHINATOWN 
SQUAD- 


Uni 


il 


YOU'LL  enjoy  this  cleverly  concocted,  smartly  produced 
picture.  Edmund  Lowe,  in  top  form  as  a  shipboard  card- 
sharp,  finds  his  own  son,  Tom  Brown,  caught  in  the  foils  of 
beautiful  lady  thief  Adrienne  Ames.  He  forms  a  partnership 
with  Claire  Trevor,  saving  Tom  but  losing  his  heart  to  Claire 
A  nice  comeback  triumph  for  veteran  director  Allan  Dwan 


LYLE  TALBOT,  an  ex-detective,  runs  a  rubber-neck  bus 
through  Chinatown  and  solves  two  murders,  in  this  so-so 
mystery.  To  show  up  his  old  sergeant-enemy,  Lyle  sleuths 
on  the  side  and  scares  out  a  confession,  landing  back  on  the 
force  and  rating  Valerie  Hobson  in  the  bargain.  Direction 
is  skilful  and  speedy        Competent  cast. 


THE  GLASS 

KEY— 

Paramount 


PARIS  IN 

SPRING— 

Paramount 


A  MURDER  mystery  with  George  Raft  the  loyal  Man 
Friday  of  political  boss,  Edward  Arnold.  When  a  sena- 
torial candidate's  son  is  murdered,  Raft  solves  and  saves  in 
his  sauve  but  exciting  manner.  It's  one  of  his  most  believable 
roles.  You'll  enjoy  George,  Edward  Arnold  in  another  robust 
role,  Claire  Dodd,  Ray  Milland  and  others.     Don't  seek  it 


TUNEFUL,  with  no  outstanding  tunes,  colorful,  with  no 
particular  color,  this  picture  presents  the  lovely  voice  of 
Mary  Ellis  and  the  Latin  fretfulness  of  Tullio  Carminati.  The 
lovers  quarrels  and  mix-ups  of  this  pair  and  of  Ida  Lupino  and 
James  Blakeley  are  smoothed  by  Grandma  Jessie  Ralph.  Lynne 
Overman  is  an  enchanting  gendarme.  [  please  turn  to  page  104 1 


71 


Eddie    Robinson    is    an    up-to-date    intellectual — hard-working,    conscientious   to    a 
fault    in    his    work,    with    a    tolerance   for    his    characters    born    of   understanding 

An  Actor  With  Strange  Ideas 

Edward  G.  Robinson  hates  hate,  loathes  all  things 
phony,  believes  in  a  universal  language — the  heart 

By   PRINCESS    ALEXANDRA    KROPOTKIN 


N  front  of  the  monkey  cage,  at  the  Denver  zoo,  stood  a  dark 

complexioned  man,  stockily  built,  with  thoughtful  eyes  and  a 

wide,  clever  mouth  There  were  no  other  people  around 
He  talked  to  the  monkeys. 

"You  boys,"  he  said,  "ought  not  to  be  locked  up  here  for 
dumb  humans  to  stare  at.  I  wonder  what  you  think  of  us, 
anyway." 

The  particular  monkey  to  whom  he  addressed  these  words 
was  a  quiet,  wise-faced  prisoner.  But  all  of  a  sudden  that 
monkey  underwent  a  violent  change.  It  began  to  make 
hideous  faces.  Then  it  spread  itself  across  the  front  of  the 
cage  in  a  convulsion  of  fury,  screeching  hatred  at  the  man  who 
had  spoken. 

Looking  straight  into  the  monkey's  eyes,  the  man's  ex 
pression  altered  swiftly  from  sympathy  to  anger.  He  shook 
his  fist  at  the  animal. 

"You  ape!"  he  shouted.  "Here  am  I  full  of  kindness  for 
you — and  you  insult  me!  You  haven't  got  sense  enough  to 
know  the  difference  between  an  enemy  and  a  friend.  You 
belong  in  a  cage.     You  deserve  to  be  a  monkey!" 

72 


From  its  cage,  the  monkey  spat  savage  wrath  at  the  man 

"And  I  was  so  mad,"  says  Edward  G.  Robinson  "that  I  had 
to  spit  right  back." 

Eddie  Robinson  told  me  this  story  about  himself  and  the 
monkey  in  the  Denver  zoo.  He  told  it  to  illustrate  his  belief 
in  Darwinism  and  the  origin  of  species.  I  think  it  is  his  idea 
that  we  surely  must  be  related  to  the  monkeys  since  we  can 
share,  so  easily,  their  primitive  likes  and  dislikes. 

But  that  is  not  how  I  interpret  Mr.  Robinson's  performance 
in  front  of  the  monkey  cage.  To  me  it  is  evidence  of  his 
authentic  rank  as  a  modern  artist  and  modern  intellectual. 

Understanding  is  certainly  the  keynote  of  modern  art,  of 
modern  culture  Our  current  highbrows  write  tough-baby 
literature,  compose  boiler-shop  symphonies,  paint  pretty  pic- 
tures of  garbage  dumps  and  sailor  dives.  To  be  intellectual, 
nowadays,  you  must  be  intimately  in  touch  with  the  egg  in  all 
its  hard-boiled  aspects. 

In  this  respect  Eddie  Robinson  is  intellectually  up-to-date 
He  is  modern.  The  cry  from  Denver  monkeys  to  Hollywood 
studios  may  be  a  far  one,  yet  both  f  please  turn  to  page  102  | 


~~ lOOT  GIBSON  and  his  buckskin  pony,  Mutt,  take  time  out  for  a  drink  and  a 
chat.  Hoot  but  recently  returned  to  pictures  from  a  two-year  absence,  neces- 
sitated by  a  very  bad  airplane  accident.  Yet  now  Buck  has  completed  two 
starring  films  for  First  Division,  and  he's  in  "The  Roaring  West,"  for  Universal 


73 


SO  YOU'RE 
SUNBURNED! 


Frances  reminds  you 
that  eyes,  too,  need 
care  after  a  sunburn. 
Any  good  eye  wash, 
tion  or  boric  acid  solu- 
tion cools,  soothes,  and 
prevents  swelling.  Apply 
freely    with    a     dropper 


Next,  Frances  generously  applies  a  special  cream  for 
cooling  and  soothing  the  burn.  Lacking  a  sunburn 
cream,  use  plenty  of  any  good  nourishing  cream  to 
replenish  the  skin  oil.    Later,  use  a  good  bleach  cream 


If  you  become  the  victim  of  a  painful  sunburn,  the  first 
curative  step  is  to  cleanse  gently  with  cream,  not  soap 
and  water.  A  burned  skin  needs  soothing  creams  and 
oils.     Frances  Grant  starts  correcting  a   sunburned   skin 


N  spite  of  the  warnings  that  are  broadcast  every  season  by 
press  and  by  word  of  mouth,  in  spite  of  the  truly  protective 
oils  and  creams  in  our  bath-cabinets,  sooner  or  later  comes  the 
time  when  we  all  suffer  from  the  sun  in  some  form.  It  may  be 
a  tan  that  borders  too  closely  on  the  shade  of  negre,  freckles  that 
make  you  first  cousin  to  a  turkey  egg  or  a  case  of  plain  redness 
that  is  anything  but  becoming.  Usually,  these  signs  of  too 
much  Summer  result  from  a  hasty  escapade  on  beach,  tennis 
court  or  other  Summer  playgrounds,  when  the  protective  bottle 
is  not  convenient  or  when  we  just  carelessly  take  the  risk. 

The  cure  is  the  same.      It  will  take  a  little  time,  but  much 
less  time  than  if  you  iust  waited  for  the  skin  to  correct  itself 


The  first  thing  you  must  do  after  your  burn  is  to  cleanse 
gently  with  cream.  Don't  use  water  because  it  always  makes 
a  burn  more  painful,  and  you  are  burned  because  the  sun.  heat 
or  wind  has  dried  your  skin.  The  oily  skin,  as  you  know,  can 
stand  much  more  sun  without  effect  than  the  normal  or  dry 
skin.  Remove  the  cleansing  cream  very  gently  because  your 
skin  may  be  sensitive.  If  you  can  spare  even  a  few  minutes, 
cover  it  thoroughly  with  one  of  the  special  creams  or  lotions  to 
soothe  after  burn,  or  if  you  haven't  one  of  these,  use  any  rich 
nourishing  cream.  Immediately  this  type  of  cream  will  begin 
to  lubricate  your  skin,  help  flaking  of  the  skin  later  on  and  pre- 
vent the  lines  that  Summer  etches  on  the  face  of  even  the 


PHOTOPLAY'S      HOLLYWOOD      BEAUTY      SHOP 


74 


Katherine  De  Mille,  ap- 
pearing in  "The  Cru- 
sades," is  a  striking  bru- 
nette. To  encourage  a 
deeper  skin  tone,  she 
keeps  her  skin  covered 
with  salt  water  after  ex- 
posure, using  oil  of  sweet 
almonds    to    keep    it    soft 


For  redhead's,  who  must 
not  burn.  Grace  Bradley 
shows  a  smart  visor  for 
tennis  and  other  sports. 
Use  a  sunburn  cream  or 
lotion,  or  lots  of  founda- 
tion and  powder,  plus 
some  face  shading  device, 
and    a    burn    is    thwarted 


young.  If  possible,  lie  down  in  a  dark  room,  letting  the  cream 
remain  on  as  long  as  possible.  If  it  is  bedtime,  sleep  with  the 
cream  on. 

Keep  on  this  cream  skin  diet  for  a  few  days  until  the  soreness 
is  gone  and  the  skin  seems  fairly  normal  again.  After  a  good 
burn,  there  is  always  a  certain  amount  of  flaking  away  of  the 
burned  skin.  Do  not  remove  these  dead  particles  with  the 
fingers,  as  serious  scarring  may  result.  A  little  foundation 
cream  or  lotion  will  make  the  particles  less  noticeable,  help  the 
shedding. 

If,  after  the  first  signs  of  burn  are  gone,  the  skin  still  seems 
discolored,  by  all  means  use  a  good  bleach  cream  nightly.    This 


bleaching  takes  a  little  time,  but  persistence  in  its  use  will  soon 
bring  your  skin  to  its  pristine  tone. 

The  same  care  should  be  applied  to  neck  and  arms  if  they 
too,  are  burned.  Nothing  is  more  distracting  than  a  fair,  lovely 
face  against  a  neck  that  is  obviously  discolored  and  weathered. 

A  word  of  hope  to  the  oily  skins  who  get  burned.  A  slight 
burn  is  often  an  excellent  means  of  correcting  the  oily  condition 
and  the  blackheads  and  eruptions  that  often  accompany  this 
skin.    The  sun  dries,  the  oil. 

Too  much  oil  is  the  cause  of  the  trouble  and  especially  after 
a  natural  sun  peel  you  will  often  find  the  new  skin  much  finer 
and  more  flawless  than  before 


CONDUCTED       BY       CAROLYN       VAN       WYCK 


75 


Following  the  body  ap- 
plication of  toilet  water 
or  eau  de  Cologne,  Gail 
always  fluffs  dusting  pow- 
der with  a  big  soft  puff 
for  warm  weather  comfort 


Lessons  in  keeping  cool 
by  Gail  Patrick.  Eau  de 
Cologne  sprayed  or  pat- 
ted over  the  body  is  one 
method  of  personal  dain- 
tiness,   for    a     sultry    day 


SUMMER 


MID-SUMMER  is  a  season  that  some  would  gladly 
check  off  the  calendar  and  be  done  with  it.  Why? 
Apparently  it  isn't  the  actual  temperature  that  worries 
them.  But  it  is  the  bodily  discomfort  that  results  when  the 
thermometer  rises.  And  certainly  that  physical  dampness  of 
body,  to  which  girdles  and  clothing  stick  like  glue,  is  nothing  to 
put  a  girl  in  the  best  frame  of  mind.  The.  day  may  be  very, 
very  warm,  yet  if  we  can  retain  a  certain  degree  of  personal  im- 
maculacy and  comfort,  it  goes  without  undue  worry. 

Fortunately,  there  are  simple  means  by  which  Summer  dis- 
comfort may  be  overcome  or  mitigated  to  a  good  degree 

76 


First,  consider  your  bath.  A  tepid  bath,  tub  or  shower,  is  by 
far  the  most  cooling  and  refreshing.  A  very  warm  bath  is 
always  enervating,  and  only  on  occasions  of  excessive  tension 
or  nervousness  do  I  suggest  it.  Now  and  then,  if  you  can  have 
this  hot  bath,  go  right  to  bed;  it  may  help  you  sleep  Other 
wise,  it  wastes  your  energy.  A  very  cold  bath  is  always  a  shock 
and  everyone  does  not  respond  well  to  it.  In  Summer,  it  may 
be  temporarily  cooling  but  once  out  of  the  tub,  you  will  find 
yourself  warmer  than  ever. 

So  let's  take  a  tepid  bath  and  let's  use  a  bath  brush.  There- 
is  nothing  like  this  brush  for  keeping  body  skin  satin  smooth 
Scrub  vigorously  with  the  brush  and  soap,  rinse  thoroughly  and 
dry. 

Now  for  a  definitely  cooling,  fragrant  touch — eau  de  Cologne 
or  toilet  water.  Everyone  is  using  them  now,  and  they  are  a 
means  for  keeping  the  skin  in  fine  condition,  for  cooling  body 


temperature  and  keeping  you  fragrant  and  free  from  dampness 
hours  after  you  have  dressed.  These  preparations  come  in 
light  neutral  or  flower  odeurs,  lend  a  delicate  scent  to  the  whole 
body.  There  are  too  many  splendid  ones  on  the  market  to  even 
mention.  Two  fragrances  that  seem  universally  popular  are 
Jilac  and  lavender.  Use  them  alone  or  in  conjunction  with  a 
harmonious  perfume. 

There  are  two  ways  of  applying  them  Pour  a  few  drops 
into  the  palms  and  smooth  over  the  body.  Or,  if  you  want  to 
be  more  efficient  and  economical  with  your  preparation,  you 
will  buy  one  of  the  large  size  atomizers  that  come  especially  for 
the  use  of  these  lotions.  The  aperture  in  these  atomizers  is 
larger  than  in  the  perfume  ones,  and  it  sends  a  cool,  sweet  mist 
over  the  skin,  refreshing  and  stimulating. 

If  you  will  use  plenty  of  dusting  powder  after  the  eau  de 
Cologne  or  toilet  water  your  skin  will  feel  heavenlv  cool  and 


Bath  crystals,  salts  or  one 
of  the  fragrant  bath  lo- 
tions added  to  your  tub 
give  a  cooling,  refreshing, 
perfuming  effect.  Gail  is 
adding    a    handful   to   tub 


ADDITIONAL   BEAUTY   SECRETS   ON    PAGE  82 

smooth  Underthings,  even  elastic  girdles,  slip  on  easily,  slide 
over  the  skin  instead  of  sticking.  And  you  know,  that  in  spite 
of  excessive  warmth,  your  skin  is  immaculate  and  fragrant. 

There  are  two  other  personal  aids  that  we  all  need  A  good 
deodorant  for  underarm  use  and  a  depilatory.  Strangely 
enough,  these  are  often  considered  Summer  accessories  but  the 
truth  is  that  we  need  them,  especially  the  deodorant,  even  more 
in  Winter.  Underarm  perspiration  is  normal  for  everyone.  In 
some  cases,  it  is  totally  inoffensive,  but  it  can  ruin  clothing 
quicker  than  anything  I  know  The  chemical  reaction  on 
fabrics  discolors  them  and  destroys    \  please  turn  to  page  85  ] 


77 


78 


It 


PHOTOPLAY  MAGAZINE  FOR  AUGUST.   1935 


YOU  RE  EASY  ON  THE 


PHOTOPLAY  MAGAZINE   FOR  AUGUST,    1935 


79 


€Y£S,  JFANIE 
AT  YOU  FOR  LIFE 


// 


Romance  comes  to  the  girl  who 
guards  against  Cosmetic  Skin 


SMOOTH,  LOVELY  SKIN  wins  romance 
—  and  keeps  it !  So  don't  let  unattractive 
Cosmetic  Skin  destroy  the  loveliness  that 
should  be  yours.  It's  so  easy  to  protect  your 
skin  against  this  danger  with  the  gentle  soap 
that  guards  the  million-dollar  complexions  of 
the  screen  stars. 

Cosmetics  Harmless  if  removed  this  way 

It  is  when  cosmetics  are  not  properly  removed 
that  they  choke  the  pores — cause  the  ugly 
pore  enlargement,  tiny  blemishes,  blackheads, 
perhaps,  that  are  signs  of  Cosmetic  Skin. 
That's  why  every  day  more  and  more  women 
are  adopting  the  screen  stars'  beauty  care  to 
guard  against  this  modern  complexion  trouble. 
Use  all  the  cosmetics  you  wish !  But  protect 
your  skin  with  Lux  Toilet  Soap — the  soap 
especially  made  to  remove  cosmetics  thor- 
oughly. Its  rich,  ACTIVE  lather  goes-  deep 
into  the  pores,  gently  removes  every  trace 


of  dust,  dirt,  embedded  powder  and  rouge. 
To  keep  skin  lovely,  follow  this  simple  rule: 
Before  you  put  on  fresh  make-up  during  the 
day — ALWAYS  before  you  go  to  bed  at  night 
— use  Lux  Toilet  Soap.  Remember — 9  out  of 
10  lovely  Hollywood  stars  have  used  this  fine, 
white  soap  for  years! 


usz  rouge  and  powder? 

yes,  of  course.'  but 

thanks  to  luxtouet 

Soap  /'m  not  a  bit 

I  afraid  of  Cosmetic  Skin 


Pat  O'Brien  is  throwing   together  a  combination  salad,  while   Bunty   and   Annie   Laurie  yearn  for  a  bit  of  hamburger 

FOOD  FOR  MEN 

Pat  O'Brien  Goes  into  a  Kitchen  Conference  on 
What  Men  Like  to  Eat  and  How  to  Prepare  it 


ARE  your  men  friends  salad-shy?  Pat  O'Brien  says  he 
never  touches  anything  that  starts  off  with  a  marsh- 
mallow  or  a  cherry  on  a  mound  of  whipped  cream.  That 
is  some  slight  indication  of  the  way  most  men  feel  about  their 
salads,  and  there's  no  earthly  use  in  trying  to  tempt  them  with 
something  pretty.  Put  the  prettifying  on  yourself  at  dinner- 
time, and  save  the  fancy  doo-dad  salads  for  the  ladies'  bridge 
luncheon — because  they  are  simply  wasted  on  papa,  who  either 
eats  them  and  develops  a  martyr  complex,  or  leaves  the  plate 
serenely  untouched! 

There  is  one  good  old  stand-by  salad  which  has  been  man's 
favorite  for  time  untold  and  will  always  be  until  he  finds  some- 
thing better — the  plain  delicious  combination  salad. 

If  you  are  one  who  has  been  guilty  of  distorting  this  master- 
piece with  string  beans  and  peas  and  hard  boiled  egg,  please  let 
Pat  and  this  scribe  induce  you  to  reform.  There  is  nothing  more 
refreshing  than  this  association  of  four  simple  raw  vegetables: 
A  firm  head  of  lettuce  sliced  crosswise  about  half  an  inch  thick 
(so  you  don't  have  to  wrestle  with  the  elusive  leaf),  some  slices 
of  the  best  tomatoes  you  can  get  in  the  market,  fresh  cucumbers 
peeled  and  sliced,  and  young  green  onions  cut  in  small  rounds. 

80 


For  dressing,  the  classic  olive  oil  and  vinegar,  mixed  in  a 
bowl  that  has  been  rubbed  with  a  clove  of  garlic.  Add  salt, 
pepper,  paprika  and  a  pinch  of  sugar  or  a  little  honey  on  the 
end  of  a  spoon.  Of  course  you  know  the  proportion — one-third 
vinegar  (or  lemon-juice)  to  two-thirds  oil.  You  can  go  fancy  on 
this  if  you  want  to,  using  Tarragon  vinegar  or  sour  red  wine; 
you  can  add  mustard,  onion  juice,  Worcestershire  sauce,  even 
curry  powder,  according  to  your  preference.  Many  men  are 
like  Pat  and  prefer  a  plain  dressing  with  the  frills  off — so  they 
mix  their  own. 

The  majority  of  the  lads  we  love  to  cook  for  will  shy  at  a 
fruit  salad  like  a  startled  stag  at  dawn  .  .  .  but  here  is  one  that 
simply  slays  'em.  Select  a  ripe — but  not  too  ripe — Persian 
melon  (cantaloupe  will  do,  but  the  Persian  is  perfect)  and  place 
it  in  your  refrigerator  overnight.  Be  sure  and  have  it  in  a  paper 
bag  so  the  aroma  will  not  flavor  your  butter  and  everything 
else  in  the  refrigerator.  Get  some  seedless  grapes,  or  Malagas, 
at  the  same  time.  Stem  and  seed  them,  if  necessary,  and  have 
them  good  and  cold.  Just  before  time  for  serving,  place  a  few 
leaves  of  crisp  watercress  on  the  salad  plates.  Then  cut  the 
melon,  slice  the  pink  flesh  in  long  f  please  turn  to  page  100  1 


PHOTOPLAY  MAGAZINE   FOR  AUGUST,    1935 


81 


& 


•  How  precious  a  simple  snapshot  can  be  .  .  .  Don't  take  chances 
with  pictures  that  mean  so  much.  Your  camera  —  any  camera  —  is 
better  when  loaded  with  Kodak  Verichrome  Film.  Verichrome 
gives  you  the  true  expression,  the  naturalness.  Your  snaps  turn 
out  just  the  way  you've  always  wanted  them.  Always  use  Veri- 
chrome and  be  sure  .  .  .  Eastman  Kodak  Company,  Rochester,  N.  Y. 

This  day  will  never  come  again  — 
save  it  with  snapshots 


he   Barrister  Coiffure 


Denis  Phillips,  Fox  Film  hair  stylist,  thought  out  this  beau- 
tiful arrangement  for  Shirley  Aaronson,  reminiscent  of 
the  wigs  worn  by  English  barristers  when  in  court.  Black 
ribbon  is  suggested  for  blondes;  shiny  white  for  brunettes 


How   are  your   skin    and    hair   standing   the   Summer?      If  you   are 

concerned    with    sunburn,   freckles   or  tan,   make-up   that  will    stay 

in  place  in  spite  of  heat,  write  to  Carolyn  Van  Wyck,  Photoplay 

Magazine,    1926   Broadway,   New  York  City. 


82 


PHOTOPLAY   MAGAZINE   FOR  AUGUST,    1935  83 

JOAN    CRAWFORD     in  Metro-Goldwyn-Mayers  "NO    MORE    LADIES" 


^J—iyAtick 


"You'll  be  amazed,"  says 
Joan  Crawford,  "at  the  al- 
luring color  of  Max  Factor's 
Super-Indelible  Lipstick.  It's 
moisture-proof  and  may  be 
applied  to  the  inner  as  ivellas 
the  outer  surface  of  the  lips. 


iUowXcx 


..."and  Max  Factor's  Pow- 
der really  enlivens  the  beauty 
of  your  skin.  Matchless  in 
texture,  it  creates  a  satin- 
smooth  make-up  that  clings 
for  hours.  You  will  notice 
the  difference  instantly. 


II 


auae 

. .  "the  exquisite  color  har- 
mony shades  ofMaxFactor's 
Rouge  impart  a  fascinating, 
natural  and  lifelike  glow  to 
your  cheeks.  Creamy-smooth, 
it  blends  delicately  and  re- 
mains perfect  for  hours." 


Max  Factor's  Face  Powder,  one  dollar; 
Max  Factor's  Rouge,  fifty  cents;  Max 
Factor's  Super-Indelible  Lipstick,  one 
dollar  .  .  .  Featured  by  leading  stores. 


4* 


M 


w 


ost  Women 


*»*  Joan  Crawford 


ft 


tide 


conce 


al  theix  bi 


eauU.  DO  YOU? 


DO  YOU  know  how  to  accent  the 
individual  beauty  of  your  type  the 
way  lovely  Joan  Crawford  and  other 
famous  screen  stars  do?  The  secret  lies 
in  color  harmony  make-up,  the  new 
discovery  of  Max  Factor,  Hollywood's 
genius  of  make-up. 

Powder,  rouge  and  lipstick  blended 
in  subtle  color  harmony  is  the  secret 
that  can  transform  you  into  a  radiant  new 
being.  It  doesn't  matter  if  you  are  a 
blonde  or  a  brunette,  or  if  you  are  twenty 
or  forty . . .  there  is  a  color  harmony  make- 
up that  will  bring  you  new  loveliness. 

Beautiful  women  who  can  choose  from 


all  the  world,  select  Max  Factor's  make- 
up because  they  know  they  can  depend 
on  it  to  dramatize  their  beauty.  Now  you, 
too,  can  share  the  magic  of  color  har- 
mony make-up  created  originally  for  the 
stars  of  the  screen  by  Max  Factor. 

Would  you  like  to  have  Max  Factor 
give  you  a  personal  make-up  analysis? 
Would  you  like  a  sample  of  your  color 
harmony  make-up?  Would  you  like  an 
interesting  illustrated  book  on  "The  New 
Art  of  Society  Make-Up?"  All  these  will 
be  sent  to  you  if  you  will  mail  the  coupon 
below  to  Max  Factor,  Hollywood.  An 
adventure  in  loveliness  awaits  you! 


I  1985  by  Max  Factor  *  Co 


},       rrn  , 

ax  Lactor  *  rrouviwooa 

SOCIETY  MAKE-UP:  Face  Powder,  Rouge,  Lipstick  in  Color  Harmony 


■ior+  TTollviwood 


i  Mail  for  POWDER,  ROUGE  AND  LIPSTICK  IN  YOUR 


j  Make-Up : 

of  Powder  and  Rouge  San., 

Sampler,  four  shades,  i  enclose  len  cents  for  postage 
send  me  niy  Color  Harmony  Make-Up  Chart  and  4fl-rwc 
in   I V       Tkt  New  Art  of  Society  Make-Up" .  .  .  FREE. 


.,  Hollywood: 
impler  in  my  color  harmony  shade: 


1-8-95 


•  CITY STATE  - 


COMPLEXIONS 


Medium  __ 

Ruddy 

Sallow 

Freckled D 


COLOR  HARMONY  : 


a 

■ a 

n a 


LA$HES(CcU. 

Light □ 

DJfk Q 


HAIR 


BLONDE 
Light. .D    Dark.-O 

BROWNETTE 
Light. _D   Dark._D 

BRUNETTE 
Light. _a   Dark. .a 

REDHEAD 

L.ght^O  D»rk..O 

IfHdhitGtar.chttk 


We  Will  Never  Understand  Cary  Grant 


CONTINUED  FROM  PAGE  47 


training  in  poise  and  fluency  for  the  stage,  he 
becomes  grotesquely  tongue-tied,  absurdly  flus- 
tered aad  unbelievably  awkward  when  he  plays 
the  role  of  Romeo  in  real  life. 

"  When  I  go  a-courting  it's  a  very  sad  per- 
formance," he  said.  "I  guess  it's  the  deadly 
combination  of  intensity  and  a  struggle  to 
translate  deep  feeling  into  words." 

And  because  he  was  stubbornly  uncommuni- 
cative even  at  the  age  of  twelve,  he  was  ex- 
pelled from  school  for  the  misdemeanor  of  an- 
other student.  It  wasn't  so  much  a  matter  of 
not  squealing  on  a  schoolmate  as  it  was  an  in- 
stinctive recoil  from  the  humiliation  of  pleading 
for  his  rights. 

A  few  months  later  the  mistake  was  discov- 
ered, and  Cary  was  reinstated,  but  his  first 
encounter  with  the  adult  code  of  justice  and 
fair  play  had  left  his  childhood  a  shattered, 
dead  thing. 

He  ran  away,  but  was  found  quickly  by  his 
father  and  summarily  returned  to  the  acad- 
emy. He  remained  a  few  months  and  ran 
away  again,  this  time  to  join  the  famous  Bob 
Pender  Troupe  of  Pantomimists  and  Acrobats. 

K  IOW  ten  years  of  Hollywood  press  agenting 
'  ^has  inured  me  to  bizarre  and  fantastic  biog- 
raphy, but  the  next  phase  of  Cary's  life  will 
always  remain  the  most  singular  real  life  inci- 
dent in  my  lengthy  list  of  human  phenomena. 

First,  you  must  understand  the  mechanics 
of  that  amazing  organization  known  on  the 
Continent  and  even  as  far  as  New  York  City 
as  the  great  Pender  Troupe.  There  is  nothing 
in  the  American  tableau  to  serve  as  a  likely 
comparison  or  illustration. 

In  a  large  house  at  Brighton,  Bob  Pender 
kept  a  group  of  not  less  than  thirty-five  boys 
in  constant  training  for  his  spectacular  acro- 
batic and  pantomime  acts  that  filled  engage- 
ments in  the  music  halls  of  Europe. 

The  boys  were  bivouacked  like  a  regiment  of 
soldiers,  working,  playing,  rehearsing  and  eat- 
ing with  bugle-call  regularity.  During  the 
theatrical  season  the  troupe  made  the  circle 
from  London  to  Budapest  and  back,  but  at 
such  times  the  methodical  routine  of  Brighton 
was  relaxed  only  long  enough  for  the  daily  per- 
formance on  some  glittering  stage. 

At  thirteen,  following  his  second  and  finally 
successful  French  leave  from  school,  Cary 
joined  these  theatrical  recruits.  Strangely 
enough,  he  loved  the  rigid  discipline,  and  the 
unflexible  sameness  of  the  days.  He  liked  the 
blessed  privacy  of  his  tiny  room  in  the  Brighton 
house  far  better  than  the  crowded  dormitories. 
He  liked  the  exhausting  morning  hours  in  the 
chilly  rehearsal  halls  where  he  was  taught 
back  bends,  nip  ups,  tumbles  and  acrobatic 
dancing.  He  liked  even  better  the  afternoon 
sessions  when  he  was  instructed  in  the  delicate 
art  of  miming.  For  this  he  possessed  a  large 
talent  and  within  a  few  months  of  his  enroll- 
ment, he  was  selected  for  important  work  in 
all  the  pantomime  numbers  for  the  music  hall 
tours. 

For  five  years  Cary  lived  in  this  placid  mon- 
astic seclusion,  barely  touching  or  being  touched 
by  the  world  that  surged  beyond  the  footlights 
and  the  Brighton  house.  And  during  those 
years  his  only  fraternal  tie  was  Bob  Pender, 
but  this  large-hearted  man  was  too  occupied 
with  the  direction  of  his  theatrical  battalions 
to  offer  consistent  companionship. 

84 


"%'d 


i  >    -: 


During  lulls  between  scenes  with 
Greta  Garbo  in  "Anna  Karenina," 
Maureen  O'Sullivan  became  a  de- 
vout nature  lover,  dashing  off  to 
lake  and  mountains  for  a  few  days 


The  boys  in  the  troupe  were  amiable  enough, 
but  Cary  would  not  find  a  Horace  Phillips 
among  them.  And  so  he  grew  to  manhood 
with  all  his  beliefs  and  credos,  his  reveries  and 
his  very  emotions  crowded  behind  a  firm  dam 
of  isolation. 

When  he  was  eighteen,  the  Pender  platoon 
crossed  the  Atlantic  to  fill  its  first  engagement 
in  America,  and  during  a  lengthy  run  at  the 
Hippodrome  Theater,  Cary's  tranquil  orbit 
was  obliterated  quite  suddenly  by  the  restless, 
savage  rhythm  of  New  York  City. 

Almost  at  once  he  knew  that  he  must  stay 
in  America,  that  he  must  conquer  the  mad 
tempo  of  this  new  country  with  his  vast  knowl- 
edge of  miming,  dancing  and  singing,  and  if 
necessary  his  deft  acrobatic  flips. 

THE  rest  of  his  story  merely  repeats  the 
1  familiar  and  dreary  details  of  the  Broadway 
saga. 

There  was  the  usual  procession  of  hall  bed- 
rooms, nights  spent  on  Central  Park  benches, 
handouts,  backwoods  strandings  and  life-sav- 
ing jobs  in  Coney  Island  concessions. 

There  was  eight  years  of  this  sort  of  thing 
for  Cary,  and  only  once  did  he  share  his  luck- 
less struggles  to  fall  in  step  with  the  mad  pace 
of  Manhattan. 

During  the  winter  of  1927,  he  met  Orry- 
Kelly,  now  costume  designer  for  Warner 
Brothers  studios.  Here  was  another  stranger 
in  an  indifferent  country,  recently  arrived  from 
Australia  to  search  Forty-Second  Street  for  a 
set  designer's  job. 

The  pair  decided  to  share  a  crowded  Green- 
wich Village  room  as  a  means  of  solving  the 
rent  riddle. 

Strangely  enough  the  lowest  ebb  in  the  car- 
eers of  both  these  famous  Hollywood  men  was 
touched  during  the  fateful  year  they  bunked 
together. 

At  one  time  they  met  the  threat  of  certain 
eviction  by  painting  neckties  by  hand  and  forc- 
ing them  upon  unwilling  shopkeepers  in  the 
Village.  The  process  was  one  Orry-Kelly  dis- 
covered years  before,  and  it  must  have  been  a 
good  one,  for  the  hand  tinted  neckwear  became 
a  sudden  rage,  and  the  pair  felt  crisp  green- 
backs in  their  pockets  for  the  first  time  in 
months. 

THOSE  flamboyant  ties  were  the  starting  flags 
'  for  Cary's  final  sprint  to  success,  but  he 
traveled  those  last  miles  alone. 

It  is  true  that  in  Hollywood,  Cary  finally 
found  a  candidate  for  Horace  Phillips'  place, 
in  Randolph  Scott. 

Their  friendship  has  endured  the  stormy 
passage  of  Cary's  recent  courtship,  marriage 
and  divorce. 

And  yet,  the  other  day  when  I  asked  Randy 
if  he  could  explain  Cary's  frenzied  hankering 
for  an  impossible  privacy,  he  shook  his  head. 

"I  can't  tell  you  why,"  he  told  me,  "but 
I've  seen  him  actually  lose  sleep  and  weight 
after  reading  certain  items  that  touched  upon 
his  personal  life  and  thoughts. 

"Why,  he  will  probably  do  the  same  thing 
when  he  reads  your  story." 

And  so  I  wonder,  will  these  words  I  have 
written  make  him  writhe  and  grimace?  Will 
our  friendship  survive  my  first  and  certainly 
my  last  article  on  Cary  Grant? 

1  \\  under? 


PHOTOPLAY  MAGAZINE   FOR  AUGUST,    1935 


85 


First  step  toward  Summer  com- 
fort. A  new  eau  de  Cologne, 
delightful  body  refreshant, 
gently  scented  in  one  of  seven 
odeurs,      exquisitely      bottled 


Summer  Daintiness 

[  CONTINUED  FROM  PAGE  77  | 

them  rapidly.  This  is  the  reason  that  their  use 
is  absolutely  essential.'  Deodorants  are  easy  to 
use,  cannot  possibly  harm,  because  their  func- 
tion is  to  stop  perspiration  where  it  is  least 
desirable  and  to  distribute  the  process  nor- 
mally all  over  the  body. 

The  stockingless  mode  is  more  popular  than 
it  ever  has  been.  It  demands  leg  skin  as 
smooth  and  fine  as  your  face.  Many  depila- 
tories are  as  easy  to  use  as  a  face  cream.  Some 
may  be  removed  immediately  after  applica- 
tion, some  should  remain  on  a  few  minutes. 
But  the  whole  procedure  is  so  simple,  so 
effective,  that  there  seems  no  excuse  for  the 
ungroomed  lea 


Bath  salts  for  softening  and  per- 
fuming your  tub,  and  dusting 
powder  for  cooling  and  soften- 
ing the  skin  change  the  pro- 
saic    ritual     into    a     true     luxury 


% 


wholesome, 
retresnmg  and  so  satisfying  —  you  can 
depend  upon  the  brew  with  a  more 
than  ninety-year  reputation  —  good 
Pabst  Blue  Ribbon  Beer  and  Ale. 

Pabsi 
Blue  Ribbon 

Beer  and  Ale 

©  1935,  Premier-Pabst  Corp.,  Chicago 


baseball  and  Pabst  Blue 
v  he  enjoys  .  .  . 
oy  that  finest  of  brews — if 
:or  holds  plenty  of  Pabst 
Serve  it,  these  hot  days, 
mer  . . .  keep  it  handy  for 
Eternoon  or  evening. 

tastes  this  finest  of  brews 

cares  disappear  with  the 

^bst  Blue  ,rrrTl 

1 1  I 


THE   ANSWER   MAN 


IT  looks  as  if  the  ladies  are  discarding  their 
traditional  interest  in  dark-haired  men  and 
going  in  for  blond  heroes.  Or,  we  should  say, 
a  blond  hero.  His  name  is  Nelson  Eddy,  and 
the  Answer  Man  is  just  now  digging  himself 
out  from  under  the  deluge  of  mail  that  has 
come  in  clamoring  for  more  information  on 
this  chap  who  crashed  to  screen  success  in 
"Naughty  Marietta." 

Nelson  had  already  won  fame  and  highest 
praise  as  a  baritone  on  the  concert  stage,  in 
opera,  and  on  the  air,  when  he  went  into  pic- 
tures. His  musical  education  began  at  a  tender 
age,  back  in  Providence,  Rhode  Island,  when 
Nelson  sang  in  the  church  choir  on  Sunday  and 
played  the  drums  in  his  school  orchestra  dur- 
ing the  week. 

Like  most  ambitious  young  singers,  he 
traveled  a  hard  road  to  success — nights  of  long, 
tedious  study,  days  of  hard  work  or  job  hunt- 
ing so  he  could  pay  for  his  lessons. 

Nelson's  on  top  of  the  world  now.  "Naughty 
Marietta"  established  him  as  a  real  movie  per- 
sonality, a  big  star.  He  plans  on  continuing 
his  musical  career  along  with  his  screen  work. 
Believes  the  movies  teach  an  operatic  singer  a 
great  deal,  getting  the  singer  away  from  many 
of  the  standard,  exaggerated  gestures  he  is  apt 
to  use  in  operatic  roles  and  giving  him  smooth- 
ness and  naturalness  so  necessary  oa  the 
screen. 

Eddy  is  thirty-four  years  old,  six  feet  tall, 
weighs  170  pounds,  has  yellow  hair,  blue  eyes. 
And — hold  on  girls! — he  isn't  married.  Not 
yet! 

Marjorie  Brunson,  Andalusia,  Alabama. 
—Joan  Bennett  has  two  daughters.  Diana, 
who  was  seven  years  old  in  February,  is  the 
child  of  Joan's  first  husband,  John  Martin  Fox. 
Another  daughter,  Melinda,  was  born  to' Joan 
and  Gene  Markey  in  February,  1934.  Joan  is 
five  feet,  five  inches  tall  and  weighs  one 
hundred  and  eight  pounds. 

Florence  Rogers,  Maysville,  Kentucky. 
— Can't  understand  why  you  haven't  seen 
Pert  Kelton  lately,  Florence.  Since  making 
"Bed  of  Roses"  Pert  has  wowed  'em  in  the 
following  films:  "The  Bowery,"  "The  Meanest 
Girl  in  Town,"  "Sing  and  Like  It,"  "Bachelor 
Bait,"  "Pursued,"  and  "Lightning  Strikes 
Twice,"  and  "Hooray  for  Love." 

E.  R.,  Denver,  Colorado. — Here's  some- 
thing for  the  Funny  Coincidence  Department. 
In  the  same  mail  with  your  request  for  in- 
formation regarding  Carol  Dempster  came  a 
note  from  Mrs.  Elsie  Kersey,  Atlanta,  Georgia, 
tilling  us  about  Carol. 

Mrs.  Kersey  writes:  "So  many  people  write 
asking  what  has  become  of  Carol  Dempster,  a 
most  fascinating  star  of  a  few  years  past.  Carol 
is  happily  married  to  Mr.  E.  S.  Larsen,  New 
York  banker.  He  has  just  purchased  for  Carol 
an  estate  up  in  Connecticut  where  plans  are 
now  under  way  for  building  her  a  lovely 
country  home.  Carol  is  as  beautiful  as  ever, 
just  as  fascinating  and  charming  as  when  she 
was  on  the  screen. 


Nelson  Eddy,  the  pride  and  joy 
of  movie-going  womanhood 
from  coast  to  coast,  is  on  top 
of  the  world  right  now,  but  it 
was  a  hard  road.  Yes,  girls,  he's 
still   single.    Can   you  imagine! 


"  She  and  her  husband  are  an  ideal  couple, 
and  I  want  her  movie  fans  to  know  she's  the 
happiest  person  one  could  ever  wish  to  find." 

Thank  you,  Mrs.  Kersey! 

A.  M.  Smith,  South  Ozone  Park,  N.  Y. — 
You're  right  about  Evelyn  Laye.  Before  she 
made    "One    Heavenly    Night"    for    United 


Artists  two  Gaumont  British  pictures  were  re- 
leased in  this  country:  "Waltz  Time,"  and 
"Evensong."  Since  then  Gaumont  British 
has  also  released  her  "Princess  Charming." 

Frances  Grant,  Ft.  Riley,  Kansas. — 
You're  one  of  many,  Frances,  who  has  written 
asking  about  Henry  VVadsworth.  Henry  was 
born  in  Maysville,  Kentucky,  and  went  to  the 
University  of  Kentucky,  at  Lexington.  He 
played  in  stock  and  on  the  Broadway  stage 
before  going  to  Hollywood.  He  has  brown 
hair,  blue  eyes,  is  five  feet  nine  and  weighs  one 
hundred  and  forty-five  pounds. 

Little  Louise  Henry  was  born  in  1914,  in 
Syracuse,  New  York.  Before  entering  pictures 
she  was  on  the  stage  in  London  for  three  years. 
She's  five  feet  four,  weighs  one  hundred  and 
sixteen  pounds  and  has  blonde  hair,  blue  eyes 
And  she's  going  places! 

Joyce,  Lumberton,  N.  C.  —  Sorry  we 
couldn't  rush  that  answer  to  you,  Joyce,  but 
you  didn't  send  a  stamped  envelope.  Here's 
the  dope,  and  we  hope  you  didn't  get  tired 
waiting.  Gail  Patrick  isn't  married.  Her  real 
name  is  Margaret  Fitzpatrick,  and  she  was 
born  in  Birmingham,  Alabama.  You  can  ad- 
dress her  at  Paramount  Studios,  Hollywood, 
California 

John  Barrella,  Cape  Haitien,  Haiti. — 
Dolores  Del  Rio's  real  name  is  Dolores  Asun- 
solo.  She  was  born  in  Durango,  Mexico,  on 
August  3,  1905.  Her  "latest  film  is  "In 
Caliente."  She's  married  to  Cedric  Gibbons. 
And  did  you  know  that  Ramon  Novarro  is 
her  second  cousin? 

Edith,  Sarasota,  Pa. — Ralph  Bellamy  was 
born  in  Chicago,  111.,  June  17,  1904.  He  is  6 
feet,  \}4,  inches  tall,  weighs  178  pounds  and  has 
light  brown  hair  and  blue  eyes.  He  entered 
pictures  in  1930.  Latest  are  "Eight  Bells"  and 
"Air  Hawks."  Ralph  was  married  to  Kath- 
erine  Willard  in  June,  1931. 

Ada  Saunders,  San  Francisco,  Calif. — 
Kitty  Carlisle  was  born  in  New  Orleans  (she 
doesn't  tell  how  long  ago)  and  received  her 
education  in  Switzerland,  France  and  Italy 
She  is  under  contract  to  Paramount  and  hei 
latest  picture  is  "Here  Is  My  Heart."  Bing 
Crosby  is  the  hero. 

Margaret  Howe,  Des  Moines,  Ia. — Your 
girl  friend  is  wrong,  Joan  Crawford  and  Fred 
Astaire  are  not  brother  and  sister.  The  birth- 
days of  your  favorites  are  as  follows:  Jimmy 
Cagney,  July  17,  1904;  Myrna  Loy,  August  2, 
1905;  and  Bill  Powell,  July  29,  1892.  Sorry  I 
do  not  know  the  name  of  the  music  you  asked 
about 

Shirley  Zell. — What,  no  address,  Shirley? 
We'll  take  your  most  important  question  first, 
Margaret  Lindsay  is  still  single.  She  was  bom 
in  Dubuque,  Iowa,  September  19,  1910.  Is  5 
feet,  6  inches  tall;  weighs  115  and  has  chestnut 
hair  and  brown  eves. 


86 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


87 


I  Know  Myrna  Loy 
—But  Not  Very  Well 

(  CONTINUED  FROM  PAGE  31    I 

she  conducts  her  private  life  that  leases  had 
been  signed,  inventories  taken,  vans  practically 
in  front  of  the  house  and  the  proverbial  old 
lirst-and-last-month  check  in  hand  before 
I  knew  who  my  mysterious  tenant  was.  The 
thin  writing  on  the  pay-off  line  on  the  check 
revealed  in  childishly  round  letters  .  .  .  Myrna 
Loy.  It  was  clear  now  why  the  advance  guard 
of  business  manager  and  secretary  had  looked 
with  such  interested  eyes  on  the  long  stretch 
of  vacant  property  that  isolates  our  place  and 
had  insisted  that  our  name  remain  on  the  mail- 
box "because  we  don't  care  to  put  a  name 
there." 

When  the  secret  was  out  of  the  bag,  Myrna's 
peppy  little  secretary,  Carol  Pradeau,  who  re- 
minds me  of  Lupe-  withou  t-the-cussing,  laughed : 
"Who  did  you  think  was  movin'  in?    Garbo?" 

"Practically  the  same  thing,"  I  replied. 

So  for  six  months  My/na  lived  in  my  house; 
and  while  by  no  stretch  of  the  imagination 
could  it  be  said  we  became  friends  in  that  time, 
there  were  those  moments  of  getting  the 
plumber,  and  checking  the  gardener  to  see  the 
Sweet  Williams  were  planted  next  to  the 
garage  that  presented  opportunities  for  know- 
ing this  red-headed,  green-eyed,  freckled-faced 
girl  far  better  than  a  couple  of  casual  intei  views 
had  ever  revealed. 

CHE  is,  I  think,  the  shyest  person  I  have  ever 

met.  It  has  become  a  fashionable  gag  for 
glamorous  ladies  of  the  screen  to  claim  they 
are  really  frightened  fauns  at  heart,  suffering 
from  top-notch  complexes  of  timidity.  Myrna 
doesn't  claim  to  suffer  from  shyness.  She  just 
suffers. 

Sometime  in  her  life  she  must  have  been 
terribly  hurt  by  someone  or  something.  Per- 
haps her  deliberate  seeking  of  the  background 
was  inspired  in  those  years  when  Hollywood  so 
blithely  ignored  her  talents,  casting  her  in  role 
after  role  of  Oriental  or  half-breed  sirens.  Or, 
perhaps  some  trusted  friend  taught  her  too 
well  that  people  are  not  to  be  trusted.  When 
success  came  tumbling  into  her  lap  two  years 
ago  it  came  too  late  to  undo  the  self-effacement 
that  is  the  dominant  note  in  her  personality. 
Something  in  Myrna  cringes  from  life,  from 
contacts,  from  people.  Only  before  the  camera 
is  she  capable  of  turning  on  the  full  strength  of 
her  charm  and  innate  beauty — which  is  the 
best  reason  in  the  world  why  she  has  never 
landed  on  the  front  pages  of  newspapers,  mar- 
ried and  divorced  with  regularity,  and  traveled 
to  strange  places  to  bask  in  the  spotlight  of  her 
hard-earned  success. 

She  suffers  when  any  fact  of  her  private  life 
becomes  public  property.  She  is  miserable  in 
the  spotlight. 

Several  weeks  ago  it  was  necessary  for  her  to 
enter  a  San  Francisco  hospital  for  treatment 
for  a  bad  case  of  nerves.  When  the  news  leaked 
out  to  the  newspapers  that  the  registered  pa- 
tient .1/.  Williams  of  Montana  (her  real  name 
and  birthplace)  was  none  other  than  Myrna 
Loy  of  Hollywood,  she  became  so  upset  she 
fled  back  to  Hollywood  after  a  few  hours  of  the 
rest  cure  that  should  have  taken  weeks. 

She  was  dismayed  that  it  was  not  possible 
for  little  Pradeau  to  take  out  her  European 
passport  under  an  assumed  name.  All  her  per- 
sonal accounts,  telephone,  gas,  electric,  butcher, 
baker,  modiste,  candlestick-maker  are  carried 


a  shower  on  a  hot  day 


— the  cooling  mild  menthol  in  KGDLS 
sets  you  up.  Light  one  and  refresh 
that  hot,  parched  throat.  There's  just 
enough  mild  menthol  to  give  the  smoke 
a  pleasant  coolness,  but  the  fine  to- 
bacco flavor  is  fully  preserved.  Cork 


tips  save  lips.  And  a  B  &  W  coupon  in 
each  pack  worth  saving  for  a  choice 
of  mighty  attractive  premiums.  (Offer 
goodinU.S.  A. only;writefor  illustrated 
premium  booklet.)  Ever  tried  KGDLS? 
It's  time  to — and  a  good  time,  too! 


SAVE  COUPONS  for  HANDSOME  MERCHANDISE 

Brown  &  Williamson  Tobacco  Corp.,  Louisville,  Ky. 


CIGARETTES  ...  NO 


A   cheerful   foursome    of   the    "younger   set"    leaving    the   Trocadero: 
Ben   Alexander,   Paula   Stone,    Lew   and    Mrs.   Ayres    (Ginger   Rogers) 


under  the  name  of  Carol  Pradeau,  who  is  not 
only   her    secretary   but    her    companion. 

If  she  were  not  afraid  her  refusal  to  grant 
interviews  would  be  misinterpreted  as  a 
"Garbo,"  it  is  doubtful  if  she  would  ever  see 
the  press.  She  has  never  given  out  a  story  on 
"My  Philosophy  of  Love" — "Leading  Men 
I  Have  Kissed,"  nor  has  she  been  revealed  by 
any  other  star  as  "My  Pal,  Myrna,  As  I  Know 
Her." 

The  latter  idea  would  be  impossible,  anyway, 
for  with  the  exception  of  her  mother  and 
brother,  whom  she  adores — Carol,  Arthur 
Hornblow,  a  girl  who  used  to  be  her  stand-in, 
and  such  professional  friends  as  Bill  Powell  and 
Ramon  Novarro,  she  has  no  intimates. 

"Sometimes,"  confided  Carol,  who  is  still 
having  quite  a  time  with  her  English,  "I  think 
I  gonna  have  to  spank  Myrna.  She  never  go 
any  place,  never  want  to  see  anybody.  Every 
night  we  have  dinner  and  then  sit  in  front  of 
the  fire  and  talk.  When  Myrna  workin'  on  a 
picture  we  study  dialogue.  When  she  not 
workin'  we  just  talk.  The  other  day  I  say: 
'  What  you  got  all  those  beautiful  clothes  hang- 
ing in  the  closet  for  if  you  don'  wear  them?' 
She  say:  'Well,  I  got  to  think  up  some  work 
for  you  to  do.  If  you  don't  buy  me  clothes 
what  you  do  with  your  time?'  " 

IF,  by  any  chance,  I've  given  the  impression 
'Myrna  is  a  brooding  soul  in  her  solitude,  it  is 
a  mistaken  one.  She  loves  to  laugh.  The  few 
friends  who  are  close  to  her  are  amusing  com- 
panions. She  once  kept  a  very  mediocre  cook 
for  months  because  it  tickled  her  to  hear  him 
talk.  She  is  a  frequent  patron  of  a  certain  little 
gown  shop  in  Hollywood  because  of  a  little 
salesgirl  there. 

As  much  as  she  hates  parties,  now  and  then 
she'll  go  to  one  and  have  more  fun  than  any 
other  party- jaded  celebrity  present.  On  these 
occasions  she  is  always  stunningly  gowned, 
arriving  in  state  in  her  swanky  town  car  with 
its  uniformed  chauffeur.  She  appears  to  have 
such  a  good  time  her  occasional  hostesses  are 
always  amazed  when  they  don't  see  her  again 
for  months.  Myrna  has  merely  returned  to  her 
favorite  costume,  blue  slacks  and  white  sweater 


and  her  favorite  means  of  transportation- — the 
rumble  seat  in  Pradeau's  coupe. 

It  is  only  where  her  work  is  concerned  that  a 
certain  slow  stubbornness  in  her  make-up 
asserts  itself.  No  work  is  too  hard,  no  effort 
too  much  if  it  will  enhance  the  value  of  her  per- 
formance. She  has  never  been  known  to  pull 
a  temperamental  scene  on  a  set.  She  is  the 
hard-working  darling  of  all  directors.  In  her 
quiet  way  she  is  proud  of  the  strides  she  has 
made  in  the  past  two  years  via  the  route  of 
"The  Thin  Man,"  "Broadway  Bill"  and  other 
of  her  "new  personality"  pictures.  But  when 
a  report  was  circulated  that  a  campaign  would 
be  waged  in  her  behalf  for  last  year's  Academy 
Award  (just  as  one  was  waged  for  Bette  Davis 


over  the  trophy  eventually  won  by  Claudette 
Colbert)  Myrna  was  so  upset  she  was  ill. 
Arguments  from  studio  publicity  officials  were 
no  good. 

"But  Myrna,  'The  Thin  Man'  broke  all 
records  .  .  .!" 

She  put  her  foot  down.  And  in  that  quiet 
unobtrusive  way  of  hers  it  was  as  effective  as 
a  temper  scene  from  any  other  star  of  the 
cinema.  When  you  promise  Myrna,  you  don't 
break  that  promise.  She  is  guided  by  instinct 
solely.  She  either  feels  right  about  a  picture,  a 
part  or  a  person,  or  she  doesn't. 

From  the  beginning  she  was  convinced  that 
the  role  in  "Escapade"  was  not  suitable  to 
her.  Her  long  apprenticeship  in  unimportant 
roles  over  a  period  of  ten  years  has  proved  in- 
valuable in  one  way — it  gave  her  a  clear  view- 
point on  Hollywood  values  that  cannot  be  dis- 
torted. Her  success  was  too  slow  in  coming  to 
allow  for  giddy  mistakes  in  judgment  at  the 
top.  In  a  thoroughly  untemperamental  way 
Myrna  knows  the  Hollywood  game  well. 

With  her  background  of  experience,  she  feels 
that  too  many  pictures  with  even  the  debonair 
Bill  Powell  is  not  a  good  thing  for  either  of 
their  careers.  Only  one  picture  or  story  in 
hundreds  offers  equal  opportunity  to  both 
partners  of  a  team. 

CHE  is  also  Hollywood-wise  enough  to  know 
^that  if  her  salary  is  not  satisfactorily  ad- 
justed now  while  she  is  at  the  top,  it  will  never 
be  adjusted  when  the  golden  days  of  the  har- 
vest are  over — as  they  invariably  are  for  even 
the  brightest  of  box-office  bets. 

They  promised  her  adjustments  would  be 
made  in  the  role.  When  there  wasn't  there 
were  no  rows,  no  "big  scenes." 

Myrna  merely  packed  her  bag,  boarded  a 
plane  and  started  out  on  the  first  vacation  of 
her  life. 

From  behind  potted  palms,  from  under 
pulled-down  hats,  via  aliases  on  hotel  registers, 
and  from  behind  phony  excuses  to  hostesses 
who  would  fete  her,  Miss  X  of  Hollywood  steps 
forth  to  see  the  world  for  the  first  time  .  .  .  and 
perhaps  puzzle  it  as  thoroughly  as  she  has 
puzzled  Hollywood  for  a  dozen  years! 


You'll  be  seeing  them   soon — Greta   Garbo  and   Freddie   Bartholomew 
as  mother  and  son  in  M-G-M's  version  of  the  novel  "Anna   Karenina" 


88 


PHOTOPLAY  MAGAZINE   FOR  AUGUST,    1935 


89 


What  Really  Happens 
to  Movie  Children 

[  CONTINUED  FROM  PAGE  43  ] 

plead  with  her  not  to  deprive  her  baby  of 
its  birthright  to  a  normal  world  of  regulated 
naps,  sunbaths  and  sandpiles  for  the  million- 
to-one  chance  of  repeating  a  Coogan  or  a 
Temple  triumph." 

Strange,  isn't  it,  that  Mimi  Shirley,  for 
thirteen  years  a  movie  mother,  has  the  temerity 
to  tell  the  world  that  she  violently  disapproves 
of  children  working  in  pictures.  She  begged 
me  to  make  quite  clear  in  this  article  the  ruth- 
less forces  that  finally  compelled  her  to  proffer 
Anne's  babyhood  to  the  camera  gods. 

The  Shirleys'  story  is  as  familiar  as  it  is 
drab  and  appalling.  The  widow  left  with  a 
sixteen-months'-old  child  to  provide  for,  in 
teeming  New  York.  The  brave  determina- 
tion to  keep  the  baby  with  her  and  earn  a 
living  somehow.  There  was  the  sixteen-dollar- 
a-week  saleslady  job  and  a  six-dollar-a-week 
char  woman  to  look  after  child  during  the  day. 
The  subnormal  carelessness  of  the  underpaid 
servant  that  almost  resulted  in  the  permanent 
mutilation  of  the  baby's  right  hand,  and  the 
frantic  mother's  desperate  decision  to  find 
kitchen  work  to  enable  her  to  give  the  child 
a  full-time  mother's  attention. 

THEN  a  housekeeping  berth  in  a  motherless 
'  home,  where  she  cooked,  scrubbed,  washed 
and  sewed  for  a  father  and  three  children.  But 
she  had  in  return  four  dollars  a  week  and  a 
warm  room  to  herself,  where  she  could  hold 
Anne  close  to  her  during  the  long  nights. 

But  even  this  scant  security  was  snatched 
from  them  when  one  night  Mimi  Shirley  was 
forced  to  barricade  her  door,  and  with  Anne  in 
her  arms,  climb  out  the  window  and  run  two 
miles  to  the  nearest  town  for  safety  and 
shelter. 

There  was  a  period  of  a  year  or  more  when 
this  buffeted  pair  managed  to  keep  afloat  on 
eight  dollars  a  week  derived  from  Anne's 
posing  for  commercial  photographers.  Have 
you  any  idea  how  far  eight  dollars  goes  in  New 
York  City  toward  rent  and  food  and  clothes? 
And  when  a  summer  lull' caused  the  photog- 
raphers to  fold  their  cameras  and  silently 
steal  away,  and  the  Shirleys  w^ere  once  more 
fighting  to  keep  their  heads  above  the  waves, 
the  movies  flung  out  a  life  line  and  Mimi 
grasped  it  for  her  child  with  gratitude. 

"Through  a  number  of  small  coincidences 
Anne  was  given  tiny  parts  in  three  pictures 
made  in  New  York,"  Mrs.  Shirley  recounted 
the  fateful  steps  that  brought  them  finally  to 
the  Pacific  Coast,  "and  then  Allan  Dwan  ad- 
vised us  to  come  to  Hollywood,  where  work 
was  more  plentiful.  Both  Mr.  Dwan  and 
Herbert  Brenon  gave  me  letters  to  well-known 
men  in  the  studios  here,  so  you  see  I  entered 
this  town  with  really  marvelous  connections. 

"  A  NNE  was  put  to  work  almost  immedi- 
ately in  a  picture  starring  Betty  Compson, 
'The  Rustle  of  Silk,'  and  then  Mr.  Brenon 
arrived  from  the  East  and  used  her  through- 
out the  filming  of  Pola  Negri's  famous  picture, 
'The  Spanish  Dancer.' 

"  Her  salary  was  approximately  one  hundred 
dollars  a  week  for  these  pictures,  and  I  dreamed 
dreams  of  a  home,  a  garden  and  a  bank 
balance  for  the  first  time  since  Anne's  birth. 
Hollywood  is  such  a  deceptive  place.  It  is  so 
easy  to  dream  such  things  out  here." 


UNTOUCHED  Lips 
often    look  faded 


PAINTED  L.ps 
look  unnatural 


TANGEE  Intensifies 
your  natural  color 


And  then  Mr.  William 
found  out  he  had  picked 
the   girl  with  Tangee   Lips 

A    Suave . . .  sophisticated  . . .  those  are  words 

to  describe  Warren  William !  Yet  even 

this   debonair  actor  whose  roles  are   usually 

those  of  a  wise*  witty  man  prefers  girls  who  have 

naturally  rosy  lips...  free  from  conspicuous  paint. 

We  found  him  at  Warner  Brothers  Studios. 
With  us  were  three  girls.  One  of  the  girls 
had  no  lipstick  on;  one  had  her  usual  lip- 
stick, and  the  third  used  Tangee.  "Which  lips, 
Mr.  William,  appeal  to  you  most?"  It  didn't 
take  Warren  William  long  to  decide ...  he 
picked  the  Tangee  lips.  Later  he  said  quite 
frankly,  "Only  the  natural  lips  appealed  to  me." 

Tangee  makes  your  lips  look  natural... makes 
them  rosy,  soft,  and  kissable.  For  Tangee's 
magic  color  change  principle  brings  out  your 


Tl     World's  Most  Famous  Lipstick 
ENDS    THAT   PAINTED    LOOK 


•  Warren  William  picks  the  Tangee  girl  in  lipstick 
test.  Snapped  between  scenes  of  "The  Case  of  the 
Curious  Bride",  a  new  First  National  Picture. 

own  coloring.  Tangee  never  gives  you  that 
"painted  look".  .  .  because  /'/  isn't  paint.  For 
those  who  require  more  color,  especially  for 
evening  use,  there  is  Tangee  Theatrical.  Try 
Tangee.  It  comes  in  two  sizes,  $1.10  and  39 
cents.  Or  for  a  quick  trial  send  10c  for  the  spe- 
cial 4-piece  Miracle  Make-Up  Set  offered  below. 


•    4-PIECE     MIRACLE     MAKE-UP     SET 

THE  GEORGE  W.  LUFT  COMPANY  P85 

417  Fifth  Avenue,  New  York  City 

Rush  Mitacle  Make-Up  Set  of  miniature  Tangee  Lipstick, 
Rouge  Compact,  Creme  Rouge,  Face  Powder.  I  enclose  10^ 
stamps  or  coin).  15?  in  Canada. 


Check 

Shade 


^  Flesh         ]]  Rachel         ]  Light  Rachel 


Address 

Pie 

ise  Print 

r.itv 

ttrtt. 

Anne's  first  two  years  in  pictures  netted  an 
average  income  of  seventeen  dollars  a  week 
(because  of  the  long  payless  waits  between 
calls),  but  her  mother  was  quite  satisfied 
with  this. 

On  seventeen  dollars  she  rented  and  fur- 
nished a  four-room  cottage,  managed  to  keep 
the  pantry  stocked  with  all  the  fresh  fruits 
and  vegetables  necessary  for  a  growing  child, 
and  she  could  even  eke  out  the  expensive 
photographs  that  must  be  mailed  out  every 
few  months  to  refresh  the  memory  of  the  very 
busy  men  behind  the  studio  casting  office 
doors. 

"I  met  many  other  movie  mothers  during 
those  years,"  she  recalled,  "and  I  am  almost 
certain  that  I  was  the  only  one  who  was  not 
convinced  that  her  child  was  destined  for  star- 
dom and  millions.  I  am  almost  certain  that  I 
was  the  only  mother  in  that  group  of  a  thou- 
sand or  more  who  had  not  given  up  something 
vital  to  come  to  Hollywood.  Most  of  those 
movie  mothers  had  left  husbands,  homes, 
realtives  and,  in  some  cases,  certain  and  stable 
incomes  to  give  their  Junior  or  Sister  a  chance 
to  make  Jackie  Coogan  look  like  a  bum  on 
the  screen. 

"  DUT  I  also  met  during  those  long  waits  on 
^the  sets,  two  mothers  whose  godlike  kind- 
ness and  selfless  generosity  was  to  save  Anne 
and  me  in  the  years  that  followed  from  starva- 
tion and   the  humiliation  of  county  charity. 

"Those  two  women  are  Mrs.  Searle,  mother 
of  the  famous  juvenile  actor,  Jackie  Searle,  and 
Mrs.  Wynonah  Johnson,  whose  seven  chil- 
dren are  well  known  to  every  director  in  the 
industry." 

At  the  end  of  their  first  two  years  in  Holly- 
wood during  which  Anne  Shirley  was  called 
to  the  studios  with  comforting  regularity,  her 
tiny  rompers  would  no  longer  fit  her,  and  her 
baby  chubbiness  was  gone  and  she  was  leggy 
and  toothless  and  gangling,  for  it  seems  that 
even  a  movie  child  must  pass  somehow 
through  the  awkward  age. 

And  just  as  suddenly  there  was  no  work 
for  her,  not  even  a  half-day  extra  call  for  the 
baby  that  had  pleased  so  many  big  direc- 
tors. 

TROM  the  day  she  was  six  years  old  until  she 
'  was  eight,  Anne  did  not  earn  a  dime.  But  her 
mother  drew  all  her  plucky  energy  together 
to  bridge  the  new  chasm  that  opened  at  their 
feet,  and  she  managed  to  make  ends  meet  for 
six  months  by  renting  out  three  of  their  four 
rooms.  And  when  she  lost  the  roomers,  she 
sold  the  furniture  piece  by  piece,  until  they 
were  down  to  a  single  bed  and  a  cot.  And 
then  Mrs.  Shirley  discovered  that  she  could 
go  three  days  without  eating,  because  it  was  a 
tremendous  saving  on  food  money  for  Anne, 
but  she  could  never  manage  the  fourth  day, 
she  always  fainted. 

And  once  again  this  mother  climbed  aboard 
the  job  hunting  treadmill.  Once  again  there 
was  the  devitalizing  search  for  housework, 
office  work,  store  work,  any  kind  of  work. 
And  once  again  the  discovery  that  nowhere 
is  there  a  self-respecting  job  waiting  for  the 
untrained  woman  with  a  young  child  at  her 
side. 

She  was  forced  to  accept  work  as  a  com- 
bined switchboard  operator  and  janitress  in  a 
ramshackle  clubhouse,  where  for  twelve  hours 
of  daily  labor  she  received  a  small  room  with 
running  water  (cold)  and  not  one  thing  more 
not  even  a  bathtub. 

And  then  for  the  next  two  years  this  un- 
daunted pair  walked  a  mile  to  and  from  a 
friend's  house  every  day  for  a  bath,  and  every 


meal  was  cooked  in  their  room  on  a  single 
gas  plate. 

"It  was  during  this  dreary  interlude  that 
Mrs.  Searle  and  Mrs.  Johnson  came  to  our 
rescue,"  Mimi  Shirley  told  me.  "Whenever 
Jackie  worked,  Mrs.  Searle  sent  a  part  of 
every  check  he  received  to  us,  and  Mrs. 
Johnson  carried  huge  hampers  of  food  to  our 
room  the  moment  our  supplies  began  to  run 
too  low. 

Just  how  and  when  these  two  women  knew 
we  needed  help,  I  will  never  find  out.  Both 
of  them  seem  to  have  some  divine  inner  sight 
guiding  them. 

"And  remember,  the  Searles  and  the  John- 
sons were  really  struggling  to  meet  their  own 
expenses.  But  because  both  these  women 
have  husbands  with  modest  but  regular  jobs 
in  Los  Angeles,  they  feel  it  their  duty  to  help 
the  mothers  and  children  who  are,  because  of 
adverse  circumstances,  caught  'Lotus  eating' 
in  Hollywood. 

"These  women  bought  clothes  for  Anne. 
Mrs.  Johnson  even  sat  up  nights  making 
new  frocks  for  my  child.  I  am  telling  you  all 
this  because  I  want  you  to  emphasize  in  this 
story  the  great  part  they  have  played  in 
Anne's  success  today.  Without  Mrs.  John- 
son and  Mrs.  Searle,  I  know  we  would  not  be 
in    Hollywood    today." 

The  studios  suddenly  discovered  use  for 
Anne's  talent  again  when  she  was  eight.  She 
worked  with  fair  regularity  and  Mrs.  Shirley 
no  longer  had  to  go  on  periodic  three  day 
fasts  to  buy  Anne  milk  and  oranges.  She 
tried  this  time  to  save  money  against  the 
workless  months  she  now  knew  would  always 
threaten  them,  but  this  was  difficult  to  ac- 
complish. 

Everywhere  she  saw  movie  families  in  dis- 
tressful need,  and  she  quietly  followed  the  beau- 
tiful charity  of  the  Johnsons  and  the  Searles 
and  sent  part  of  every  pay  check  to  some 
despairing   mother. 

riVE  years  of  comfort  followed  for  the  Shir- 
'  leys  because  once  more  Anne's  yearly  earn- 
ings hit  the  seventeen  dollar  a  week  mark.  On 
this  dancing  lessons,  piano  lessons  and  French 
instructions  were  managed. 

And  then  came  the  final  and  perhaps  the 
most  shattering  hiatus  in  their  montonous 
struggle  to  survive. 

From  the  age  of  thirteen  to  fifteen,  Anne 
was  called  to  work  for  three  days,  and  the  total 
sum  she  earned  was  thirty  dollars. 

Mrs.  Shirley  made  the  round  for  work 
again  and  found  a  grocery  clerk  opening  in 
Long  Beach  where  she  stood  on  her  feet  twelve 
and  sometimes  fourteen  hours  a  day  in  an  open 
market  and  garnered  fifteen  dollars  at  the  end 
of  every  week. 

But  this  economic  straw  vanished  when  the 
depression  hit  the  grocery  business,  and  the 
pair  returned  to  Hollywood. 

"At  this  time,"  Mrs.  Shirley  told  me,  "I 
was  fortunate  to  find  a  kind  landlady  who  was 
willing  to  gamble  on  Anne's  chances  in  pic- 
tures, and  she  permitted  us  to  stay  in  her 
apartment  for  a  year  and  a  half  without  paying 
one  cent  of  rent. 

"The  Searles  and  the  Johnsons  and  another 
good  friend  came  to  our  rescue  again  with 
food  and  clothes 

"l  WENT  to  the  studios  and  begged  for  work 
of  any  kind  for  myself  and  extra  jobs  for 
Anne. 

"She  was  able  to  carry  young  lady  roles  at 
fourteen,  but  the  casting  directors  had  her 
etched  into  their  minds  as  a  child  player,  and 
the  newcomers  got  all  the  debutante  roles. 


"  I  discovered  then  that  experience  as  a 
child  player  all  but  ruins  a  girl's  er  a  boy's 
adult  future  on  the  screen." 

But  there  was  something  in  Hollywood 
more  difficult  to  bear  than  hunger  and  un- 
certainty. There  was  the  repeated  paralyzing 
heartbreak  of  losing  promised  roles  at  the  last 
moment  by  some  insane  side-swipe  of  Fate. 
And  these  heart-breaks  became  torture  when 
Anne  grew  old  enough  to  share  her  brave 
mother's  torment. 

When  Anne  was  fifteen,  she  was  cast  in  the 
role  of  a  Grand  Duchess  in  "Rasputin"  and 
Mrs.  Shirley's  lips  were  grim  when  she  related 
this  story  to  me.  "This  employment  helped 
clear  away  part  of  our  eighteen  months  back 
rent  and  to  buy  some  decent  and  warm 
clothes  for  Anne. 

"And  then  after  another  period  of  hopeless 
daily  calls  to  the  Casting  Bureau,  letters  sent 
to  directors  we  knew  and  long  waits  in  studio 
reception  rooms  for  futile  interviews  with 
supervisors,  Anne  was  suddenly  called  to  the 
RKO  studios  and  cast  in  the  leading  role  in 
'Finishing  School.' 

"  CHE  went  to  the  studio  every  day  for  two 
^ weeks  for  wardrobe  fittings  and  for  re- 
hearsals. 

"This  was  her  first  good  break  in  Hollywood 
and  we  were  both  light  headed  with  joy." 

But  the  day  before  the  picture  was  scheduled 
for  shooting  and,  ironically  enough,  the  day 
before  Anne's  pay  checks  became  realities,  the 
Shirleys  read  a  newspaper  item  announcing 
Mitzi  Green's  arrival  from  New  York  to  take 
over  Anne's  role  in  "  Finishing  School."  Anne 
was  acutely  ill  following  this  blow. 

But  thirteen  Hollywood  years  had  made  a 
stout  trouper  out  of  Mimi  Shirley,  and  she 
walked  smiling  into  that  studio  and  asked  the 
director  to  please  keep  Anne  in  the  picture  in 
any  capacity  even  for  a  few  days  of  extra 
work. 

And  she  got  just  that — extra  work. 

And  then  Fate  went  into  another  demented 
zigzag  that  ended  with  Mitzi  Green  on  a  train 
headed  back  to  New  York  after  one  week's 
work  and  producers  frantically  rushing  Anne 
back  into  the  part  that  had  been  snatched 
from  her. 

It  seems  that  Papa  Green  did  not  think  the 
part  big  enough  for  his  offspring.  The  Shirleys 
still  heap  silent  blessings  daily  on  Papa  Green's 
head. 

After  "  Finishing  School"  there  was  the  lead 
in  "Anne  of  Green  Gables"  and  finally  there 
was  the  benediction  of  that  RKO  contract 

A  ND  although  there  is  at  last  a  balance  in 
''the  bank  and  the  promise  of  such  things  as 
annuities  and  government  bonds,  the  Shirleys 
cling  to  a  crowded,  single  furnished  apart- 
ment, refusing  to  buy  an  inexpensive  car  or 
even  the  simple  luxury  of  a  cheap  fur  coat  for 
Anne. 

For,  you  see,  the  Shirleys  know  their  Holly 
wood.  They  know  that  here  hunger  and 
privation  are  the  inseparable  shadows  of 
glamour  and  wealth.  They  know  how  quickly 
the  imp  of  chance  topples  over  the  best  laid 
studio  plans,  and  they  know  the  stabbing  grief 
of  watching  Hollywood  dreams  shiver  to  ruin 
at  their  feet. 

They  know  all  this,  and  yet  Mimi  Shirley 
says: 

"I  am  truly  grateful  to  the  motion  picture 
industry.  It  gave  Anne  and  me  a  chance  to 
survive. 

"And  please,  is  there  some  way  we  can  tell 
every  mother  in  America  with  a  talented 
child,  that  Hollywood  offers  her  just  that?" 


90 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


91 


Mae  West  Talks 
About  Her  "Marriage' 

[  CONTINUED  FROM  PAGE  40  | 


as  I  used  to.  They're  all  holding  off  to  find 
out  whether  I'm  in  the  market  or  not.  I  ought 
to  sue  some  of  my  'husbands,'  "  she  laughed, 
"for  alienation  of  propositions." 

"That  might  be  a  job,"  I  suggested.  "It 
looks  like  everyone  whoever  proposed  to  you 
is  now  claiming  to  be  an  ex-husband." 

"And  then  some,"  Mae  agreed,  "they're 
coming  as  often  as  a  chain  letter.  Maybe  if 
I'd  send  'em  a  dime,  they'd  stop.  But  they'd 
probably  expect  a  diamond  instead  of  a  dime. 
A  bunch  of  sour  grapes  would  be  more  appro- 
priate." 

"From  your  recent  and  other  experiences." 
I  wondered,  "what  do  you  think  of  men  now?" 

"Often,"  confessed  Mae.  "Didn't  you  say 
'when'?" 

"No,"  I  told  her,  "I  said  'what'." 

"That's  different,"  she  qualified,  "I  like  'em. 
In  fact,  I'd  say  they're  nature's  greatest  gift  to 
women.  I  like  some  men  for  class  and  distinc- 
tion, some  for  brains,  some  for  looks,  and  some 
for  an  understanding  nature.  I  like  'em  to 
come  up  and  see  me,"  she  insisted,  "but  this 
guy  and  the  rest  of  my  'husbands'  must  have 
misunderstood  me.  They  thought  I  said  'come 
up  and  sue  me  sometime.'  " 

THE  New  York  Frank  Wallace,  still  insisting 
'  in  the  face  of  Mae's  denials  that  he  was  the 
head  man,  has  tried  to  put  Mae  on  the  spot  by 
asking  for  a  declaratory  judgment  from  the 
courts  stating  whether  she  is  or  is  not  his  past 
or  present  wife.  He  claims  that  Mae's  denial 
of  their  former  wedded  state  has  "caused  him 
untold  suffering,  held  him  up  to  the  ignominy 
of  his  companions,  injured  his  standing  in  the 
community  and  damaged  his  professional  rat- 
ing."   I  reminded  her. 

"Is  that  all?"  said  Mae.  "Well,  that's  one 
way  to  court  a  girl.  I'll  take  the  old  fashioned 
way.  But  say,"  she  declared,  "I'm  getting 
tired  of  talking  about  it.  I'm  not  married. 
I'm  still  a  bachelor  girl — and  that's  all  there  is 
to  it.  Who  brought  all  this  up  in  the  first 
place?" 

"Not  me,"  I  said.  I  told  her  I  thought  it 
was  a  government  "boon  doggier"  in  Milwau- 
kee who  unearthed  the  marriage  registration 
of  a  Mae  West  and  a  Frank  Wallace.  Then 
the  newspapers  hunted  up  Frank  Wallace  in 
New  York. 

A  REN'T  'boon  dogglers'  these  New  Deal 
relief  guys  who  spend  their  time  making 
something  out  of  nothing?"  asked  Mae. 

"Then  this  one,"  added  Mae,  "can  go  right 
to  the  head  of  the  class." 


HOLLYWOOD 
FASHIONS 

PHOTOPLAY    is   the    undis- 
puted   leader    in    reveaiing 
what  the  stars  wear  and  What 
They  Are  Going  to  Wear 

Readers  of  PHOTOPLAY 
ARE  STYLE  LEADERS 


'^Hm*^ 


BEEMAN'S  tones  up 
the  digestion  .  .  . 
puts  pep  in  your 

stride 


£$s 


dSSSP-' 


j%~p 


Try  BEEMAN'S. 
Its  pleasing  flavor 
keeps  right  on 
satisfying... 


Don't  Love  Me 


I  CONTINUED  FROM  PAGE  52 


"What  the  devil's  the  matter  with  this 
thing?" 

"The  switchboard  operator  wasn't  at  his 
desk  when  I  came  in  just  a  minute  ago,"  I 
told  him. 

All  the  time  that  I  was  answering  questions 
mechanically,  my  conscious  attention  was  on 
the  body  of  Scott,  lying  there,  grotesquely 
finished,  upon  the  floor.  Why  did  this  happen 
— how  did  it  happen? 

Death  had  walked  with  me  again! 


CHAPTER  XXIV 

Scott  had  said  during  our  conversation  there 
in  that  room  that  we  were  playing  the  final 
sequence  in  our  picture  but  I  had  not  paid 
much  attention  to  his  remark  except  to  think 
that  he  was  being  drunkenly  dramatic.  Now  I 
wondered  if  he  had  spoken  from  a  premonition 
of  tragedy — if  he  had  perhaps  intended  to 
kill  himself. 

Clancy  at  the  telephone  suddenly  got  a 
response. 

'"pOUT  time  I  got  a  little  action  around 

^here."  He  gave  a  number.  "And  stick 
around  your  switchboard,  will  you,  brother, 
until  I  get  through  with  you?"  he  added. 

He  got  his  number  in  a  few  seconds  and 
asked  for  somebody  named  Floyd. 

"That  you,  Bill?  That  case  I  reported 
about  five  minutes  ago  as  a  suicide  might  be 
something  else  again.  Send  out  the  photog- 
raphers, the  fingerprint  boys  and  any  other 
novelty  experts  you  find  hanging  around  at 
this  time  of  night." 

When  he  had  hung  up  I  spoke  to  him. 

"May  I  do  something  about  Mr.  Deering's 
body?    He  was  my  fiance,  you  know." 

He  answered  me  absently.  "  We'll  tend  to 
the  guy.    It's  Exhibit  A  in  this  case." 

He  looked  around  the  room  as  if  he  were 
trying  to  locate  something.  Finally  he  found 
it.  It  was  the  radiator  he  was  looking  for.  He 
went  over  to  it  and  picked  up  the  flat  wrench 
used  to  turn  on  the  gas.  The  detective  did 
not  touch  it  with  his  fingers  but  handled  it 
gingerly  with  his  handkerchief. 

"This,"  he  said,  holding  it  up,  "is  probably 
Exhibit  B." 

I  felt  particularly  useless.  They  wouldn't 
let  me  touch  Scott.  I  didn't  want  to  stay 
there  anyway.  Now  I  had  more  to  think  about 
than  ever. 

"May  I  go,  now?"  I  asked  the  detective. 

I IE  looked  at  me  as  if  he  didn't  quite  com- 

'  'prehend.  "Go?"  he  asked.  "Oh  yes,  I 
guess  so.    Joe,  take  Miss  Adair  to — " 

I  interrupted  him.  "A  friend,  who  is  wait- 
ing for  me  downstairs,  has  a  car  at  the  door 
and  he  will  take  me  home." 

"That's  fine — mighty  kind  of  him.  But  I'll 
have  to  send  Joe  with  you  just  the  same. 
Your  friend  wouldn't  know  the  quickest  way 
anyhow — not  to  where  you're  going." 

I  knew  what  he  meant  but  I  asked  anyway: 
"Where?" 

"To  the — er — hell,  I  don't  know  the  polite 
word  for  jail." 

"Jail?    What  for?" 

"Well,  for  now,  I'm  holding  you  as  a  mate- 
rial witness." 


92 


William    Gargan   is   a   radio   long-distance   bug.     When   you   don't  find 
Bill   glued   to   his   set,   look  for  him   on    the   roof  adjusting   his   aerial 


CHAPTER  XXV 

The  newspapers  were  full  of  the  story  by  the 
next  afternoon,  but  they  didn't  have  much  to 
go  on  until  the  second  day  of  my  detention. 
Then  the  late  afternoon  editions  carried  an 
account  of  the  coroner's  inquest. 

The  jury  brought  in  a  verdict  of  wilful 
murder  and  recommended  that  I,  Rachel 
O'Hare,  alias  Rochelle  Adair,  be  held  for  trial. 

The   basis   of    that    recommendation   was: 

First,  on  the  testimony  of  the  Jap  Tamaki, 
I  had  been  quarreling  with  Scott  Deering  in 
his  apartment  shortly  before  he  was  killed. 

Second,  my  fingerprints  were  on  the  wrench 
by  means  of  which  the  gas  had  been  turned  on. 

Third,  I  had  previously  been  connected  with 
the  unexplained  death  of  a  man  to  whom  I  had 
been  engaged. 

THIS  last  was  stricken  from  the  records  but 
the  newspapers  printed  it  anyway  and  it  was 
quite  as  damaging  as  either  of  the  other  two 
premises  which  were  allowed. 

The  thing  which  was  conspicuously  absent 
from  all  accounts  and  from  the  proceedings  of 
the  coroner's  inquest  itself  was  any  mention 
whatever  of  the  letter  from   Sam   Werks  to 


Scott  Deering  which  I  had  seen  on  Scott's 
desk.  What  had  become  of  it?  I  couldn't 
believe  that  the  police  had  overlooked  it.  They 
must  have  read  every  scrap  of  paper  in  the 
apartment.  The  only  conclusion  I  could 
come  to  was  that  they  were  holding  it  as  a 
surprise. 

I  I NCLE  LOU  MUELLER  wired  from  New 
^"York  to  his  own  attorneys  to  handle  my 
case.  A  representative  from  their  office,  an 
alert  young  man  by  the  name  of  Abe  Gold- 
gartner,  came  to  see  me. 

"The  main  thing  is,  don't  say  anything,  Miss 
Adair,"  he  counseled.  "Mr.  Weiss,  who 
handles  all  our — er — more  delicate  indict- 
ments is  away  defending  an  embezzlement 
case  in  San  Francisco  but  he'll  be  back  in 
plenty  of  time  to  take  care  of  you.  There  is 
nothing   to  worry   about — positively." 

That's  what  he  thought. 

"They  hardly  ever  hang  a  woman  in  this 
state,"  he  added  consolingly,  "and,  so  far  as 
I  know,  they  never  even  brought  in  a  verdict 
of  guilty  against  anybody  as  beautiful  as  you 
are — although  it  may  be  a  little  more  difficult 
if  we  get  many  women  on  the  jury." 

I  could  see  that  he  considered  that  the  prose- 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


93 


cution  had  a  good  case  against  me  and  that 
the  defense  would  have  to  be  built  up  on 
emotional  lines  based  on  my  personality. 
Needless  to  say  I  was  not  particularly  pleased 
with  the  idea. 

Still  there  was  nothing  else  to  do  so  I  told 
him  the  truth  about  what  happened  the  night 
that  Scott  Deering  died.  He  seized  upon  the 
account  of  my  interview  with  Dr.  Khanandi. 

"That  might  be  a  good  alibi,"  he  decided, 
"especially  if  we  can  get  that  faker  to  testify 
that  you  were  in  his  office  early  enough  in  the 
evening." 

Abe  Goldgartner  went  to  check  up  on  my 
statement  that  I  had  been  with  Dr.- Khanan- 
di and  to  find  out  if  he  had  a  record  of  the 
time  of  my  arrival  and  departure. 

I  had  scarcely  gotten  back  to  my  cell  from 
my  sojourn  in  the  visitor's  room  when  the 
matron  came  to  get  me  again. 

"Who  is  it?"  I  asked,  not  particularly 
anxious  to  see  anyone  under  the  circumstances. 

"Counsel  for  the  prisoner,"  she  replied. 

I  supposed  that  Goldgartner  had  come  back 
to  ask  some  question  he  had  forgotten  so  I 
reluctantly  returned  to  the  screened  cage. 

Standing  in  the  doorway  on  the  visitor's 
side  was  Samuel  Werks,  or  his  ghost,  leaning 
heavily  on  a  cane. 

I  say  "ghost"  advisedly  and  for  two  reasons. 
One  of  them  was  that  he  was  certainly  the 
last  person  on  earth  that  I  expected  to  'see 
standing  there  and  the  other  was  that  I  have 
seldom  seen  a  more  bloodless  wraith  of  a  man. 

I  DIDN'T  need  to  have  a  nurse's  training  to 
'  know  that  Sam  was  a  very  sick  man.  The 
flesh  on  his  pallid,  yellow  face  had  sunk 
absolutely  to  the  bones,  his  clothes  hung  on 
his  body  as  though  there  was  nothing  but  the 
skeleton  underneath,  and  his  eyes,  always 
terrier-like  in  their  expression,  were  now 
bonfires  burning  deep  in  their  sockets. 

My  first  impulse  was  to  turn  back — I 
didn't  want  to  see  Sam  or  talk  to  him — but  he 
made  a  compelling  gesture  and  I  weakened. 
He  motioned  me  to  a  seat  on  the  other  side  of 
the  table  which  was  separated  in  the  middle  by  a 
wire  netting.  He  limped  to  the  chair  opposite 
mine. 

I  greeted  him  doubtfully.  "The  matron 
said  my  attorney — " 

"That's  right,"  he  interrupted.  "I'm  your 
attorney." 

"  But  I  have  already  made  arrangements  to 
be  represented  by  a  Los  Angeles  firm." 

He  waved  that  aside. 

"A  defendant  has  the  right  to  discharge  one 
attorney  and  substitute  another." 

"  I  have  no  desire  to." 

Sam  smiled.  It  was  an  expression  that 
gave  me  a  chill  premonition. 

"You  will  have,"  he  answered  cryptically. 
"  I  got  you  out  of  a  scrape  like  this  once  before 
and  I'm  going  to  do  it  again.  The  minute  I 
heard  you  were  in  trouble  I  took  a  plane  for 
the  coast." 

"Why?" 

He  looked  at  me  a  long  time  before  he 
answered. 

"You  know  why,  Rachel.  It's  because  I 
want  you.    I'm  going  to  save  you  for  myself." 

I  must  have  laughed.  "That's  your  fee?" 
I  inquired. 

"Yes." 

"What  makes  you  think  I'll  pay?" 

"You'll  have  to." 

I  tried  to  meet  his  proposition  derisively,  as 
if  it  were  a  joke.  "Then  I'll  stick  to  my 
present  attorneys." 

He  shook  his  head. 1  "You  can't  do  that 
either.     I'm  going  to  represent  you  or  else — " 


but  women  asked  me 
to  explain  why  Kotex 

Can't  chafe,  Can't  fail, 
Can  H  show 


"CAN'T  CHAFE" 


The  new  Kotex  gives  lasting  comfort  and  free- 
dom. You  see,  the  sides  of  Kotex  are  cushioned 
in  a  special,  soft,  downy  cotton  —  all  chafing,  all 
irritation  is  prevented.  Sides  only  are  cushioned 
—the  center  surface  is  left  free  to  absorb. 


It 


CAN'T  SHOW 


The  sheerest  dress,  the  closest-fitting  gown  reveals 
no  tell-tale  lines.  The  ends  of  Kotex  are  not  only 
rounded  but  flattened  and  tapered  besides.  Abso- 
lute invisibility — no  tiny  wrinkles  whatsoever. 


f  Author  of  "Marjorie  May's  12th  Birthday'1 


"CAN'T  FAIL 


Security  at  all  times !  .  .  .  for  Kotex  has  a  special 
center  layer  with  channels  that  guide  moisture 
evenly  the  whole  length  of  the  pad.  This  gives 
"body"  but  not  bulk — makes  Kotex  adjust  itself  to 
every  movement.  No  twisting.  The  filler  of  Kotex 
is  actually  5  times  more  absorbent  than  cotton. 


I'VE  discovered  this:  once  women  un- 
derstand the  3  exclusive  advantages  that 
only  Kotex  offers,  most  of  them  will  not  be 
satisfied   with    any    other  sanitary  napkin! 

Now  you  need  never  have  times  when 
you're  ill  at  ease.  For  there  is  a  simple  way 
to  carefree,  perfect  poise  on  the  days  it's 
hardest  to  attain.  The  new  Kotex  has 
removed  all  annoyance  from  women's  most 
perplexing  problem. 

With  these  extra  Kotex  advantages  cost- 
ing so  little,  there's  no  economy  in  accept- 
ing ordinary  sanitary  napkins. 

U  U  t  0  I —  the  positive  deodorant 
powder  for  personal  daintiness 

The  perfect  deodorant  powder  for  use 
with  Kotex. . .  and  for  every  need!  Quest 
is  a  dainty,  soothing  powder,  safe  to  use. 
Buy  Quest  when  you  buy  Kotex,  only  35c. 


WONDERSOFT     KOTEX 

BUY  THE  KOTEX  SANITARY  BELT.  Narrow  and  Adjustable.  Requires  no  pins. 


he  paused  to  let  that  sink  in — "or  else  I  shall 
be  the  principal  witness  for  the  State.  If  I 
go  on  the  stand  with  what  I  know,  you'll 
swing,  Rachel,  as  sure  as  there  is  a  hell.  And 
there  is — I've  been  there  ever  since  T  first 
knew  you." 

I  gazed  at  him,  half-comprehending. 
"You  mean  that  if  you  can't  have  me,  no 
one  else  ever  will?" 

He  grinned.  "Right.  You're  a  bright  girl, 
Rachel.     I  always  said  so." 

"But  why  should  you  want  a  woman  who 
— er—  ?" 

"Hates  me?"  he  completed.  "I'll  even  tell 
you  that.  ...  If  you  want  to  see  all  the  cards 
on  the  table,  here  they  are." 

He  paused  and  collected  his  thoughts. 

"You  don't  dislike  me  any  more  than  most 
women  do.  I'm  not  misshapen  but  I  might  as 
well  be,  as  far  as  attraction  for  your  discrimi- 
nating sex  is  concerned.  Frankly,  I'm  starved 
for  a  woman — a  woman  of  my  own.  Nobody 
I'd  want  would  have  me.  I  know  that.  So 
I've  got  to  take  one  as  my  ancestors  did  in  the 
cave  days. 

"If  I'm  going  to  take — why  not  take  the  best? 
You  are  the  most  glamorous  woman  of  your 
time,  Rachel.  That  is  one  of  the  reasons  I  have 
chosen  you.  The  other  reason  is  that  I  can  get 
you." 

I    DID    laugh    then — not    very    convincingly 

perhaps — but  nevertheless  with  a  fair  show 
of  genuine  mirth. 

He  didn't  act  as  if  he  had  heard  me.  He 
didn't  look  at  me,  even,  as  he  said,  "I've  been 
thinking  about  you  constantly  ever  since  you 
left.  The  memories  of  you  have  been  gnawing 
like  rats  at  my  body.  That's  why  I  look  this 
way." 

He  raised  his  haggard  eyes  to  mine.  I 
could  almost  feel  it  in  my  heart  to  be  sorry 
for  the  half-crazed  wretch.  For  I  was  convinced 
now  that  Sam  Werks  was  insane. 

No  man  in  his  right  mind  could  have  made 
such  a  bizarre  proposition  as  the  one  he  had 
just  offered  me. 

"  You're  ill,"  I  told  him. 

"I  admit  that." 

"Too  ill  to  appear  in  court,  I  mean." 

Sam  laughed.  "No,  Rachel.  Even  if  I 
had  to  be  carried  in  on  a  stretcher  I  will  still 
be  a  better  lawyer  than  anybody  who  has  ever 
plead  a  criminal  case  in  this  state  since  Earl 
Rogers  died."  He  looked  up  at  me  with  a  wry 
smile.  "And  after  seeing  you  again,  Rachel, 
I've  got  the  will  to  live.  Don't  worry — I'll 
not  only  get  you  off  but  I'll  be  around  to 
collect  my  fee." 

Of  course  I  did  not  give  my  consent  to  his 
fantastic  plan.  Neither  did  he  offer  any 
further  arguments. 

"Just  think  it  over,  Rachel,"  he  said  as  he 
left.  "If  you  can  find  any  other  answer  I'll 
admit  that  I'm  licked." 

CHAPTER  XXVI 

I  tried  not  to  think  of  what  Sam  Werks  had 
told  me — I  wanted  not  to  think  of  him  at  all. 
It  seemed  to  me  that  I  had  enough  to  worry 
me  without  his  disturbing  presence.  But  it 
would  have  been  just  as  easy  for  Trilby  not 
to  have  thought  of  Svengali. 

A  cell  is  no  place  to  get  away  from  insistent 
problems.  Sam  had  suddenly  become  my 
greatest  one — the  most  disturbing  factor.  The 
nightmare  of  his  infamous  proposition  tor- 
tured me  until  dawn. 

If  I  could  have  divorced  it  from  my  vivid 
recollection  of  his  face,  especially  his  com- 
pelling eyes,  I  might  have  thought  my  way  out 

94 


Maybe  not — I'm  not  sure  even  yet  that  there 
was  a  way  out. 

I  decided  finally  to  put  the  entire  proposi- 
tion up  to  young  Mr.  Goldgartner,  but  when 
he  showed  up  in  the  morning  we  viewed  each 
other  across  the  wire  netting  with  little  con- 
fidence on  either  side. 

"The  alibi  blew  up,"  he  said.  "This  Dr. 
Khanandi  took  it  on  the  lam  the  day  after  the 
murder.     He  must  have — " 

I  interrupted  him.  "You  think  it  was 
murder?" 

"Sure.  Listen,  Miss  Adair,  you  got  to  tell 
the  truth  to  your  lawyer  and  we  might  as  well 
admit  facts. 

"We  can't  do  anything  with  your  case  if 
something  is  apt  to  crop  up  that  we  don't  know 
anything  about." 

I  realized  then  how  impossible  it  would  be 
to  entrust  him  with  the  knowledge  that  Sam 


jauntiness  which  had  come  to  him  overnight. 
He  was  almost  pleasant. 

I  remembered  that  he  could  be,  especially 
when  he  donned  the  mantle  of  professional 
courtesy. 

It  was  with  something  like  relief  that  I 
faced  the  future.  It  wasn't  very  pleasant  but 
at  least  I  knew  what  it  was.  I  was  nearly  as 
confident  that  Sam  would  win  as  he  was 
himself. 

He  sensed  my  reaction.  "Atta  girl,  Rachel. 
Now,  let's  have  the  story." 

I  TOLD  him  everything,  guided  by  his  skilful 

questions. 

When  I  related  the  incident  of  seeing  his 
own  letter  on  Scott  Deering's  desk  he  gave  a 
start  of  surprise. 

"You  saw  that,  did  you?" 

"Yes.      And   it   has   disappeared — at   least 


Maybe  it's  so.  that  the  romance  between  Jimmy  Blakeley  (left) 
and  Mary  Carlisle  has  slightly  chilled,  but  here  they  are  at  Raquel 
Torres'  party,  with  Benita  Hume  and  Jack  Dunfee.  The  reports  have 
it  Benita  and  Jack  are  engaged,  but  keeping  it  quiet.    In  Hollywood? 


Werks  might  appear  as  a  witness  for  the  prose- 
cution. And  if  I  did  not  tell  him,  and  that 
fantastic  element  came  out  during  the  progress 
of  the  court  proceedings,  it  undoubtedly  would 
upset  any  carefully  planned  defense  that  he 
or  any  helpful  member  of  his  firm  might 
build  up. 

So  I  gave  up.  I  didn't  care  much  anyway. 
I  felt  some  way  that  Mr.  Goldgartner  did  not 
have  much  conviction  in  his  optimistic  hopes 
of  getting  a  favorable  verdict.  His  profes- 
sional  manner  did  not  fool  me. 

I  didn't  say  anything  to  the  young  attorney 
about  it  but  when  Sam  Werks  showed  up  I 
merely  asked  him  to  make  the  necessary 
arrangements  to  take  over  the  defense.  He 
had  the  papers  all  ready — he  had  been  that 
sure  I  could  find  no  other  way  out — and  I 
signed  them  listlessly. 

j  MUST  admit  that  Sam  had  everything  that 

the  other  man  lacked.     He  seemed  absolutely 

sure  of  himse'f      Besides  that    he  had  a  new- 


no  mention  of  it  has  been  made  by  the  news 
papers  or  the  police." 

He  thought  a  minute.  "I  don't  believe  it 
matters." 

It  was  my  turn  to  ask  a  question.  "What 
was  in  it?" 

"Just  congratulations  from  an  old  friend 
of  the  bride-to-be." 

I  didn't  believe  him  and  said  so. 

He  laughed  me  down.  "Obviously  I'm 
right.  If  it  were  anything  else  they  would 
have  brought  it  up  at  the  coroner's  inquest." 

"  I    INLESS,"  I  pointed  out,  "they're  saving  it 

^"for  a  surprise." 

He  considered  that  for  a  moment.  "I  don't 
think  so.  Take  my  word  for  it,  Rachel,  that 
letter  will  never  appear." 

Nevertheless,  at  the  trial  I  was  to  wait,  tense, 
watching  for  it  to  rise  out  of  the  limbo  of  for- 
gotten things  and  confront  me  like  an  accusing 
specter. 

I  To  be  concluded  next  month] 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


Fashion  Forecast 
for  Early  Fall 

f  CONTINUED  FROM  PAGE  53  | 

chemise  type  of  dress  with  loose  top  and 
slim,  straight  skirt.  Slits  are  out.  For 
afternoon,  a  slight  drapery  look,  bi-sym- 
metric,  tailored  drapery,  which  is  correct 
for  the  day.  Skirts  will  have  the  look  of 
a  side-saddle  riding  skirt. 

Hats:  Fur  hats — tiny,  precious  fur  hats,  some 
with  a  Mongolian  influence.  No  large  or 
off-the-face  hats  (except  on  babies).  Many 
veils  will  be  hanging  down  many  backs. 

Shoes:  There  will  be  a  return  to  Russian  boots, 
to  be  worn  with  very  short  skirts  by  the 
more  daring  women. 

Jewelry:  Street  jewelry  will  be  made  of  tortoise 
shell  and  heavy  metal.  Great,  heavy 
carved  Chinese  things,  with  colored  semi- 
precious stones;  East  Indian  types  and 
Schiaparelli's  modernistic  jewelry.  Pearls 
are  coming  into  their  own  as  a  decoration 
worthy  of  respect.  Wear  them  with  every- 
thing from  sweaters  to  evening  gowns.  But 
don't  wear  any  other  jewelry  with  them. 

Other  accessories:     Muffs  of  any  size  will  be 


EVENING  CLOTHES 

Colors:  First,  black;  second,  white  and  pastels; 
third,  navy-blue  and  brown. 

Fabrics:  I  like  gauze  trimmed  with  fur,  and  the 
floating  chiffon  dress,  such  as  I  originally 
designed  for  Irene  Castle,  the  latter  for 
young  girls  with  lovely  figures. 

Line:  Ankle  length  skirts  in  front  and  shorter 
at  the  rear,  no  matter  how  far  they  stretch 
out.  No  slits.  Panels  will  be  flying. 
Much  drapery,  especially  at  the  skirt  top. 
There  will  be  the  peg-top,  pulled-up-in- 
front  look,  probably  due  to  the  lovely 
Eastern  Princess  whose  beauty  and  grace 
are  influencing  fashion.  The  line  of  classi- 
cally pure  and  beautiful  drapery,  glorifying 
the  body  and  making  it  vague,  is  the  highest 
fashion  trend. 

Wraps:  Hip  length,  preferably,  and  spec- 
tacular. 

For  evening,  you  may  wear  what  you  choose 
to  wear  at  home.  Where,  in  other  words,  you 
are  sure  of  your  background.  If  your  features 
or  personality  lean  toward  an  epoch  or  period, 
suggest  it  by  arrangements  details,  acces- 
sories. 

The  1830  look,  or  the  East  Indian  look,  or  the 
bustle  look.  But  don't  fly  out  with  a  crowd 
of  people  and  stand  against  a  modernistic 
bar  in  a  bustle. 

The  idea  of  a  dark  evening  dress  with  bril- 
liant accessories  and  a  sparkling  wrap,  prefer- 
ably hip  length,  is  the  smartest  ensemble  that 
can  be  worn.  Every  item  of  the  wardrobe 
should  be  real  or  not  attempted.  Concentrate 
on  one  costume,  if  that  is  all  that  can  be  had, 
and  have  it  as  nice  as  possible.  Attempted 
finery  is  very  bad. 

Lots  of  luxurious  furs — swathed  and  buried 
in  furs  will  be  the  fashionable  lady  of  this 
Autumn  and  Winter. 


95 
• 


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to  any  one  feature  would  be 
difficult.  It  is  the  combination  of 
luxurious  living,  supreme  service, 
unexcelled  cuisine,  and  the  most 
beautiful  outlook  in    New  York 

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The  Private  Life  of  Ginger  Rogers 


CONTINUED  FROM  PAGE  27 


might  be  any  young  working  couple  you  could 
name  in  Peoria,  Illinois,  or  Waxahachie,  Texas. 
Lew  might  be  the  nice  young  garage  mechanic 
who  wrecked  your  carburetor  this  morning. 
And  Ginger  might  be  the  babe  who  sang, 
"Sorr-ray.  Mr.  Smith  is  ow-ut — is  there  a 
mess-age? "  when  you  called  on  a  matter  of 
life  and  death. 

Their  private  lives,  it's  quite  true,  from  a 
headline  standpoint,  belong  back  with  the 
Vital  Statistics  and  the  Moon  and  Tides 
department. 

They  live  in  a  rented  house  with  rented 
furniture  like  thousands  of  other  rented  houses 
with  rented  furniture.  They  drive  two  small 
cars — a  Buick  coupe  which  Lew  bestowed  upon 
Ginger  to  celebrate  their  engagement,  and  a 
Ford  family  sedan.  They  usually  try  to  see 
who  can  get  to  the  garage  first  to  get  the  Ford. 

"THEIR  at  home  habits  are  hangovers  from 
'  the  honeymoon  flight.  If  you  ever  caught 
Ginger  in  anything  but  slacks  or  linen  overalls 
around  the  house  you  would  be  justified  in 
having  your  eyesight  tested.  And  the  funny 
part  of  it  is  that  in  her  bedroom  are  two  huge 
closets  fairly  bulging  with  beautiful  and  ex- 
pensive gowns.  Some  of  them  have  been  hang- 
ing there  untouched  since  she  went  on  her 
trousseau  jag  in  New  York.  Others  are  the  re- 
sult of  secret  "buying  sprees"  in  which  she 
indulges  now  and  then. 

It's  an  odd  fact  that  Ginger's  two  secret 
passions  in  life,  besides  Lew  Ayres,  are — 
clothes  and  dancing.  Yet  she  never  wears 
clothes  and  she  never  goes  dancing — well, 
hardly  ever. 

THE  other  day,  in  between  rehearsals,  tests, 
'  rushes  and  the  things  that  jam  her  waking 
hours  these  days,  she  dashed  down  to  Bullocks- 
Wilshire,  Los  Angeles'  swankiest  emporium, 
and  emerged  proudly  with  four  new  creations. 
Promptly  she  hung  them  up  in  her  gloating 
closet — regarded  each  with  a  sigh  of  satisfac- 
tion, and  snatched  down  four  "old  dresses." 
The  "old  dresses"  had  never  been  worn,  of 
course,  but  they'd  been  hanging  there  a  few 
months,  so  Ginger  decided  to  do  something 
about  it. 

She  called  in  a  girl  friend. 

"Here,"  she  said,  "can  you  wear  these?  I'm 
getting  tired  of  looking  at  them." 

"But,"  protested  the  lucky  gal,  "they've 
never  been  worn!" 

"I  know,"  said  Ginger,  with  just  a  faint, 
wistful  sigh,  "and  they  never  will  be,  if  they 
hang  around  here." 

CVEN  when  she  has  to  run  down  to  the 
■-  Boulevard  to  deposit  one  of  those  fat  checks 
she's  drawing  now-a-days,  you'd  never  in  the 
world  recognize  her,  unless  you  knew  her 
pretty   darned   well. 

I've  seen  Ginger  time  after  time  flopping 
down  the  street,  her  persimmon-colored  tresses 
dangling,  uncurled  to  her  shoulders,  looking 
like  a  sailor's  sweetheart  all  set  for  a  big  day  at 
Coney  Island  with  white  slacks,  beach  pumps 
and  a  treasured  navy  blue  pea-jacket  wrapped 
around  her. 

As  a  matter  of  fact,  a  day  at  Coney  Island 
would  be  her  idea  of  no  end  of  a  big  event. 
Lacking  Coney  Island,  the  roller  coasters, 
Keno  games,  shooting  galleries  and  pop-corn 


stands  of  Ocean  Park  get  the  nod  over  the 
Trocadero  or  the  King's  Club  when  Ginger 
and  Lew  feel  like  kicking  up  their  heels  in 
some  fun. 

And  Ginger's  the  one  who  says  where  to  go 
and  when. 

Three  or  four  nights  a  week,  lately,  they've 
been  bowling,  in  a  little  alley  in  Beverly  Hills. 
Ginger  averages  a  score  of  135,  and  if  you 
know  anything  at  all  about  your  ten-pins, 
you'll  realize  she  puts  her  heart  in  her  work. 
That's  a  fair  to  middlin'  score  for  a  growing 
girl.  Some  evenings,  just  before  dusk  falls, 
they  haunt  a  little  public  pitch-and-putt  golf 
course  out  in  Westwood.  On  others,  just  after 
supper  time,  they  set  out  on  a  cross-country 
movie  hunt. 

They'll  travel  to  the  remotest  neighborhood 
pill  box  theater  just  to  see  some  picture 
they've  missed.  And  Mr.  Ayres  may  become 
fidgety  when  the  picture  turns  out  to  be 
obvious  and  dull — but  not  Mrs.  Ayres. 

"I  simply  love  awful  movies,"  she  says,  and 
insists  on  sitting  through  two  or  three  features, 
newsreels,  cartoons  and  travelogues.  Even 
when  a  four-year-old  child  could  tell  how  it's 
all  going  to  end,  Ginger  protests: 

"  I  know — but  I  want  to  see  it  end  that  way." 

/'■"nF  course,  Lew  and  Ginger  do  stay  home 
^■^  some  nights — in  fact  a  whole  lot  of  nights. 
They  stay  home,  for  instance,  on  "cutting 
night,"  when  the  results  of  Lew's  current 
miniature  movie  craze  are  assembled  and 
edited.  Then  the  front  room  is  draped  with 
film,  hanging  like  celluloid  serpentine  from 
lampshade  and  chandelier.  Lew,  one  of  those 
handy  men  around  the  house,  is  a  born 
tinkerer. 

He  worked  for  weeks  regulating  the  spouting 
pressure  of  their  fountain  so  it  would  balance 
a  ping-pong  ball  perpetually  at  the  tip  of  the 
stream! 

Such  Edison-like  activities  are  all  right  with 
Ginger,  who  merely  rises  above  it,  crunches  an 
apple  and  tries  to  "catch  up  on  a  whole  lot 
of  books"  or  work  out  a  new  tune  (she's  had 
two  published  recently,  by  the  way,  "I'd 
Rather  Waste  My  Time  With  You,"  and 
"Used  to  Be  You") — that  is,  unless  some  of 
"the  boys"  drop  in. 

Ginger  has  no  real  intimate  friends,  outside 
of  her  cousin,  Phyllis  Fraser,  and  perhaps 
Janet  Gaynor.  "The  boys"  signifies  a  unique 
camaraderie  born  of  "  All  Quiet  On  the  Western 
Front."  Lew  Ayres,  Ben  Alexander,  Billy 
Bakewell  and  Russell  Gleason  have  been  like 
brothers  ever  since  they  played  together.  Ben 
is  practically  a  member  of  the  family,  and  any 
one  or  all  of  the  trio  are  likely  to  drop  in  with 
or  without  their  current  flames.  When  they 
do,  they  all  sit  on  the  floor,  send  out  for  ham- 
burgers and  buttermilk  and  play  "murder," 
or  "Guggenheim"  or  "kick-it."  Or  else  Lew 
unreels  the  latest  colossal  epic,  always  pref- 
aced by  an  explanatory  title  which  comes 
right  after  the  NRA  emblem. 

THE  audience,  apologizes  the  title,  will  have 
'  to  excuse  the  grade  of  lighting,  sets  and  cos- 
tumes, because  of  a  little  trouble  with  "  the 
front  office." 

Then  flashes  a  full  face  of  Ginger,  very 
stern — bearing  the  label,  "Front  Office." 

If  it's  Thursday  or  Sunday  night,  which  are 


cook's  nights  out,  the  Ayres,  en  famitte,  sally 
forth  for  sustenance,  because  Ginger  can't 
cook  without  "getting  lumps  in  the  gravy." 
This  culinary  weakness  was  a  touchy  issue  for 
some  time,  because  the  first  time  Lew  had 
ever  seen  Ginger  in  the  flesh  was  at  the  pre- 
miere of  "42nd  Street"  and  he  marked  well  her 
words  as  she  addressed  the  radio  audience 
— and  remembered  them. 

"My  goodness,"  Ginger  had  said  to  the 
mike,  "if  I  had  known  all  you  people  were 
going  to  be  here,  I'd  have  baked  a  cake!" 

Lew  informed  her  that  this  was  the  false 
hope  which  had  lured  him  to  the  altar,  but 
now  he  knew  that  she  couldn't  bake  a  cake  if 
she  tried. 

A  few  nights  later,  "  the  boys,"  Lela  Rogers, 
^  Ginger's  mother,  Phyllis  Fraser,  Ginger's 
cousin,  and  assorted  friends  were  startled  by 
an  excited  voice  on  the  telephone. 

"  Come  on  over — quick,"  shouted  Lew, 
"something's  happened." 

They  all  dashed  over,  expecting  twins  at 
least.    Lew  met  them  at  the  door. 

"Ginger's  baked  a  cake!"  he  cried. 

Ordinarily,  however,  no  such  domestic 
breakdown  occurs.  Then  the  Mr.  and  Mrs. 
Ayres  go  out  to  dine. 

They  almost  always  start  out  with  good 
intentions. 

A  few  Sundays  ago,  after  Ginger  had  been 
to  church  and  Lew  had  read  the  Sunday  sup- 
plements, they  set  out  for  one  of  the  elite 
restaurants  in  the  Wilshire  district.  When 
they  arrived,  they  parked  the  car  and  glanced 
at  one  another. 

"Lot  of  people  in  there,"  said  Ginger. 

"Um-hum,"  said  Lew. 

"They've  got  good  fried  chicken  at  Car- 
penter's," mused  Ginger,  naming  a  popular 
drive-in  sandwich  stand. 

A  half  chicken  with  lots  of  shoe-string 
potatoes  on  the  side  sets  you  back  exactly 
forty  cents. 

Well — that's  where  they  ate  Sunday  dinner 
— in  their  car  at  Carpenter's  drive-in  sandwich 
stand,  with  the  radio  turned  on  for  a  touch  of 
musical  elegance!  Because  Ginger  liked  it 
that  way. 

CO  that's  why  I  say — if  this  picture  of  a  hum- 
^drum  couple's  home  life  impresses  you  as 
particularly  glamourless — it's  your  privilege  to 
call  them  colorless,  call  them  vegetables,  call 
them  ribbon  clerks  on  a  day  off.  Weep,  if 
you  must,  for  the  poor  caged  canary  who 
hadn't  attended  a  Hollywood  party  since  she 
was  married. 

Shudder  at  the  disgraceful  state  of  Lew's 
brand  new  tuxedo  which  when  pried  from  its 
dark  moorings  the  other  night  revealed  a 
gaping  hole  in  the  shoulder  where  moths  had 
feasted. 

But  waste  no  pity  on  Ginger  Rogers.  And 
don't  blame  their  lazy,  lackadaisical  life  on  a 
hermit  husband  who  holds  her  in  his  thrall. 
Because,  I  have  another  sneaking  suspicion 
that  Mrs.  Ginger  Rogers  Ayres  is  very  content 
to  live  just  as  she  does. 

It's  the  Ginger  Rogers  who  hit  all  the  high 
spots  that  Hollywood  remembers  and  insists 
on  showering  with  pity  because  she  doesn't 
hit  them  any  more.  But  Hollywood,  you 
know,  is  like  that 


96 


PHOTOPLAY  MAGAZINE   FOR  AUGUST,    1935 


97 


But  that  was  a  different  Ginger.  She  had 
just  come  to  Hollywood,  the  first  place  she  had 
had  a  halfway  right  to  call  home  since  she  left 
high  school  in  Texas.  In  her  first  months  here 
she  made  all  the  parties  and  met  all  the  people 
who  make  up  this  giddy  carousel  called  Holly- 
wood. 

She  wasn't  a  glamorous  star  then  with  the 
world  at  her  flying  feet.  She  was  just  a  little 
personality  girl  with  pumpkin-seed  hair  who 
could  sing  and  dance  and  act  a  little,  too. 

When  she  met  Lew  Ayres  she  met  her  first 
real  friend  as  well  as  her  first  real  love  in 
Hollywood.  He  was  the  top  male  star  at  Uni- 
versal then,  and  Fox  was  luring  him  to  bigger 
time. 

Ginger  wasn't  so  important. 

Now  the  situation  is  about-faced.  Ginger's 
the  important  one.  Lew  does  all  right,  but 
he's  not  in  her  bracket.  That  trying  situa- 
tion has  dissatisfied  more  than  one  ambitious 
Hollywood  wife  and  irked  more  than  one 
Hollywood  husband — even  into  divorce. 

But  it  doesn't  trouble  the  Ayres.  Holly- 
wood has  never  understood  this  dreamy-eyed, 
good  looking  kid  husband  of  Ginger's  whom 
Fate  (retitled  "All  Quiet  on  the  Western 
Front")  made  a  big  star  overnight — against 
his  better  judgment. 

Lew  doesn't  really  love  acting.  He  never 
has.  It's  his  job  and  his  living,  but  his  heart 
has  never  been  in  it. 

He  couldn't  be  jealous  of  Ginger's  amazing 
success  if  he  worked  at  it. 

And  if  you  think  Ginger  has  any  suppressed 
ambitions  for  social  life  after  she  gets  through 
with  her  work  at  the  studio,  you  may  think  a 
few  more  times.  "My  social  ambitions,"  she 
grinned  to  me,  "are  about  six  months'  rest." 
Never  in  her  young  life — and  she  has  worked 
hard  since  she  was  a  pup — has  Ginger  put  in 
as  many  hard  licks  as  she  is  putting  in  right 
now. 

CHE  slaves  because  she  loves  it.  She'll 
^always  love  it.  It's  one  half  of  her  life — and 
the  prosaic,  glamourless  home  life  which  Holly- 
wood can't  comprehend  is  the  other  welcome 
half. 

It  makes  the  right  balanced  diet — with  just 
an  occasional  cocktail. 

Such  as  the  other  night  when  the  cash  cus- 
tomers of  the  Trocadero  and  Clover  Club  were 
startled  out  of  their  ringside  seats  by  the 
strange  spectacle  of  Lew  and  Ginger,  be- 
decked in  unaccustomed  evening  finery,  tak- 
ing in  the  joints  for  the  first  time. 

They  stayed  until  two  o'clock,  when  Ginger 
looked  at  her  wrist  watch  in  horror  and  re- 
membered she  had  to  work  in  the  morning  at 
nine. 

Next  day  at  noon,  the  telephone  jangled  in 
Ginger's  dressing  room.  It  was  Lew — and  his 
voice  was  anxious. 

"How  do  you  feel?"  he  asked. 

"Fine,"  said  Ginger. 

"Aren't  you  sleepy?  Aren't  you  pretty  tired 
out?" 

"N-no." 

"Do  you  realize  when  we  got  in  last  night? 
After  two  o'clock!" 

"I-I  know,"  said  Ginger. 

"And  you  really  feel  all  right?" 

"Y-yes,  I  think  so,"  said  Ginger. 

"Well,"  said  Lew,  "I  can't  understand  it." 

"Neither  can  I,"  said  Ginger. 

But  I  think  I  can  understand  why  Ginger 
Rogers  and  Lew  Ayres  can  be  happy  though 
humdrum. 

I  think  they  both  love  the  way  they  live 
— and  incidentally  I  think  they  both  love  the 
one  they  live  with. 


PORTRAIT  OF  A  FINE  HOTEL 

Live  in  luxury  at  a  sensible  rate  ...  at  the  SHERRY- 
NETHERLAND  . . .  where  the  advantages  of  established  res- 
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Suites  of  1,  2,  3,  4  and  5  rooms,  each  with  large  serving 
Pantry.  Also  Tower  Suites  of  5  Master  Rooms  and  4 
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(Jne  Onerru-iNetnerlana 

Facing  the  Park 

FIFTH  AVENUE  AT   59th 

NEW  YORK 


5?<~ 


-'fc 


The  Arabian  Nights 

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Who,    having   read    them,    can   ever   forget   these     ~~ "  — 

astonishing  stories  of  lion-hearted  heroes  and  their      E"n,on"^  Educational  League 
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Seeing  Stars  with  Mitzi 


CONTINUED  FROM  PAGE  67 


these  four  females?  In  an  upstairs  bedroom 
industriously  playing  bridge!  Neither  dinner, 
nor  dawncing  nor  sundry  other  festivities 
could  interrupt  that  quartet,  who  kept  at  it, 
and  at  it,  and  at  it!  But  let  me  rush  to  assure 
you  that  bridge  was  not  my  recreation.  No! 
A  1000  X  No!  I  had  me  the  fascinating 
Michael  Bartlett,  Grace  Moore's  new  leading 
man  in  this  latest  picture,  and  Mitzi  and  Mike 
were  much  too  interested  in  Mike  and  Mitzi 
and  their  own  little  game  of  hearts. 

You're  always  reading  about  the  movie  stars 
adopting  infants.  Most  of  them  come  from  the 
Children's  Home  Finding  Society  of  L.  A. 
Just  last  week  four  fine  folks,  Billie  Burke, 
little  Cora  Sue  Collins,  Evelyn  Venable  and 
Douglass  Montgomery  went  down  there  and 
played  and  read  to  the  kiddies.  Billie  Burke, 
perhaps  because  she  is  a  mother,  was  very 
touched  at  the  sight  of  so  many  unfortunate 
children.  Miss  Burke  begged  for  an  opportu- 
nity to  do  something  for  the  children.  (Be- 
tween you  and  me,  Joanie,  she  privately  sent 
the  Home  a  large  check.)  They  were  happy 
to  let  her  be  guest  speaker  on  a  radio  pro- 
gram  to  raise  funds. 

\  V /HEN  this  news  trickled  into  the  old  ears, 
^  I  galloped  down  to  the  station  to  see  and 
hear.  Josephine  Hutchinson,  of  "Oil  for  the 
Lamps  of  China,"  was  with  me.  There  at  the 
station  we  saw  Miss  Burke  surrounded  by 
adoring  babes.  I  thought  Jo  would  boo-hoo 
any  moment,  but  she  downed  the  dampness 
and  played  with  the  kiddies  as  though  her 
heart  wasn't  aching  for  them.  Many  of  them 
have  fortunately  been  adopted  by  stars  who 
give  them  excellent  homes,  and  I  hope  many 
more  will. 

Jo  and  I  tore  ourselves  away  and  went  to 
stuff  our  little  innards.  Honey  chile,  any  gal 
what's  acted  for  the  New  York  Theater  Guild 
is  a  whoopin'  fine  emoter,  and  that's  what 
Josephine  Hutchinson  is.  She's  quiet,  under- 
standing, infinitely  sweet  and  tolerant.  Our 
lunch  never  got  gay  as  we  intended  it  should, 
but  Life  got  talked  about  from  every  angle 
particularly    our    own. 

"Countess  of  Warwick  Works  as  Fox 
Extra!"  This,  my  wee  petunia,  is  news,  so  I 
rushed  to  the  phone  and  called  Adrienne  Ames, 
which  lady  was  her  hostess  while  the  Countess 
was  in  the  City  of  the  Angels.  I  wouldn't 
budge  off  the  wire  until  Adrienne  invited  me 
out  to  Fox,  where  she  was  making  "Baa-Baa 
Black  Sheep,"  to  meet  her  Countess-ship,  have 
lunch  and  watch  how  a  lady  of  title  earns 
seven-and-a-half  bucks  per  diem. 

The  Countess  is  regular.  She  is  also  patri- 
cian. She  is  also  a  beauty.  And  being  all 
these  things  she  bemoaned  the  fact  that  her 
left  stocking  had  runs  in  it.  The  fastidious  gal 
couldn't  stand  the  untidiness;  but  Miss  Ames' 
maid,  in  constant  attendance,  remedied  this, 
however,  and_  betwixt  garter  fastenings  she 
u.ivcd  psychic  and  told  the  Countess  what 
the  future  held  in  store  for  her.  (Mystics  are 
in  every  bush/these  days!) 

Adrienne  is  used  to  unusual  servants.  She 
always  gets  them  somehow.  Once  she  told 
us  she  hired  a  new  butler  who,  when  the  music 
started  to  play  at  one  of  her  parties,  went  into 
a  shuffle  with  a  tray  of  fancy  drinks  in  his  hand. 
Then  he  started  getting  acrobatic.  Adrienne 
kept  one  eye  on  her  expensive  crystal,  the  other 


on  the  cavorting  butler.  When  her  hysterics 
had  subsided,  the  lad  told  her  that  dancing  was 
his  repressed  desire.  .  .  .  Buttling,  though, 
was  a  better  way  to  earn  a  living! 

Everything  floss}'  again,  the  gals  went  back 
'  to  work.  Adrienne  had  a  scene,  disembarking, 
where  it  is  discovered  that  she  is  a  klepto- 
maniac. (This  time  it's  the  poils!)  The 
Countess  hovered  in  the  background  as  one  of 
the  ship's  passengers,  until  lunch  was  called — 
when  she  zipped  out  two  lengths  ahead  of  the 
field. 


A  genuine  romance,  is  the  report 
about  Irene  Hervey  and  Bob  Taylor. 
But  love  hasn't  spoiled  their  ap- 
petite, because  here  Irene  and  Bob 
are  on  the  way  to  the  commissary 


For  no  sane  reason,  me  and  the  Ames  lady 
always  goes  into  the  giggles  together.  Mebbe 
the  Countess  thought  we  were  sappies,  as  we 
tee-heed  our  way  over  to  the  Assistance 
League;  but  like  a  good  sport  she  joined  in  the 
twitters  even  though  she  didn't  know  what  the 
joke  was.  Of  course  we  gorged  ourselves,  but 
not  so  much  that  we  didn't  notice  Eddie  Lowe 
and  Marian  Marsh  lovebirding  in  one  corner 
and  Anita  Louise  playing  waitress  to  heart- 
throb Tom  Brown.  Tommy  was  training  her 
right.  He'd  send  her  back  to  the  kitchen  a 
dozen  times  to  change  his  order.  Then  he'd 
grumble  that  the  coffee  was  cold  and  the  rolls 
not  hot  enough.      Poor    lovely  Anita!      She 


could  take  it,  all  right;  but  I'm  sure  I  stretched 
my  pink  and  shell-like  ear  far  enough  to  hear 
her  moan:  "If  this  is  what  married  life  is 
like  .  .  .!" 

On  our  way  out  we  bumped  into  Tom  Keene 
and  his  sweet  wife,  and  a  dozen  camera  men 
who  took  scads  of  shots  of  my  two  famous  com- 
panions. Then,  back  to  Adrienne's  dressing 
room,  where  we  renewed  our  curls  and  our 
faces.  'Course,  I'm  not  easy  to  bounce,  so  I 
just  stayed  on  and  watched  them  shoot,  and 
chatted  with  the  Countess  when  she  didn't 
have  to  work.  She  may  be  a  great  social  figure, 
and  one  of  Britain's  pets,  but  for  the  nonce  I 
was  most  impressed  with  her  neat,  flat  curls.  I 
was  told  that  a  tidy  coiffure  was  one  of  her 
fetishes  and  that  no  matter  at  what  hour  she 
got  in  each  curl  was  pinned  carefully  down  be- 
fore Morpheus  was  allowed  to  come  callin'.  If 
a  Countess  can  go  to  such  trouble,  kitten,  I 
guess  I'd  better  swallow  my  yawns  and  start 
tying  up  my  harum-scarum  locks. 

The  day  wore  on  and  dire  news  drifted 
through  the  air.  The  company  might  have  to 
work  that  night!  Woe  and  handwringing! 
Adrienne  and  the  Countess  were  dying  to  go  to 
bed  early,  and  the  chic  and  golden-haired 
Claire  Trevor  (the  lead)  was  giving  a  big  dinner 
party.  Adrienne  whizzed  her  maid  off  the  set 
to  buy  two  red  apples.  Then  she  and  me  tip- 
toed up  to  director  Allan  Dwan,  who  is  a 
darling  any  way  you  take  him,  and  held  them 
out  with  pretty  smiles  and  beguilin'  voices. 
Well,  ma'am,  how  could  the  gent  resist  us? 
He  didn't.  And  with  four  merry  houp-las,  we 
zoomed  away,  homeward  bound! 

|'M  not  a  premiere  fiend,  deah,  but  I  really 
did  yump  for  yoy  when  the  boy  friend  waved 
two  tickets  to  the  opening  of  the  musical 
comedy,  "As  Thousands  Cheer."  It  matters 
not  that  my  bronze-gold  gown  nearly  got 
ripped  apart  in  the  crush  becuz  I  saw  a  sight  in 
the  lobby  which  will  brighten  my  life  for  years 
to  come.  There  was  a  mob  around  my  hand- 
some knight,  Nils  Asther,  whose  top  hat 
gleamed  brightly  above  the  clutching  fingers  of 
the  fans  with  autograph  books.  Suddenly  an 
energetic  little  lady  elbowed  her  way  through 
the  pack  and  said  in  a  plaintive  voice,  "Please, 
Mr.  Asther,  please,  please,  please  write  in  my 
book."  Nils  looked  down  and  shrieked  in 
sudden  delight,  "Ida!"  The  next  moment  he 
swung  the  little  thing  up  in  the  air  and  kissed 
her.  I  let  out  a  squeak  and  nearly  fainted.  It 
was  my  mother!    Ain't  she  the  one! 

Downstairs,  between  acts,  I  sipped  a  sody  at 
the  bar.  I  coveted,  from  a  distance,  a  long, 
voluminous,  dramatic-looking  cape  of  powder- 
blue  velvet,  tied  around  the  neck  with  a  long, 
white  silk  cord.  This  affair  was  on  the  lovely 
person  of  Anita  Louise,  and  Tom  Brown  cooed 
in  delight  at  everyone  within  sight,  "She  de- 
signed it  herself."  Of  a  sudden  the  old  eagle 
blinkers  spotted  Douglass  Montgomery  (the 
fair-haired  hope  of  my  life).  I  gave  out  a 
dainty  yip-eee  and  like  a  shot  he  was  by  my 
side!    (How  gratifyin'!) 

"Where  you  been  keeping  yourself,  you 
old  stay-awayer?"  I  accused.  "Give  me  ten 
good  reasons." 

"When  I  was  a  little  lad,"  explained  Doug, 
"I  built  myself  a  cabin  on  the  edge  of  the 
family  domain  in  Pasadena.  That's  where  I 
hibernate  when  I  need  a  rest,"  he  grinned. 


98 


And  just  then  came  the  bell  for  the  curtain 
and  we  both  hopped  like  hatters  upstairs. 

Viva  Mexicano!  The  Latin  popped  out  in 
me  one  P.  M.  so  my  temporary  swain  (initial 
G!  No  more,  Miss  Curiosity!),  lugged  me  to  a 
bodega  where  they  play  only  colorful  fan- 
dangos. I  yearned  to  sway  my  svelte  hippies 
(boasting!)  to  "La  Cucaracha"  but  the  place 
was  so  jammed  we  couldn't  get  us  a  table.  We 
had  to  be  content  with  perching  at  the  bar  and 
watching  the  dark-eyed  senoritas  and  senors. 

Suddenly  I  glimpsed  Maureen  O'Sullivan 
and  her  heart,  John  Farrow,  doing  a  neat 
rumba.  Breathlessly,  I  relayed  the  news  to 
said  escort.  Quicker  than  you  can  sniff  a 
petunia  he  was  at  the  edge  of  the  floor  flagging 
them.  They  were  just  as  surprised  to  see  us  in 
that  foreign  element  as  we  were  to  see  them. 
Quick  they  dragged  up  chairs  to  their  teensy 
table  and  we  all  sat  down  to  talk  things  over. 

Maureen  and  her  John  had  heard  the 
languorous  melodies  over  the  radio.  Result? 
Itchy  soles,  so  they  whizzed  out  to  get  them- 
selves a  tango  or  two.  They  forgot  the  address, 
but  not  the  street,  so  for  half  an  hour  they  had 
to  trot  up  and  down  with  their  ears  to  every 
building  until  they  found  the  one  from  whence 
came  the  tingling  tango  strains!  Maureen 
with  her  simple  little  black  suit,  fiat  heels,  near- 
organdie  blouse  and  pushed-back  sailor  hat 
looked  like  an  infant  from  a  convent  school. 
Right  on  top  of  the  table,  in  front  of  everyone, 
she  and  her  gent  held  hands 

I'VE  about  worn  out  my  little  gasoline  hossie 
trotting  here  and  yonder  to  have  lunch,  and 
tea,  and  stuff  with  my  nice  friends.  Therefore, 
thought  Oi,  a  dinner  party  would  be  a  nice  idea. 
My  guests?  Anna  Sten  and  her  husband,  the 
Harry  Greens,  Glenda  Farrell,  Reine  Davies, 


columnist,  Paul  Cavanagh,  Mady  Christians, 
Edith  Fitzgerald,  who  wrote  "The  Wedding 
Night,"  and  her  husband,  the  well-known 
tennis  player,  Elmer  Griffin,  the  Purnell 
Pratts,  Anita  Stewart  and  her  husband,  George 
Converse,  and  my  uncle,  Louis  B.  Mayer.  Nice 
party,  huh? 

On  account  of  becuz  my  maw  is  a  whiz  with 
Rooshun  dishes,  that's  what  they  et.  I  should 
say,  gobbled!  By  ten-thirty  they  decided  it 
was  time  to  leave  the  festive  board  So  the 
ladies  retired  to  the  drawing-room  where  coffee 
was  served.  (Bring  my  lorgnette,  Bluggs!) 
We  wuz  then  entertained  by  miraculous 
and  amazing  card  tricks  by  comedian  Green 
which  left  everybody,  particularly  the  flaxen- 
haired  Sten,  in  a  state  of  stupefaction.  In  fact, 
our  little  wide-browed  star,  who  was  supposed 
to  leave  for  the  mountains  or  somewhere  with 
said  husband  at  any  moment,  stayed  and 
stayed  and  still  stayed!  Harry  told  us  that 
when  he  was  in  the  hospital  he  disrupted  his 
operation  and  gave  the  doctors  husterics  when 
he  pulled  an  ace  right  out  of  the  ether  can! 

Do  YOU  want  to  look  like  a  Princess?  Do 
you  want  to  live  like  a  Princess?  Then  I  sug- 
gest, my  rosebud,  that  you  step  into  the  peach 
and  heaven-blue  boudoir  of  the  exquisite  young 
Jean  Parker.  She  wears  a  slim,  chiffon,  high- 
waisted  peach  negligee  with  large,  billowy 
sleeves  that  are  bound  about,  in  three  places, 
with  narrow  {%  inch)  velvet  ribbons  of  blue. 
Around  her  waist  is  the  same  sort  of  ribbon 
that  ties  and  falls  in  long  streamers.  The 
negligee  has  a  simple,  little  soft  round  collar 
that  is  also  tied  with  streamers  of  azure  blue. 
She  wears  seductive  mules  .  .  .  the  tips 
slashed  away,  and  big  bows.  They're  satin. 
Aha,  blue! 

Jean's  bed  is  high,  four-posted  and  draped 


and  covered  in  billowing  peach  net.  Dozens  of 
quilted  boudoir  pillows  are  heaped  about  and 
in  the  back  .  .  .  here  is  an  allure  secret  for  you 
.  .  .  Jean  has  sewn  tiny  pockets  into  which  she 
slips  sachet  bags! 

A  ND  all  Princesses  have  pets.  Jean  has 
M  ony,  a  mischievous  little  pup  who  indus- 
triously tore  up  every  box  in  the  house  and 
carefully  scattered  the  pieces  all  over  the  lawn! 
His  mistress  tried  to  reprimand  him.  But,  tsh, 
tsh,  very  unpatrician  of  her!  ...  it  ended  up 
with  dog  and  girl  rolling  over  the  peach  rug 
with  mingled  shrieks  of  mirth  and  barks  of  joy. 
Sadly  I  withdraw  from  the  boudoir  .  .  .  from 
now  on  my  tale  would  be  strictly  little-girl 
.  .  .  and  I  started  out  on  a  Princess. 

But  next  month,  kitten,  I'll  tell  you  about 
all  the  movie  royalty  that  went  to  the  last 
Mayfair.  (I  went  with  that  Dangerous  Jack 
LaRue!)  But  now  I  must  sing  you  a  song  of 
farewell.  And  I  cautions  you  to  write  Mitzi  an 
epistle  of  length  .  .  .  queeckly!  What? 
You'd  rather  come  out  yourself,  right  to  Cali- 
forny  and  get  a  job?  All  right,  Joan,  but  I  hope 
your  eddication  is  good,  cause'  I  know  of  a 
certain  time,  in  his  early  youth,  when  Bob 
Montgomery  was  confronted  by  his  (he  hoped) 
boss-to-be. 

"You're  a  college  man,  huh?"  asked  the 
boss. 

"Yes,"  answered  our  Robert. 

"Clever,  huh?" 

"Well-11,  I  guess  so,"  said  the  youth 
modestly. 

The  boss  thought  profoundly.  Then:  "All 
right, "  said  he  triumphantly,  "spell  me  some- 
thing!" 

Yours  with  a  bang! 

Mitzi 


Johnnie  GOE 


Johnnie  Goes  to  the  Boat  Races, 
June  1935 


CES.' 


99 


100 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


NO  OTHER 


m 


v/ta 


OFFERS  SUCH  A  COMBINATION  OF  SMART  AT- 
TRACTIONS IN  OUTDOOR  SPORTS  AND  INDOOR 
LUXURIES  AS  THE  LOS  ANGELES  AMBASSADOR 
Willi     ITS     22-ACRE     MID-CITY     PLAYGROUND. 


THE  IDEAL  CENTER 

FROM  WHICH  TO 

VISIT  THE 

CALIFORNIA  PACIFIC 

INTERNATIONAL 

EXPOSITION 

AT  SAN  DIEGO 

THIS  SUMMER 

• 

Go  by  Air    (1    hour) 

Motor  or  Train 

(3y2  hours) 

Steamer   (5   hours) 


A  Hotel  amazing  in  the  variety  of  its  Vaca- 
tions! appeal  /  1  An  18-hole  "Pitch  and  Putt" 
Golf  Course,  Tennis  Courts,  Archery— and  the 
Ambassador  LIDO  with  its  Palm  Restaurant, 
Al  Fresco  Luncheons,  Teas,  Refreshments  and 
Dancing,  adjoining  a  Gay  Cabana-dotted  Sun- 
Tan  Beach  and  Huge  Crystal  Pool  with  Physi- 
cal Conditioning  establishment  for  Women. 
Indoors  a  "Talkie"  Theatre,  35  Smart  Shops, 
Post  Office,  exquisitely  decorated  rooms  and 
suites  and  the  merriest  of  night  life  at  the 
world-famous  "COCOANUT  GROVE"- all 
within  a  few  minutes  of  Los  Angeles'  and 
Hollywood's  Theatre  and  Shopping  Centers. 
Wide  boulevards  to  ocean,  mountain  and  desert. 


THE 


Expert  and  Sincere  Service.  Moderate  Rates. 
Kindly  send  for  neiv  Room  and  Restaurant 
Tariffs.  Write  for  membership  card, San  Diego 
Exposition  Club  Rooms  at  the  Ambassador. 


Food  for  Men 


CONTINUED  FROM  PAGE  80  ] 


narrow  strips  from  the  rind,  and  cut  into  cubes. 
Arrange  on  the  plates  with  the  grapes.  Pour 
the  following  dressing  over  your  salads:  one- 
half  cup  of  sugar,  one-half  cup  of  white  grape 
juice,  and  two  tablespoons  of  lemon  juice.  It 
is  better  to  mix  this  in  advance,  too,  and  have 
it  ice  cold.  This  simple  salad  is  one  which  will 
simply  establish  your  reputation  as  a  cook  for 
epicures! 

Of  course,  you  can't  call  a  salad  a  meal — at 
least,  no  man  ever  does — and  here  is  one  of 
Pat's  favorite  entrees.  He  hasn't  any  name  for 
it — calls  it  a  shrimp  whatsis — and  it's  a  grand 
dish  for  a  warm  evening.  This  and  a  salad 
practically  constitute  a  dinner.  You  will  need 
one  can  of  shrimps,  one  cup  of  uncooked  rice, 
one  cup  of  tomatoes,  one  chopped  onion,  and  a 
tablespoon  of  butter  or  chicken  fat.  Brown  a 
tablespoon  of  flour  in  the  fat,  add  the  onion 
and  brown.  Then  the  tomatoes  and  the  rice, 
washed,  with  enough  water  to  cover.  Season 
with  salt,  pepper,  bay  leaf  and  a  dash  of 
thyme.  Also  a  faint  sprinkle  of  cinnamon,  if 
you  like  it.  Boil  slowly  in  a  covered  saucepan 
or  heavy  iron  frying  pan,  adding  water  if  neces- 


sary. When  the  rice  is  cooked,  add  the 
shrimp  and  mix  it  all  together  over  the  slow 
fire  for  about  ten  minutes.    Serve  immediately. 

And  for  an  easy  dessert,  how  about  a  straw- 
berry parfait  which  can  be  made  in  your  elec- 
tric refrigerator  with  the  least  amount  of 
preparation?  Use  two  egg  whites,  one  cup  of 
powdered  sugar,  one-half  cup  of  whipped 
cream,  and  a  box  (or  pint)  of  fresh  strawberries. 
Beat  the  egg  whites  until  you  can  cut  them 
with  a  knife,  add  most  of  the  sugar.  Crush  the 
berries  and  add  the  remaining  sugar.  Fold  into 
the  whipped  cream  and  egg  whites,  and  mix 
well. 

Place  in  the  freezing  cabinet  and  do  not 
stir  while  it  is  freezing.  Serve  in  parfait  glasses, 
with  crisp  cookies  at  the  side. 

Pat  says  there  is  nothing  so  perfect  with  the 
combination  salad  as  a  thick  juicy  broiled 
steak.  And  here's  a  hint  for  steak  broiling. 
Place  your  steak  on  a  rack  near  the  flame,  and 
the  drip  pan  well  below  it,  filled  with  a  cupful 
of  hot  water.  The  fat  will  drip  into  the  water 
and  will  not  catch  fire.  Just  a  little  tip  from 
that  old  Cordon  Bleu,  Pat  O'Brien! 


Will  "Becky  Sharp"  Revolutionize  Hollywood? 

[  CONTINUED  FROM  PAGE  25  J 


During  the  next  two  years,  Cooper  continued 
to  talk  color.  He  could  not  forget  the  beauty 
he  had  seen  in  the  Malay  wilderness  and  his 
enthusiasm  never  waned.  He  nearly  succeeded 
in  interesting  Jesse  Lasky.  Then  came  sound 
and  the  project  was  postponed.  New  prob- 
lems had  to  be  met  and  the  color-mad  Cooper 
was  momentarily  forgotten.  But  he  did  not 
forget.  He  was  a  bit  sarcastic  about  sound. 
"Galloping  gray  ghosts  that  talk,"  was  his 
summation  of  the  new  trend. 

It  is  impossible  to  determine  Cooper's  in- 
fluence on  the  initial  vogue  for  color  which  fol- 
lowed the  novelty  of  talking  films.  He  has 
been  called  the  father  of  color  among  the  pro- 
ducers, and  it  may  be  true.  The  1928  vogue 
was  destined,  however,  to  be  short  lived,  for 
the  color  was  decidedly  poor.  Actually  only 
two  colors  were  used,  red  and  green,  double- 
printed  on  each  side  of  the  projection  negative. 
It  was  far  from  satisfactory,  as  it  blurred  out- 
lines and  was  incapable  of  reproducing  certain 
spectrums  without  color  compromise.  I  well 
remember  when  trees  and  bushes  were  painted 
by  airbrush  because  their  natural  colors  would 
not  reproduce  naturally.  After  "On  with  the 
Show,"  "Gold  Diggers  of  Broadway,"  "The 
Mystery  of  the  Wax  Museum"  and  a  handful 
of  other  features,  color  was  judged  a  fiasco. 
It  died  a  premature  death  because  of  its 
imperfections  and  because,  as  Cooper  termed 
it,  "misuse  and  abuse." 

I/.ALMUS  continued  his  experimentsandCoop- 
'^er  remained  true  to  his  enthusiasms.  Yet  it 
was  not  until  1932  that  Kalmus  was  able  to 
announce  the  perfection  of  a  three-color  proc- 
ess. The  announcement  was  greeted  by  an 
astounding  lack  of  interest.  Color  was  a  box- 
office  failure  and  in  the  mind  of  Hollywood 
that  is  the  very  worst  kind  of  failure.  Only 
Cooper  fully  believed  from  the  start. 

Walt  Disney  with  his  "Silly  Symphonies" 
proved  one  of  the  earliest  customers  for  the 


full  color  development.  After  the  amazing 
success  of  "The  Three  Little  Pigs,"  other  pro- 
ducers of  short  subjects  became  interested. 
But  the  beginning  was  slow.  Even  at  this 
writing,  there  are  only  thirteen  new  Techni- 
color cameras  in  existence.  That  number  until 
the  release  of  "  Becky  Sharp"  was  ample  equip- 
ment. 

^OOPER'S  devotion  to  color  was  to  bejusti- 
^fied  at  last  by  the  entry  upon  the  scene  of 
John  Hay  Whitney,  better  known  as  "Jock." 
Cooper  and  Whitney  are  friends  of  long  standing 
and  Whitney  agreed  to  finance  a  new  producing 
organization.  Thus  was  Pioneer  Pictures  born. 
Cooper,  having  a  contract  with  RKO-Radio. 
was  unable  to  take  an  active  hand  until  the 
completion  of  his  contract.  A  deal  was  none- 
theless consummated  and  the  new  organiza- 
tion was  dedicated  entirely  to  the  production 
of  color  pictures.  An  agreement  was  reached 
with  RKO  for  the  release  of  the  product  and 
Kenneth  MacGowan  was  borrowed  as  active 
producer. 

The  fifth  member  of  our  behind-the-scenes 
drama  is  Robert  Edmond  Jones,  long  recog- 
nized as  a  master  designer  of  stage  sets  and  a 
color  authority.  With  Jones'  arrival  in  Holly- 
wood, an  experimental  color  short  was  made. 
Pioneer's  first  production  was  the  Academy 
prize  winner  of  1934,  "La  Cucaracha,"  which 
played  to  more  business  than  any  black  and 
white  short  ever  made. 

The  stage  was  set  for  the  start  of  "Becky 
Sharp."  The  picturesque  costumes  of  the  Na- 
poleonic era  seemed  particularly  suitable  for 
color.  Miriam  Hopkins  was  engaged  as  the 
star  and  Lowell  Sherman  as  the  director. 

From  the  first  day  of  shooting,  it  was  appar- 
ent that  Lowell  Sherman  was  a  seriously  ill 
man.  He  was  actually  dying  on  the  set,  but 
could  not  be  persuaded  to  halt  work.  Nor 
would  he  accept  the  verdict  of  doctors  that  his 
throat   ailment   was  .incurable.      He    sought . 


PHOTOPLAY  MAGAZINE  FOR  AUGUST.    1935 


101 


quacks  who  promised  a  cure.  It  was  not 
learned  until  after  his  death  that  Sherman  had 
been  afraid  to  go  to  bed  for  weeks  and  had 
employed  a  man  to  watch  over  him  as  he  dozed 
in  an  arm  chair.  The  man's  duty  was  to 
awaken  him  if  Sherman  began  to  choke. 

Hardly  had  production  been  resumed  under 
the  direction  of  Rouben  Mamoulian  that  Mir- 
iam Hopkins,  the  star,  contracted  bronchial 
pneumonia  and  the  picture  was  again  halted. 
Later  Mamoulian  and  Frances  Dee,  playing 
the  second  feminine  lead,  were  both  influenza 
victims.  Then  came  a  series  of  strange  acci- 
dents. 

Miriam  Hopkins'  dress  caught  fire  from  a 
candle  on  the  set;  a  property  man  was  injured 
when  a  large  box  fell;  the  side  of  a  set  fell  on 
an  electrician;  one  of  the  soldier  extras  placed 
a  steel  helmet  on  a  generator  box,  short  cir- 
cuiting the  lights  and  narrowly  escaping  elec- 
trocution. To  cap  the  climax,  a  whole  reel  of 
completely  cut  negative  burned  in  a  projection 
room. 

To  comprehend  the  loss  caused  by  this  final 
accident,  it  is  necessary  to  know  something  of 
the  technical  details  of  the  new  Technicolor 
three-color  process.  As  black  is  also  used,  it 
is  really  four  colors,  lithographed  (to  use  a 
general  term)  upon  film. 

Three  separate  magazines  of  film  run  through 
the  Technicolor  camera  photographing  simul- 
taneously the  three  primary  aspects  of  the 
scene — red,  green  and  blue.  Matrices  aie  pre- 
pared from  these  color-separation  negatives,  a 
matrix  being  similar,  for  laymen  explanation, 
to  an  engraved  plate  in  printing. 

CUBTRACTIVE  primary  dyes  are  used  in  the 
^imbibition  transfer  upon  a  properly  prepared 
film  that  holds  the  master  black.  The  dyes 
are  cyan  or  minus  red,  magenta  or  minus 
green,  and  yellow  or  minus  blue.  All  three 
transfers  are  necessary  to  complete  the  color 
print  ready  for  projection. 

In  this  new  process,  there  is  no  tampering 
with  colors.  What  the  camera  sees,  it  records 
and,  except  for  the  precision  of  film  printing, 
the  process  is  fool  proof.  The  errors  of  the 
human  equation  enter  mostly  into  the  creation 
of  color  values. 

With  no  reflection  upon  the  work  of  the  late 
Lowell  Sherman,  Rouben  Mamoulian,  upon 
taking  over  the  direction,  retook  all  of  the 
early  sequences.  The  entire  mood  of  the  story 
was  changed  and  night  after  night,  Mamoulian 
worked  with  Francis  Edward  Faragoh,  author 
of  the  screen  play  on  the  job  of  rewriting  the 
script. 

"Color  is  another  emotion,"  Mamoulian 
says.  "It  is  a  psychology  to  which  every  nor- 
mal person  reacts.  Colors  through  associa- 
tions or  customs  have  come  to  mean  certain 
things.  Look  at  our  traffic  lights.  Red  means 
danger;  green  safety. 

"  DED  is  the  color  of  blood,  of  fire,  of  anger. 

'Mn  its  different  shades,  it  means  different 
things  but  always  excitement.  Green  contra- 
wise,  signifies  tranquillity.  It  is  the  color  of 
nature,  the  grass  and  trees. 

"The  use  of  color  can  stimulate  or  disturb. 
It  must  be  in  keeping  with  the  mood  of  the 
story.  The  error  of  early  color  pictures  was  an 
unintelligent  overabundance  of  hues,  clashing, 
discordant  and  eye-straining. 

"In  'Becky  Sharp,'  we  have  tried  to  use 
color  as  we  use  music  or  any  other  contribut- 
ing element  to  drama.  We  help  to  build 
climaxes  with  it.  After  all,  Shakespeare  knew 
what  he  was  talking  about  when  he  said,  'The 
play's  the  thing.' 

"The  opening  sequences  of  'Becky  Sharp' 


were  first  taken  against  a  red-walled  room.  In 
retaking  it  I  had  the  walls  changed  to  gray. 
One  of  the  several  reasons  for  this  change  is 
to  make  a  not  too  abrupt  contrast  for  a  public 
accustomed  to  black  and  white  only. 

"The  scene  laid  at  the  Duchess  of  Rich- 
mond's ball  on  the  eve  of  the  battle  of  Waterloo 
offered  the  greatest  danger  of  overuse  of  color. 
It  is  essentially  a  colorful  affair,  yet  it  must 
achieve  a  climax.  We  imagined  a  storm.  The 
wind  blows  open  a  window  and  many  of  the 
wax  tapers  go  out.  Then  the  riot  with  men 
and  women  rushing  from  the  ballroom.  We 
progress  from  a  series  of  sober  colors,  grays, 
blues,  greens,  yellows  to  the  excitement  of 
oranges  and  reds." 

CAR  from  a  perfect  picture,  "Becky  Sharp" 
is  more  surprisingly  near  perfection  than  any 
pioneering  effort  in  memory.  Consider  all  of 
its  adversities  from  accidents,  illness  and 
death.  Then  consider  all  of  the  minor  incon- 
veniences— take  after  take  being  ruined  by  the 
sputtering  noise  of  arc  lights  (the  silent  incan- 
descent lamps  cannot  be  used  because  such 
light  is  yellow  rather  than  pure  white) — the 
need  of  creating  make-up  in  natural  color  tones 
— the  tonal  value  of  scenes — the  constant 
danger  of  lack  of  color  separation — color  em- 
phasis— color  restraint — color  complements — 
color  juxtaposition — color  blotches — all  new 
terms,  new  problems,  new  worries.  Just  as 
though  the  making  of  motion  pictures  were 
not  complicated  enough  as  it  is! 

But  if  the  hard  luck  encountered  by  previous 
Hollywood  successes  since  the  days  of  "The 
Covered  Wagon"  is  any  criterion,  "Becky 
Sharp  "  should  make  many  millions.  Strangely 
enough  similar  trials  and  tribulations  have 
been  visited  upon  every  great  film  success  in 
history. 

There  is  small  doubt  in  anyone's  mind  in 
Hollywood  that  color  is  the  next  trend  in  mo- 
tion pictures.  No  comparison  exists  between 
the  first  color  subjects  and  the  new  full  color 
Technicolor.  If  you  have  already  seen  "  Becky 
Sharp"  you  realize  this.  "Unless  you  have 
seen  the  new  Technicolor,"  states  Mamou- 
lian, "to  say  you  don't  like  color  on  the  screen 
is  like  saying  you  do  not  like  horseback  riding 
when  all  you  have  ridden  is  a  three-legged 
horse." 


Fred  Astaire  is  merely  proving  that 
dancing  is  "light  and  fantastic" 
as  he  takes  to  a  swimming  pool  and 
cork  floats  for  a   "Top   Hat"  step 


BRIGHT 


!>*■>',        MM| 


II  irif 

Jlexxth 

SUMMER  EYE-OPENERS 

Probably  your  face  is  a  picture  in  your 
mirror  at  home — but  how  does  it  look  on 
the  beach  in  the  sun?  You  have  only  to  look 
at  your  friends  to  know!  You  can't  trust 
nature  unadorned!  Sunlight  makes  eyes,  es- 
pecially, look  pale,  small  and  "squinched 
up."  But  that's  easy  to  remedy!  Slip  your 
eyelashes  into  KURLASH!  (It  costs  only  $1.) 
A  few  seconds  pressure  curls  them  into 
lovely  fringed  eye  frames  which  catch  en- 
trancing shadows  making  eyes  look  far  larger 
and  brighter. 


Su/nSlwxLz/) 


So  much  color  and  sparkle  in  the  sunlight! 
What  can  you  do  to  keep  your  eyes  from 
looking  faded  and  "washed  out"  in  con- 
trast? This:  apply  a  tiny  bit  of  green  or 
blue  SHADETTE  ($1)  on  the  upper  lids  to 
reflect  the  colors  of  the  landscape!  So  subtly, 
it  restores  the  lovely  color,  depth,  size  of 
your  eyes! 


amdStwuLow 


Beauty  on  the  beach  is  simply  the  art  of 
looking  natural.  Certainly  eyelashes  that 
disappear  in  the  sun  must  be  darkened! 
Liquid  LASHTINT  (it's  waterproof)  does  the 
trick  so  convincingly!  Use  it  more  heavily 
in  the  evening.  Black — brown — or  blue.  $1. 


Jane  Heath  Witt  gladly  give  you  personal  advice  on  eye 
beauty  if  you  write  her  a  note  care  oj  Depi.  A-8,  The 
Kurlash  Company,  Rochester,  N.  Y .,  or  at  The  Kurlash 
Company  oj  Canada,  Toronto,  3. 


The  Disappearing  Mun 


CONTINUED  FROM  PAGE  65 


"  We  had  returned  to  New  York  from  Holly- 
wood, pictures  were  renounced  forever.  Then 
I  was  approached  to  play  'Scarface.' 

"Well,  the  circumstances  were  very  annoy- 
ing. Several  tests  were  made,  nobody  could 
decide  anything,  they  wanted  me  to  go  to 
Hollywood  to  make  another  one.  The  idea 
of  all  those  tests  was  insulting.  They  knew 
what  I  looked  like  and  whether  I  could  act. 
I  told  them  if  I  never  made  a  picture,  I 
wouldn't  go  to  Hollywood  and  make  another 
test! 

"The  whole  procedure  was  irritating.  They 
called  me  long  distance,  sent  endless  tele- 
grams. I  was  tired  of  answering  them.  Then 
it  became  a  petty  bicker  over  dollars  and  cents 
and  I  was  fed  up. 

"  A  BOUT  ten   o'clock   one   night,  I  asked 

'  Bella  to  pack  a  grip  for  me.  Ordinarily 
she  would  have  given  me  an  argument,  but  this 
time  she  didn't.    She  knew  I  had  to  get  away. 

"I  left  her  with  the  power  of  attorney  to 
take  care  of  all  business  matters  and  told  her 
to  do  what  she  thought  best.  Couldn't  tell 
her  where  I  was  going  as  I  didn't  know  myself, 
but  said  I  would  telephone  her  later  from 
somewhere." 

Muni  drove  up-state  in  a  pouring  rain,  not 
caring  where.  Every  day  he  called  his  wife 
to  say  "I'm  here,  don't  know  where  I'll  be 
tomorrow." 

Until  one  fine  day  she  answered,  "Maybe 
you'd  better  start  home  now.  I  just  signed  a 
contract  for  you  to  play  'Scarface.' 

"So?"  I  inquired.  You  can  ask  so  much 
with  that  little  word. 

"My  whole  response  was  one  of  tremendous 


relief,"  Muni  told  me.  "It  seemed  as  if  my 
career  had  been  held  in  the  balance.  It  was 
good  to  have  it  over.  Now  I  am  glad  I  could 
come  back  and  make  good  and  make  money. 
I  am  sorry  only  to  miss  the  theater.  Four 
months  a  year  are  allowed  in  my  contract  to 
do  a  play,  but  in  that  time  it  is  impossible  to 
rehearse,  present  a  play  and  have  any  run  with 
it.  And  first,  one  must  find  the  story.  My 
troubles  now  are  story  troubles — on  the  stage 
and  on  the  screen." 

So — if  Mrs.  Muni  hadn't  signed  that  con- 
tract, it  is  quite  likely  there  would  be  no  Paul 
Muni  on  the  screen  today. 

"But  most  of  you  fan-magazine  writers 
convey  such  a  peculiar  impression  of  Mrs. 
Muni,"  Paul  objected.  "In  one  story  called 
'My  Wife  Bella'  or  something  similar,  the 
writer  has  her  my  nurse,  banker,  cook,  mana- 
ger, guide,  chauffeur,  mentor  and  make-up 
woman!  She  told  me  how  to  act  and  bought 
my  clothes  for  me!  Good  Gcd,  if  she  were 
really  that  way,  I'd  shoot  her  tomorrow!" 

"You  wouldn't  wait  till  tomorrow,"  Mrs. 
Muni  informed,  from  the  sidelines. 

COR  some  strange  reason,  Muni  seems  to  be 
rather  a  phenomenon  to  Hollywood.     He  is 
never  seen  in  public  places — therefore  he  must 
be  anti-social — or  so  goes  the  popular  idea. 

".  .  .  not  anti-social  at  all,"  protests  Muni. 
"My  type  of  sociability  is  colored  differently, 
that's  all.  I  am  not  on  exhibition.  All  the 
exhibiting  I  do  is  in  my  work." 

He  gives  few  interviews  because  they  make 
him  out  to  be  "elaborately  modest  or  elabo- 
rately extravagant."  He  wants  to  talk  about 
his  work,  when  you  finally  do  trap  him,  or  the 


new  Russian  symphony,  or  a  story  he  would 
like  to  make  into  a  picture.  He  will  discuss 
Simon,  the  dog,  or  the  advisability  of  trying 
to  raise  oranges  out  in  the  San  Fernando 
Valley  where  he  has  his  rancji  home.  He  will 
talk  readily  about  anything — but  Muni. 

He  wants  above  all  to  give  frank  and  honest 
characterizations  on  the  screen  in  stories  that 
present  modern  problems  in  a  fearless  way  .  .  . 
but  he  says  you  can't  do  that.  People  won't 
let  you.     You  have  to  put  on  a  sugar-coating. 

J\A  UNI  still  takes  off  to  the  tall  timbers  when 
things  get  too  thick.  Both  he  and  the 
"missis"  like  to  do  things  impulsively.  They 
have  never  yet  planned  ahead  of  the  following 
day.  An  hour  from  the  time  they  first  thought 
of  it,  they  are  in  the  car  and  off  for  a  month. 
One  day  in  Monterey  they  looked  out  over  the 
ocean  and  thought  of  Europe.  Two  days  later 
they  were  on  the  way  to  Russia. 

Once  Muni  went  up  in  the  Maine  woods  to 
a  little  resort.  He  carried  a  violin  case  as  a 
disguise.  Up  there  he  took  sun  baths,  went 
swimming  and  worked  out  on  a  punching  bag 

Two  weeks  later  Mrs.  Muni  joined  him 
there.  One  of  the  lady  guests  cornered  her. 
"We  are  so  curious  about  your  husband,"  she 
said.  "We  know  he  is  not  a  musician.  We 
are  aware  that  he  is  a  prize-fighter.  But  what 
we  want  to  know  is — which  one?" 

Which  one  is  right.  There  are  almost  as 
many  Munis  as  there  are  prize-fighters. 

Now  you  see  him — now  you  don't.  That 
black  haired  man  with  the  deep  eyes  who  just 
roared  past  you  doing  sixty  may  be  Muni. 

But  don't  try  to  catch  him.  He's  on  his  way 
somewhere  to  disappear! 


An  Actor  With  Strange  Ideas 


CONTINDED  FROM  PAGE  72 


are  all  in  the  day's  work  for  Eddie's  artistic 
imagination.  By  the  same  power  of  under- 
standing that  enables  him  to  sympathize  with 
monkey  tempers  and  antagonisms,  he  has  been 
qualified  to  play  so  masterfully  his  gangster 
parts  on  the  stage  and  screen.  However  alien 
to  him  may  be  the  character  he  portrays,  he 
can  get  under  the  skin  of  that  character  and 
make  it  pulse  with  life. 

To  explain  this,  he  has  a  theory  of  his  own. 
He  says  that  audiences  respond  to  an  actor's 
sympathy  value.  By  sympathy  value  he  means 
the  actor's  ability  to  make  audiences  under- 
stand and  feel  concerned  about  the  character's 
troubles.  "There  is  one  universal  language," 
Edward  Robinson  says,  "and  that  is  the 
language  of  the  heart — the  language  that 
makes  all  men  and  every  animal  akin." 

CINCE  meeting  Eddie  Robinson,  some  years 
ago,  I  have  talked  with  him  sufficiently  to 
become  quite  familiar  with  his  views  on  life. 
They  are  definitely  a  part  of  himself— not 
derived  from  his  surroundings  or  his  occupa- 
tion. Were  he  today  a  shoemaker  or  a  rabbi, 
he  would  still  have  the  same  philosophy  of  life. 
Wherever  he  lived,  he  would  be  a  character 
in  his  community.     Probably  this  is  why  I  am 

102 


interested  in  the  stories  he  has  told  me  of  his 
boyhood.  It  is  also  why,  when  Eddie  stops 
making  pictures  for  Warner  Bros.,  I  hope  to 
see  him  make  some  pictures  in  his  own  way, 
with  his  own  ideas.  I  want  to  see  how  his 
hatred  of  hate  will  illumine  an  epic  of  Peace — 
such  as  he  dreams  of  seeing  on  the  screen.  It 
might  be  magnificent — a  message  straight  to 
the  heart  of  every  thoughtful  human  being. 
I  want  to  see  how  his  loathing  of  all  things 
phony — a  pet  word  of  Eddie's — will  help  to 
re-create  the  immortal  dignity  of  Beethoven, 
the  deaf  and  grotesque  maestro  battling  against 
the  petty  intrigues  of  a  shoddy  prince's  court. 

In  Eddie  Robinson's  childhood  lies  the  key 
to  much  that  is  significant  in  his  character  to- 
day. The  home,  with  his  six  brothers — Eddie 
known  as  Number  Five.  The  four  orphaned 
cousins,  all  boys,  taken  in  by  Eddie's  parents. 
A  family  poor  in  worldly  wealth  rich  in 
family  affection.    Eddie's  mother  .  .  . 

"She  has  never  spoken  evil  of  anyone"  he 
told  me. 

Tolerance,  he  says,  is  all-important  in  an 
actor's  approach  to  the  character  he  has  to 
portray.  This  great  truth  he  learned  from  his 
mother— and  from  the  school-teacher  who 
taught  him  history. 


"That  history  teacher  of  ours,"  says  Eddie, 
"never  taught  us  a  single  date.  But  he  talked 
to  us  so  vividly  about  the  Greeks  and  the 
Romans  that  they  became  living  people  to  us 
He  showed  us  how  our  own  ambitions,  our 
loves,  our  quarrels,  were  not  different  at  all 
from  those  of  people  long  dead  and  long  for- 
gotten." 

At  home  Eddie  and  his  brothers  did  girl's 
work,  to  help  their  mother,  since  there  were 
no  sisters  in  the  family.  Sweeping  was  Eddie's 
job.  "And  I  had  to  do  it  as  it  should  be  done," 
he  says.  "No  missing  the  corners — no  neglect- 
ing those  dark  places  behind  the  furniture. 
Our  Ma  expected  first-class  sweeping — and  she 
knew  how  to  get  it!" 

Ironing  shirts  was  another  chore  of  Eddie's. 
"I  was  a  swell  shirt  ironer,"  he  boasts.  "Bet- 
ter than  any  of  my  brothers." 

And  he  was  religious.  He  studied  Hebrew 
— studied  the  Talmud.  He  intended  to  be  a 
rabbi — wanted  to  be  a  great  preacher.  That 
was  when  he  was  twelve  years  old.  Today  he 
wants  most  of  all  to  make  a  big  picture  ad- 
vocating world-peace.  The  sequence  of  am- 
bitions is  not  hard  to  follow. 

At  thirteen  he  read  Darwin's  "Origin  of 
Species."    Eddie  marks  that  experience  as  an 


important  milestone  in  his  life.  From  it  he 
contracted  the  universalism  "bug."  Man 
descended  from  ape  .  .  .  Obscure  links  tying 
all  life  together,  fishes  and  bugs  and  trees  and 
animals  and  men  .  .  .  "From  that  awaken- 
ing," Eddie  told  me,  "life  ceased  to  confine 
itself  to  my  own  mortal  span  of  three-score 
years  and  ten.  Darwin  did  more  for  me  than 
any  other  influence  of  thought.  When  I  read 
Darwin  I  understood  that  life — the  spark  of  it. 
the  impetus — is  always  the  same,  unquench- 
able, everlasting." 

So,  when  the  time  came  for  Eddie  to  think 
out  his  part  in  "Five  Star  Final,"  he  argued 
to  himself:  "Everybody,  at  one  time  or  another, 
has  been  forced  to  do  something  that  he  didn't 
want  to  do — some  important  thing.  If  I  can 
show  that  in  my  acting,  everyone  in  the  au- 
dience will  understand — because  I'll  be  show- 
ing them  something  they  know  from  their  own 
experience." 

I  have  said  already  that  Mr.  Robinson  is  an 
intellectual.  Usually  we  are  led  to  think  that 
a  person  of  intellect  is  not  a  practical  person. 
[  believe  it  is  time  for  us  to  learn  to  ignore 
critics  who  use  the  word  intellectual  as  a 
synonym  for  soft-minded. 

The  leading  intellectuals  of  today  are  a 
pretty  hard-working,  pretty  hard-boiled  crowd. 
There  are  few  pampered  darlings  among  them. 
For  example,  consider  Eugene  O'Neill,  the 
playwright,  or  Ernest  Hemingway,  the  author, 
or  Diego  Rivera,  the  Mexican  mural  painter. 
All  of  them  deal  in  dramatic  realities.  They 
know  their  world — the  best  and  the  worst. 

As  an  actor,  Edward  G.  Robinson  belongs 
with  them,  I  think.  He  takes  his  job  seriously; 
is  not  afraid  to  find  drama  in  the  depths  of 


PHOTOPLAY  MAGAZINE  FOR  AUGUST.   1935 

human  squalor,  is  not  afraid  to  brave  the 
snickering  low-brows  when  he  finds  life  splen- 
did and  poetic. 

That  is  one  difference  between  the  in- 
tellectuals and  the  commercials — the  intel- 
lectuals are  not  afraid  to  give  their  best. 

Eddie  Robinson  is  a  conscientious  workman. 
During  his  last  visit  to  New  York  he  saw 
every  play  there  was  to  see.  He  went  to  the 
theater  every  night.  On  matinee  days  he  took 
in  two  shows.  That  was  how  he  spent  his 
vacation — and  the  total  spells  work,  not  fun. 
After  seeing  each  play  he  went  over  it  in  his 
mind — pulled  every  scene  to  pieces,  estimated 
the  theater-value  of  each  line,  decided  why 
the  actors  had  excelled  in  their  parts,  or  how 
they  might  have  bettered  their  work.  I  know 
how  intensely  Eddie  analyzes  a  play.  Going 
with  him  to  Sean  O'Casey's  "Within  the 
Gates"  cost  me  a  new  pair  of  suede  shoes. 

IT  costs  Gladys  Robinson — Eddie's  wife — a 
pair  of  evening  slippers,  also.  But  the  ex- 
perience was  worth  it.  We  saw  the  play  to- 
gether. We  emerged  from  the  theater  upon  a 
puddled  New  York — a  muddy  and  drizzling 
Manhattan. 

"  Let's  walk,"  said  Eddie.  "  I  want  to  think 
about  this  show.  I  can  think  better  in  the 
fresh  air." 

Gladys  is  a  pal.     I  am  a  pal.     We  walked. 

Eddie  thought  about  the  play. 

We  landed  in  a  squall  of  rain  behind  the  New 
York  Public  Library.  We  couldn't  find  our  way 
out.  In  the  end  we  discovered  Forty-Second 
Street,  and  hailed  a  taxi-cab.  We  coaxed 
Eddie  into  the  cab,  and  drove  home. 

He  went  on  thinking  about  the  play 


The  Sex-Jinx  On  Hollywood 


CONTINUED  FROM  PAGE  29 


give  Hollywood  the  opportunity  to  stamp  you 
with  devilishness,  you  just  might  as  well  frame 
that    first    contract. 

There  may  never  be  another! 

Claudette  Colbert  could  tell  you  a  great  deal 
about  this  .  .  .  the  same  Claudette  who  was 
so  recently  pulled  out  of  the  also-ran  class  and 
was  salvaged  just  in  the  nick  of  time  for  the 
Academy  Award. 

Several  important  things  happened  to  Claud- 
ette at  just  the  psychological  moment  when 
her  career  had  begun  to  gasp  and  sink  for  the 
third  time: 

(^\NE — after  years  of  nice,  wholesome-girl 
^-s publicity  with  Claudette  balking  at  even 
negligee  scenes  on  the  screen —  she  did  a  right- 
about-face and  played  first  Poppaa  in  "The 
Sign  of  the  Cross"  and  then  Cleopatra  in  a 
ravishing  mood  and  a  couple  of  glass  beads! 
Which,  incidentally,  revealed  the  luscious 
Colbert  figure  for  the  first  good  close-ups. 

Two — the  cloak  of  that  "ideal  romance" 
dropped  from  her  marriage  to  Norman  Foster. 

Three — a  brand  new  and  exciting  romance 
rumor,  in  the  person  of  a  handsome  young 
doctor,  cropped  startlingly  into  her  private 
life! 

The  natives  who  had  begun  to  be  pretty  darn 
forgetful  of  Claudette  in  remembering  Joan 
and  Jean  and  Mae  suddenly  got  around  to 
wondering  what  they  had  been  overlooking 
.  .  .  and  to  wonder  is  to  talk  in  Hollywood. 
Quite  unexpectedly  the  private  life  of  Claudette 
became  the  burning  question  of  the  town.   And 


it's  funny  how  Hollywood  whispers  that  start 
in  the  Trocadero  or  the  Brown  Derby  have  a 
way  of  wafting  towards  the  front  office.  As 
Hollywood  talked,  la  Colbert  (previously  just 
Claudette)  soared  in  four  of  the  best  pictures 
of  the  past  twelve  months. 

Joel  McCrea's  experience  with  the  sex-blight 
on  stardom  was  just  the  reverse.  Joel  started 
out  like  a  house  afire,  or  a  chain  letter  epidemic, 
with  every  star  in  town  bidding  for  his  services. 
This  was  back  in  the  days  before  Frances  Dee, 
when  Joel  was  alternating  Clover  Club  dates 
with  Connie  Bennett  (before  Gilbert  Roland), 
Gloria  Swanson  (before  Herbert  Marshall)  and 
Mary  Pickford  (after  Douglas  Fairbanks). 
Maybe  it  is  only  coincidental  that  Joel's  tem- 
porary elfoldo  on  the  screen  began  with  his  love 
story  with  Frances  .  .  .  and  didn't  end  until 
he  made  a  fresh  start  in  the  role  of  the  philan- 
dering young  doctor  in  "Private  Worlds."  On 
second  thought,  I  haven't  seen  many  pictures 
lately  of  Joel  and  Frances  and  the  baby,  who 
have  all  probably  decided  that  the  best  way  to 
be  happily  married  in  Hollywood  and  still 
retain  your  professional  thrill-voltage  is  to  be 
quiet  about  it! 

IOEL  could  probably  tell  Robert  Young,  late 
^of  M-G-M,  several  words  to  the  wise  on  con- 
centrating all  personal  publicity  on  a  happy 
marriage  It  isn't  fair  to  say  that  Bob's  happy 
marriage,  his  nicely  regulated  life,  and  his 
normal  personality  are  responsible  for  the  run 
of  dull  parts  that  drove  him  to  request  a 
release  from  his  contract.     After  all,  Robert 


CORNS 

CALLOUSES -BUNIONS -SORE  TOES 


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stops  shoe 
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vents  sore  /- 
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(2)~ 


Quickly    loos-* 

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The  instant  you  apply 
Dr.  Scholl's  Zino-pads 
on  corns,  callouses,  bun- 
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you'llhaverelief!  It'sthe 
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pain  so  quickly.  The 
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ture of  these  thin,  cushioning  pads  immedi- 
ately stops  the  cause  and  prevents  tender  spots 
and  blisters  from  new  or  tight  shoes. 

REMOVES  CORNS 
and  CALLOUSES 

To  loosen  and  remove  corns  or 
callouses  quickly  and  safely, use 
Dr.  Scholl's  Zino-pads  with 
the  separate  Medicated  Disks, 
now  included  in  every  box. 
After  that  use  the  pads  alone  to 
stop  shoe  pressure  or  friction. 
Only  a  thorough,  complete, 
scientific,  double-purpose 
treatment  like  Dr.  Scholl's  will 
do  all  these  things  foryou.  Get 
a  box  today  at  your  drug,  shoe 
or  department  store. 
STANDARD  WHITE,  now  25^ 
New  DE  LUXE  flesh  color  35^ 


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...and  Look  I O 
Years   Younger 


Quickly  and  safely  you  can 
tint  those  streaks  of  gray  to  .jWHH  9BSL/  ..J^, 
lustrous  shadesof  blonde,  brown  or  black.  A  small  brush 
and  BROWNATONE  does  it.  Used  and  approved  for 
over  twenty-three  years.  Guaranteed  harmless.  Active 
coloring  agent  purely  vegetable.  Cannot  affect  waving 
of  hair.  Economical  and  lasting — will  not  wash  out.  Im- 
parts rich,  beautiful  color  with  amazing  speed.  Easy  to 
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or  toilet  counters — alwaysona  money-back  guarantee. 


SUMMER  RASH 

ITCHING    STOPPED     QUICKLY 

Even  the  most  stubborn  itching  of  insect  bites, 
athlete's  foot,  eczema,  and  many  other  skin  afflic- 
tions quickly  yields  to  cooling,  antiseptic,  liquid 
D.  D.  D.  Prescription.  Its  gentle  oils  soothe  the 
irritated  and  inflamed  skin.  Clear,  greaseless  and 
stainless — dries  fast.  Stops  itching  instantly.  A  35c 
trial  bottle,  at  drug  stores,  proves  it — or  money  back. 

D.D.D.    PAeAahZ&tUjOrvL, 


Montgomery,  Clark  Gable  and  Fredric  March 
and  any  number  of  It-boys  of  the  screen  have 
the  same  wives  they  started  with  in  Holly- 
wood. Yet  that  non-sex  label  is  being  tacked 
on  Mr.  Young  and  it's  doing  him  no  good 
at  all! 

In  the  beginning  of  his  career,  in  those  first 
reputation-building  days  that  are  so  important, 
Clark  Gable  was  aided  by  the  cheerful  gossip 
(it  proved  to  be  untrue — but  what  does  that 
matter?)  that  his  marriage  was  going  on  the 
rocks  and  that  he'd  probably  marry  Joan 
Crawford,  or  Jean  Harlow,  or  both,  as  soon  as 
they  were  all  free. 

Crazy,  of  course,  but  it  served  its  purpose 
of  stimulating  interest  in  him  and  keeping  it 
at  fever  heat. 

DOBERT  MONTGOMERY  weathered  an 
^epidemic  of  rumors  and  denials  of  a  cream- 
puff  romance  of  the  musical  comedy  motif  with 
a  mysterious  Miss  X  of  Hollywood. 

Freddy  March  has  a  grand  flare  for  manag- 
ing to  be  very  happily  married  in  the  back- 
ground and  judging  beauty  contests  in  the 
foreground. 

But  Bob  Young  was  just  happily  married! 
There  was  nothing  to  rumor  about  and  prac- 
tically nothing  in  his  private  life  to  rate  even  a 
veiled  reference  in  the  popular  lowdown 
columns. 

Just  how  w,ell  Robert  Taylor  will  manage  in 
the  spot  left  vacant  by  Bob  Young  at  the  same 
studio  remains  to  be  seen.  He  is  highly 
amused  at  being  "campaigned"  into  romance 
rumors  because  it's  good  for  him,  like  spinach 
or  something.  But  he's  going  about  the  busi- 
ness of  being  "interested"  in  little  Jean 
Parker,  his  co-star,  with  good  natured  willing- 


ness. Jean's  nice  about  it,  too.  In  other 
words,  while  Bob  would  just  as  soon  stick  to  the 
acting  end  of  it  and  try  to  get  along  with  what 
honors  he  can  garner  in  that  field — if  the 
daily  chatter  column  stuff  is  supposed  to  be 
part  of  the  stardom  racket  he's  willing  to  give 
it  a  whirl. 

From  a  witness  stand  in  a  divorce  court 
Elissa  Landi  complained  that  her  Hollywood 
reputation  of  being  a  "cold  woman"  was 
ruining  her  film  career. 

IT  was  probably  a  strain  on  the  court  to 
'understand  why  strict  adherence  to  the  spirit, 
as  well  as  the  letter  of  marriage,  should  ruin  a 
lady's  standing  in  a  community.  But  as 
Elissa  explained  it: 

"I  was  too  careful  in  sparing  my  husband 
the  embarrassment  of  any  rumors  that  might 
get  back  to  England  about  my  conduct  in 
Hollywood.  As  a  result,  I  never  went  any- 
where— accepted  no  invitations  from  even 
casual  escorts.  I  believe  this  mode  of  life  was 
definitely  harmful  to  my  career.  Hollywood 
began  to  criticize  me  as  'the  woman  of  ice.' 
Reviewers  pretended  they  saw  my  cold  atti- 
tude reflected  in  my  work.  It  became  the 
regular  thing  to  read:  'Miss  Landi  gives  her 
usual  frigid  interpretation  of  the  role.' 

"Naturally,  this  influenced  producers  who 
believed  I  could  not  play  warmer,  more  excit- 
ing roles." 

W/HEN  the  court  recovered  its  honorable 
**  breath  it  granted  Elissa  a  divorce,  obliging- 
ly removing  the  sexless  blight  on  her  starring 
escutcheon.  Elissa  began  stepping  out  and 
into  a  new  Paramount  contract.  In  "Enter 
Madame"  she  made  her  debut  in  a  role  that 


would  have  been  peppy  even  for  Lupe.  But 
the  transformation  was  probably  too  quick. 
Hollywood  didn't  believe  in  a  red-hot  Elissa — 
and  there  hasn't  been  a  role  for  her  since, 
even  a  chilly  one. 

Charles  (Head  Man)  Boyer  made  three 
trips  to  Hollywood  before  he  managed  to 
even  stir  a  ripple.  The  first  time  we  West  Coast 
glamour-lovers  got  a  glimpse  of  Charles  he 
left  us  cold.  Most  of  his  time  was  spent  pal-ing 
around  with  his  good  friend,  Maurice  Chevalier. 
The  second  time,  when  he  arrived  on  the  scene 
for  "Caravan,"  he  met  and  fell  in  love  with 
and  married  Pat  Paterson. 

This  was  downright  discouraging.  But  this 
third  time! 

IN  "Private  Worlds"  the  fascinating  French- 
man did  himself  all  right.  But  it  wasn't  until 
the  report  leaked  out  that  Katharine  Hep- 
burn was  actually  flirting  with  him  on  the 
sets  of  "Break  of  Hearts"  that  Mons  Boyer 
really  went  to  town!  It  didn't  matter  whether 
there  was  an  ounce  of  truth  in  the  idea.  It 
never  does.  The  good  actor  of  yesterday  be- 
came the  personality  of  the  hour!  It  was  the 
piquant  sauce  of  sex-appeal  that  almost  always 
turned  the  trick. 

Mr.  Boyer  should  be  practically  set  from 
here  on  in.  Without  worry  he  may  make  the 
evening  trek  up  the  hill  to  home  and  Pat 
Paterson  every  night  and  settle  down  to  his 
pipe  and  books,  happy  in  the  knowledge  that 
Hollywood  thinks  he's  a  very  devilish  sort 
of  guy. 

For  Hollywood,  unlike  la  belle  Glyn  who 
originated  the  idea,  doesn't  care  whether  you 
have  it  or  not  ...  if  you  only  can  make  'em 
think  you  have! 


The  Shadow  Stage 


I  CONTINUED  FROM  PAGE  71 


THE   NIT  WITS— RKO-Radio 

W /HEELER  and  Woolsey  mixed  up  in  a 
W  murder  case  are  at  their  funniest.  The 
gags  and  giggles  and  roars  are  so  fast  you  have 
to  hang  on  or  roll  in  the  aisle.  They  use  every 
device  for  laughs  known  to  man,  including  a 
truth  machine.  It  is  rowdy,  hilarious,  and  not 
a  dull  moment.  Betty  Grable  is  the  girl. 
Hale  Hamilton,  Evelyn  Brent,  Fred  Keating 
and  others. 

COLLEGE  SCANDAL— Paramount 

PjON'T  let  the  title  fool  you  here.  No  merely 
^  merry  campus  hi-jinks  but  a  clever,  swift- 
paced  double  murder  mystery  played  against  a 
breezy  college  backdrop  makes  this  a  great 
evening  for  amateur  sleuths.  Arline  Judge, 
Kent  Taylor,  Wendy  Barrie,  Edward  Nugent, 
Mary  Nash  and  a  capable  cast  of  young  players 
act  out  a  sometime  illogical  but  always  thrill- 
ing crime  problem.  You  won't  guess  the 
answer  until  the  very  end,  Watson. 

THE  ARIZONIAN— RKO-Radio 

A  REAL  he-man  named  Richard  Dix  inflates 
'  Miis  chest  and  follows  it  slowly  toward  the 
big  bad  villains,  scaring  them  speechless.  This 
is  a  perfectly  swell  Western  with  stagecoach 
hold-ups  and  all  the  trimmings.  Margot 
Grahame   is   a   lovely   Kitty   Rivers,    Preston 


Foster  a  dashing  reformed  bad  man,  Louis 
Calhern  the  crooked  sheriff,  James  Bush  the 
hero's  brother.     A  good  stirring  evening. 

MURDER  IN  THE  FLEET— M-G-M 

IF  this  took  place  on  Gilbert  and  Sullivan's 
'H.M.S.  Pinafore,  the  audience  would  know 
what  to  expect,  but  on  one  of  Uncle  Sam's 
battleships,  it's  unbelievable  and  unintelligent. 
Robert  Taylor  looks  good  but  goes  "melo." 
Jean  Parker  doesn't  register,  Una  Merkel  is 
cute  and  Mary  Doran  splendid  in  a  bit.  But 
it  is  Ted  Healy,  master  comedian,  and  Nat 
Pendleton  who  save  the  film  from  a  sad  fate. 

THE  HEADLINE  WOMAN— Mascot 

A  WELL-PACED  and  entertaining  news- 
'  *paper  yarn  with  Roger  Pryor,  Heather 
Angel,  Jack  LaRue  and  old-timer  Ford  Sterl- 
ing, plus  many  other  familiar  faces.  Dialogue 
is  above  par  and  the  amusing  story  involves 
murder  in  a  casual  manner.  Roger  takes  care 
of  the  editor's  daughter  when  she  is  suspected, 
and  it  all  works  out  fine. 

FRANKIE  AND  JOHNNIE— 
Select—  RKO    Release 

THIS  American  classic  has  suffered  from  the 
'  censor's  scissors,  but  emerges  an  interesting 
effort.     The  locale  is  a  St.   Louis  gambling 


house  in  1870.  Helen  Morgan  is  the  well-cast 
Frankie,  Chester  Morris  is  the  great  lover — 
and  Lilyan  Tashman  is  Nellie  Bly.  It  is  a 
simple,  unsophisticated  story  in  this  version. 
Negro  spirituals  and  Southern  atmosphere  lend 
color.  But  not  a  note  of  "Frankie  and 
Johnnie"! 

THE   HEALER— Monogram 

DALPH  BELLAMY,  "  the  healer,"  is  content 
■no  work  modest  miracles  with  crippled  chil- 
dren until  Judith  Allen  comes  along  and  lures 
him  into  a  big  nassy  sanitarium.  But  a  roar- 
ing forest  fire  shows  him  the  error  of  his  ways 
and  he  returns  to  Karen  Morley,  Mickey 
Rooney,  J.  Farrel!  MacDonald,  and  the  others 
at  his  old  stand.    A  trifle  labored  and  obvious 

KLIOU— Bennett   Pictures 

THE  film  result  of  the  Marquis  de  la  Falaise's 
'  latest  jungle  journey  is  a  fresh  and  charm- 
ing travelogue  type  picture  drama.  Primitive 
tribesmen  of  little  known  Indo-China  supply 
the  cast,  together  with  the  marquis  himself. 
He  photographs  remarkably  well.  "Kliou" 
means  "Tiger,"  and  the  action  concerns  mainly 
a  tiger  hunt  by  a  native  Nimrod.  Exquisite 
scenery  paints  some  beautiful  pictures  with 
Technicolor.  It's  silent.  You'll  enjoy  it  very 
much. 


104 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,    1935 


105 


THE  FAN  CLUB  CORNER 


I IOW    the   year   rolls   around.      But   speed 

'  'makes  for  pleasure  when  it  concerns  the 
coming  of  the  next  annual  convention  of  the 
fan  clubs  throughout  the  country.  Chicago 
seems  to  be  the  lucky  spot  again,  and  the  dates 
have  been  set  as  August  2nd,  3rd,  and  4th,  for 
the  1935  convention. 

The  Movie  Club  Guild  of  Chicago,  sponsor- 
ing the  big  fan  club  get-together  of  the  year, 
announce  that  they  are  completing  details  for 
the  program  of  events  to  be  offered  the  dele- 
gates. Many  entertainment  features  will 
please  the  fans  as  well  as  the  regular  business 
sessions  to  be  held  during  the  three  days  in 
Chicago. 

Those  who  were  fortunate  enough  to  attend 
the  convention  last  year  know  well  the  happy 
time  and  profitable  experiences  to  be  gained 
from  such  a  meeting  of  movie-minded  fans.  It 
is  hoped  that  many  who  were  unable  to  attend 
last  year's  convention  will  be  on  hand  for  the 
one  this  year. 

Clubs  wishing  to  send  delegates  are  invited 
to  correspond  with  the  headquarters  of  the 
Movie  Club  Guild,  4822  North  Meade  Ave., 
Chicago,  111.  Be  sure  to  get  your  reservations 
in  early. 

Congratulations  to  Chaw  Mank,  down  in 
Staunton,  Illinois.  The  poetry  corner  he  is 
encouraging  in  the  Movie  Fan  Friendship 
Club  news  is  really  something  for  a  club  to  brag 
about.  The  club,  by  the  way,  is  to  celebrate  its 
tenth  birthday  soon.  Chaw  also  has  the  Dick 
Powell  club.  Although  it  is  only  two  years  old, 
this  club  has  a  membership  of  over  a  thousand. 
Why  not  drop  Chaw  Mank  a  line,  if  you  want 
a  line  on  these  clubs? 

Minnette  Shermak,  president  of  the  Jean 
Harlow  Club,  hears  many  nice  things  from 
Miss  Harlow.  The  following  paragraph  in  a 
recent  letter  from  this  glamorous  star  to  the 
president  of  her  clubs  shows  Jean's  fine  appreci- 
ation of  her  faithful  fans.    It  reads: 

"Minnette  dear,  I  do  so  greatly  appreciate 
the  kind  thoughts  that  were  sent  me  on  my 
birthday  through  the  medium  of  hundreds  of 


letters,  cards  and  gifts.    May  I  take  this  oppor- 
tunity to  thank  each  and  every  one  of  you." 

Since  the  above  appeared  in  the  club  news, 
"The  Platinum  Page,"  naturally  all  of  Jean 
Harlow's  club  friends  read  her  message  to 
them.  The  club  address  is  328  East  90th 
Street,  New  York  City. 

Members  of  the  Buddy  Rogers  Fan  Club  are 
excited  about  their  Honorary  President's  latest 
Hollywood  efforts.  Buddy  is  to  be  seen  very 
soon  in  RKO-Radio's  "Old  Man  Rhythm." 
Being  an  expert  musician  and  band  leader, 
Charles  (Buddy)  Rogers  is  sure  to  please  his 
host  of  faithful  fans,  and  every  movie  audience 
as  well.  Write  to  Marilyn  Bonnell,  2339  W. 
Lisbon  Ave.,  Milwaukee,  Wis.,  for  news  about 
joining. 

The  Movie  Club  Guild  of  Chicago  reports 
a  very  successful  dinner  recently  given  by 
members  of  the  various  clubs  of  their  associa- 
tion for  Lina  Basquette.  Jackie  Heller,  radio 
star,  Mr.  and  Mrs.  Art  Jarett  (Eleanor  Holm) 
were  also  guests.  It  was  held  at  the  famous 
College  Inn. 

Rose  Badali,  4418  W.  Jackson  Blvd., 
Chicago,  111.,  reports  that  the  Dolores  Del  Rio 
club  is  growing  by  leaps  and  bounds,  with  many 
new  fans  joining  every  month.  Write  her  for 
details. 

.Capable  Helen  Moltz,  Route  No.  2,  Sheboy- 
gan, Wis.,  president  of  the  Joel  McCrea  Fan 
Club,  certainly  reflects  the  intelligent  stand  of 
the  numerous  fan  clubs  throughout  the  country 
regarding  the  "chain  letter  hokum"  which  has 
flooded  every  city.  In  the  club  news  she 
writes: 

"Fan  Clubs  and  their  leaders  especially 
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on.  People  will  form  the  wrong  opinion  of  fan 
clubs,  just  like  the  chain-letter.  We  want  to 
prove  to  the  public  that  we  stand  for  fair  play. 
Let's  all  do  our  part." 

An  interesting  club  news  from  the  Alice 
White  Fan  Club  just  arrived  It  is  a  most  in- 
teresting account  of  club  activities  and  greet- 
ings.    This  club  is  restricted  to  girls. 


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With  Will  Rogers  on  the  Set 


CONTINUED  FROM  PAGE  37 


Bill  is  grand  about  things  like  that. 

"Wal,"  he  drawled  with  one  of  those  sly 
grins  of  his,  "  I  guess  I  sort  of  gave  you  a  prece- 
dent to  go  by,  didn't  I?" 

Bill  always  talks  exactly  the  way  he  writes, 
but  he  sometimes  has  an  awful  time  writing 
like  he  talks.  That's  why  we  frequently  have 
to  wait  for  him  on  the  set — he's  always  right 
on  time  at  the  studio,  but  try  to  find  him! 
He  parks  his  car  at  odd  places  and  gets  out  his 
portable  typewriter  to  write  his  daily  news- 
paper comment,  which  has  to  be  at  the  tele- 
graph office  by  four  P.M.  the  previous  day,  and 
that's  why  he  so  everlastingly  reads  those  end- 
less stacks  of  newspapers  and  periodicals  on 
the  set.  He  keeps  himself  informed  right  up 
to  the  minute  on  current  events  everywhere, 
and  the  fund  of  information  which  he  always 
has  right  on  tap  couldn't  be  duplicated  outside 
of  an  encyclopedia. 

[-\ON'T  let  anybody  tell  you  that  he  just 
^dashes  off  those  shrewd,  homely  comments 
of  his  on  the  spur  of  the  moment.  I  have  known 
him  to  scratch  his  head  for  hours  searching  for 
just  the  right  one.  He  has  a  word  sense  which 
amounts  to  an  instinct,  and  those  few  appar 
ently  careless  paragraphs  of  his  which  you 
read  at  the  breakfast  table  each  morning  are 
as  carefully  thought  out  as  your  income-tax 
statement. 

With  his  writing,  radio  and  speeches,  it  is 
no  wonder  that  every  Rogers  film  is  scheduled 
to  start  when  Rogers  is  ready,  not  when  the 
studio  is.  He  is  the  only  star  in  the  industry 
who  can,  and  does,  hold  up  pictures  already 
prepared  until  it  suits  him  to  begin  on  them. 

But  Bill,  according  to  all  official  compilations 
of  box-office  figures,  is  by  far  the  biggest  draw 
in  the  industry,  with  Clark  Gable  second  and 
Janet  Gay  nor  third.  When  you  have  the  mag- 
netism that  makes  the  shekels  ring  you  can 
have  clauses  like  that  in  your  contract. 

Moreover,  it's  nice  to  work  with  Bill  be- 
cause he  never  works  nights  or  Sundays  as 
other  stars  frequently  have  to  do.  On  his  last 
picture  he  did  work  one  Sunday,  but  it  wasn't 
because  we  were  three  days  behind  schedule. 
It  was  merely  because  Mrs.  Rogers  had  gone 
to  New  York  to  see  their  daughter  Mary  and 
Bill  was  lonesome. 

"Don't  have  nothin'  else  to  do  so  might  as 
well  work,"  was  his  gracious  rejoinder  to  the 
director's  tentative  request. 

Notwithstanding  all  the  things  he  has  to  do 
and  all  the  deadlines  he  has  to  catch,  Bill  still 
finds  plenty  of  time  on  the  set  for  twirling  his 
rope,  which  is  in  constant  attendance  with  a 
prop  boy  to  attend  it  like  a  groom  looks  after 
a  horse.  If  Bill  isn't  reading  those  newspapers 
he's  clowning,  and  if  he  isn't  clowning  he's 
walking  up  and  down  the  stage  with  his  head 
bent  forward  muttering  to  himself.  That's 
when  he  manufactures  those  homilies  of  his. 
and  nobody  ever  interrupts  him.  I've  seen 
the  entire  company  wait  for  an  hour,  cameras 
ready  but  everybody  from  director  to  grips  as 
quiet  as  mice,  because  Bill  was  somewhere  in 
the  middle  of  a  brainstorm.  When  he  came 
out  of  it  he  didn't  know  he'd  been  in  it  longer 
than  a  minute;  he'd  clap  his  hands  together  in 
that  way  he  has  and  shout:  "Let's  knock  on 
'em" — his  equivalent  of  let's  go — and  "Well, 
what's  holding  us  up?    Ain't  we  ready  yet?" 

His  clowning  usually  takes  the  form  of  las- 

106 


soing  people  and  things  with  his  rope,  and 
sometimes  the  results  are  a  bit  disastrous. 
While  we  were  making  "Mr.  Skitch"  he  was 
twirling  it  between  shots  in  the  print  shop 
scene,  where  there  was  a  shelf  loaded  with 
everything  from  soup  to  nuts  including  one 
solitary  beer  bottle.  Of  course  Bill  lassoed  the 
beer  bottle  and  of  course  the  bottle  came  down 
on  Sterling  Holloway's  head  Fortunately,  he 
wasn't  hurt. 


Constance  Cummings  following  her 
successful  Broadway  stage  season 
will  go  into  Reliance's  "Amateur 
Girl,"   with  Robert  Young  opposite 


All  the  time,  on  that  same  picture,  he  and 
Harry  Green  vied  with  each  other  in  putting 
on  a  show  for  the  mob  of  kids,  Bill  with  his 
rope  and  Harry  with  a  deck  of  cards  with 
which  he  does  marvelous  tricks.  It  was  really 
remarkable  to  see  how  those  two  competed  for 
that  kid  audience;  Bill  Rogers,  the  highest  paid 
star  in  pictures  who  could  fill  any  auditorium 
in  America  a  dozen  times  over  any  time  he 
chose  to  appear,  would  rush  out  after  finishing 
a  scene  to  where  Harry  was  showing  off  his 
card  tricks  to  the  kids  and  yell,  twirling  his 
rope: 

"  I IEY,  kids,  here  I  come.    Never  mind  those 

'    'foolish  cyard  tricks — come  an'  watch  this!" 

Bill   always  plays   to   the  electricians  and 

other  workmen  on  every  picture.     When  he 

makes  a  crack  he  listens  for  the  laugh  from  the 


men  operating  the  lights  high  up  in  the  rafters 
— and  if  the  laugh  doesn't  come  Bill  discards 
the  line.  This  method  of  his  may  spoil  the 
first  take,  but  if  he  gets  the  laugh  Bill  doesn't 
need  to  know  what  an  audience  will  do.  The 
electricians  have  already  told  him. 

He's  Bill  to  all  of  them  equally.  Any  Rogers 
set  is  always  a  procession  of  distinguished  vis- 
itors, to  all  of  whom  Bill  can  talk  at  ease,  but 
he's  apt  at  any  time  to  forget  any  of  them  for 
a  grip  or  a  carpenter  to  whom  he's  talking. 
And  it's  nothing  to  have  an  electrician  yell 
down  from  the  roof: 

"  Hey,  Bill,  don't  move  so  fast — I  can't  keep 
this  inkie  on  you!" 

Busy  as  he  always  is,  it's  the  hardest  thing 
in  the  world  to  get  Bill  actually  to  begin  a 
scene.  He'll  sit  there  reading,  or  he'll  play  on 
with  his  rope,  answering  the  director:  "Sure 
I'll  be  there  in  a  minute — be  there  in  a  min- 
ute." Sometimes  his  minute  lengthens  to  half 
an  hour.  But  he  hasn't  been  only  reading  or 
whirling  that  lariat.  He's  been  thinking  some- 
thing out  and  when  he  does  the  scene  the 
something  is  in  it. 

When  he  does  get  on  the  scene,  he  is  impa- 
tient of  all  detail.  He  always  wears  that  shoe- 
string tie,  of  course,  and  one  of  the  wardrobe 
girls  is  always  trying  to  fix  it.  "Aw,  leave  it 
alone,"  Bill  growls,  "it'll  never  show  on  a  big 
screen  with  loud  music."  That's  his  eternal 
answer  to  trifling  details  such  as  whether  he 
was  holding  this  in  that  hand  or  not,  or 
whether  he  was  standing  here  or  there.  Metic- 
ulous about  things  which  really  count,  Bill  pays 
no  attention  whatever  to  those  he  thinks  un- 
important. 

SOMETIMES,  however,  even  he  doesn't  get 
away  with  it.  There  was  the  time  in  "Mr. 
Skitch."  You'll  remember  that  in  the  picture 
a  family  left  home  in  an  antiquated  automo- 
bile and  went  on  tour — Bill,  ZaSu  Pitts,  who 
played  his  wife,  myself,  two  twins,  another 
boy,  and  a  dog.  We  were  all  crowded  in  that 
tin  lizzie  day  after  day  for  weeks,  and  although 
we  were  supposed  to  have  visited  Yosemite. 
Yellowstone,  the  Grand  Canyon  and  a  lot  of 
other  resorts,  we  actually  stayed  right  on  that 
same  set,  strewn  with  a  foot  of  dirt  on  the  floor, 
while  the  scenery  moved  past  us. 

Every  morning  when  we  got  in  that  car  the 
prop  boys  would  shower  us  liberally  all  over 
with  Fuller's  earth,  so  that  we  should  look 
properly  and  uniformly  travel-stained.  It  was 
this  rite  that  Bill  insisted  was  a  mere  detail; 
he  said  that  a  little  Fuller's  earth  more  or  less 
would  never  be  missed  by  an  audience. 

"Besides,"  he  said,  "I  don't  like  the  tickle 
of  it  going  down  my  neck!" 

He  had  to  lump  it,  though,  and  so  did  the 
rest  of  us.  That  was  the  most  monotonous  pic- 
ture— from  our  point  of  view,  I  mean — that  I 
hope  ever  to  work  on.  It  seemed  ages  that  we 
had  to  stay  there,  with  more  Fuller's  earth 
being  blown  in  our  faces  by  wind  machines  for 
dust  and  the  car  being  bounced  on  two-by- 
fours  for  motion,  while  Bill  steered  in  obedience 
to  signals  given  him  by  a  prop  boy  with  a 
handkerchief  as  the  turns  in  the  road  went  by 
behind  us.  Our  outdoor  life  consisted  of  one 
exterior  scene,  and  that  on  the  studio  back  lot, 
but  we  got  all  the  disadvantages  of  a  trans- 
continental trek! 

[  PLEASE  TURN  TO  PAGE  108  ] 


PHOTOPLAY  MAGAZINE  FOR  AUGUST.   1935 


107 


SCREEN   MEMORIES  FROM  PHOTOPLAY 


15  Years  Ago 


IN  1920  the  child  wonder  of  the 
'screen  was  little  Bobby  Kelso 
King  Vidor  was  directing  the 
three-year-old  in  "The  Jack- 
Knife  Man  "  and  having  plenty 
of  trouble.  For  Bobby  had  just 
learned  that  "I  don't  want  to," 
brought  musical  tops,  colored 
chalk,  and  maybe  even  a  live 
rabbit  out  of  Vidor's  pockets. 
Anyhow  Bobby  was  great  in  the 
film  when  it  was  finally  finished! 
The  happy  romance  of  the  day  was  lovely 
Louise  Huff  and  her  husband,  Edwin  Stillman. 
Last  we  heard,  they  were  still  living  happily 
ever  after.  Mildred  Davis  was  called  successor 
to  Bebe  Daniels  Imagine  Bebe  having  a  suc- 
cessor fifteen  years  ago?  Miss  Daniels  con- 
tinued through  many  seasons  of  screen  success 
after  that,  and  it  was  Mildred  who  retired  and 
settled  down,  happily,  as  the  wife  of  Harold 


BOBBY  KELSO 


Lloyd.  The  rotogravure  section 
featured  Priscilla  Dean,  Madge 
Kennedy,  Alice  Joyce  (who  had 
just  become  Mrs.  James  Regan), 
Renee  Adoree,  Doris  May,  and 
Mary  Miles  Minter  wearing  the 
duckiest  South  Seas  Island  cos- 
tume. The  story  entitled,  "The 
Truth  About  Mae  Murray,"  as- 
sured her  admirers  that  Mae  was 
just  as  glamorous  and  exciting 
off  the  screen  as  on  Little 
Jimmie  Rogers  (Will's  son)  was  gathering 
laurels  for  his  performance  with  his  Dad  in  the 
film,  "Jes  Call  Me  Jim."  Best  films  of  the 
month  included  "Romance,"  with  Doris 
Keane,  Basil  Sidney  and  Norman  Trevor; 
"The  Dark  Mirror"  starring  Dorothy  Dalton; 
the  Rex  Beach  story,  "The  Silver  Horde;" 
Olive  Thomas  in  "The  Flapper."  Mae 
Murray  was  the  cover  girl. 


10  Years  Ago 


CTANDARDS  of  camera 
^  beau  ty  certainly  have  changed ! 
Leading  cameramen  ten  years 
ago,  listing  specifications  for  film 
success,  voted  for  black  or  dark 
brown  eyes,  black  or  auburn 
hair,  height  of  five  feet  four 
inches,  weight  one  hundred  and 
twenty  pounds.  Today  Holly- 
wood unanimously  prefers  blonde 
heroines  to  brunettes,  and  it  is 
conceded  that  light  hair  photo- 
graphs much  more  successfully  than  dark.  In 
the  same  issue  the  ten  most  beautiful  women 
on  the  screen  were  named.  They  were: 
Florence  Vidor,  Greta  Nissen,  May  Allison, 
Corinne  Griffith,  Nita  Naldi,  Mary  Astor, 
Barbara  LaMarr,  Pola  Negri,  May  McAvoy, 
Alice  Terry.  Mary  Astor  is  the  only  one  of  the 
group  now  prominent  in  movies.  America  was 
shocked  by  the  uncovering  of  an  alleged  plot 


PAULINE  STARKE 


to  kidnap  Mary  Pickford  and 
hold  her  for  a  two  hundred  thou- 
sand dollar  ransom.  Richard 
Dix  had  a  bet  up  that  he  would 
be  married  within  a  year.  But  it 
was  six  years  later  he  married 
Winifred  Coe,  and  the  marriage 
ended  in  1933.  He's  married 
now  to  Virginia  Webster.  A 
story  titled,  "The  Girl  Without 
'It'  "  was  about  Pauline  Starke, 
whose  greatest  asset  was  her 
naturalness  and  charm.  Best  films  of  the 
month  were:  "Sally  of  the  Sawdust,"  with 
Carol  Dempster  and  W.  C.  Fields;  Douglas 
Fairbanks  in  "  Don  Q,  Son  of  Zorro;"  the 
German  screen  version  of  Wagner's  opera 
'Siegfried;"  the  Western  thriller,  "Black 
Cyclone;"  A'  I'll  Show  You  the  Town,"  with 
Reginald  Denny,  Marian  Nixon  and  Lilyan 
Tashman.     Cover  girl:   Dorothy  Gish. 


5  Years  Ago 


JIOLLYWOOD'S  most  glitter 
'  'ing  triangle  in  1930  was 
Gloria,  Connie  and  the  Marquis. 
With  Swanson  since  married  to 
and  divorced  from  Michael 
Farmer  and  Miss  Bennett  wed  to 
the  titled  gentleman,  the  triangle 
has  been  squared.  But  the  names 
are  still  news.  Janet  Gaynor  was 
at  war,  fighting  against  the  rah- 
rah  roles,  such  as  her  part  in 
"Sunny  Side  Up."  She  refused  to 
sing  or  dance  on  the  screen  again.  "What 
About  Mary  and  Doug?  "  was  the  leading  ques- 
tion of  the  day  with  "Will  Norma  Shearer  Re- 
tire?" running  a  close  second.  You  know  the 
answers.  Jacqueline  Logan  had  deserted  Holly- 
wood for  British  films  and  was  having  a  grand 
time  in  good  old  London.  But  the  lady  of  the 
moment  over  seas  was  Marie  Dressier.  She 
crossed  to. make  a  personal  appearance  at  the 


JACQUELINE  LOGAN 


London  Empire,  and  they  had  to 
call  out  the  bobbies  to  save  her 
from  enthusiastic  mobs.  The 
new  find  on  the  Paramount  lot 
was  Ginger  Rogers.  Ginger  had 
just  clicked  as  the  dumb-bell  girl 
friend  of  Charlie  Ruggles  in 
"Young  Man  of  Manhattan." 
Remember?  It  was  Claudette 
Colbert's  picture.  "  What  Garbo 
Thinks  of  Hollywood"  was  the 
big  story  of  this  issue.  She  hasn't 
changed  her  mind  apparently.  But  five  years 
ago  people  were  still  saying  her  seclusion  was 
a  press  agent's  stunt.  Best  films  this  month 
were:  Garbo  and  Lewis  Stone  in  "Romance;" 
"With  Byrd  at  the  South  Pole;"  Lon  Chaney 
and  Lila  Lee  in  "The  Unholy  Three;"  Ann 
Harding,  Mary  Astor,  Robert  Ames  in  "  Holi- 
day;" Robert  Montgomery  and  Chester  Morris 
in  "The  Big  House."     Garbo,  cover. 


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—  said  Thackeray.  This  great 
author  knew  the  power  of  wo- 
men—  better  than  most  women 
do.  Men  are  helpless  in  the  hands  | 
of  women  who  really  know  how  / 
to  handle  them.  You  have  such' 
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husband,  a  home  and  happiness.  Read  the  secrets 
of  "Fascinating  Womanhood"  a  daring  book  which 
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laws  of  man's  psychology. 

Don't  let  romance  and  love  pass  you  by.  Send  us 
only  10c  and  we  will  send  you  the  booklet  entitled 
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Press,  Dept.  4- H,  585  Kingsland  Avenue,  St. Louis.Mo. 


With  Will  Rogers  on  the  Set 


CONTINUED  FROM  PAGE  106 


In  the  midst  of  all  this  real  discomfort  Bill's 
temper  was  always  at  its  sweetest.  Some- 
times, when  everything  is  going  smoothly,  he'll 
get  just  a  little  bit  testy  over  this  or  that;  when 
he  gets  enthused  over  anything  he  stutters. 
But  at  that  time  he  kept  us  all  laughing  and 
good-humored  between  shots  with  witty  cracks 
that  were  superbly  spontaneous.  And  once, 
when  he  had  missed  his  dialogue  and  threw  me 
off,  he  even  apologized. 

"I'm  sorry,  Ro-shelley,"  he  said.  That  was 
all,  but  it  was  a  lot  from  Bill.  It  was  the  only 
time  I  ever  heard  him  apologize  to  anyone  for 
anything.  He  calls  me  Ro-shelley  and  I  always 
call  him  Uncle  Bill. 

THAT  has  nothing  whatever  to  do  with  the  fact 

that  I  was  born  in  his  home  town  of  Clare- 
more,  Oklahoma.  I  moved  from  Claremore  to 
Oklahoma  City  when  I  was  three  years  old, 
and  I  never  met  Bill  at  all  until  we  began  the 
first  picture  together.  All  I  remember  about 
Claremore  is  that  it  smells  to  high  heaven  of 
radium  water — and  I'll  stick  to  that  no  matter 
how  Bill  boosts  it  in  his  papers. 

Bill  is  really  fond  of  Claremore,  though,  and 
is  especially  nice  to  any  one  who  comes  to  see 
him  from  there. 

Bill  is  perhaps  the  world's  most  widely-trav- 
elled citizen  with  the  home-town  feeling  com- 
pletely untouched. 

That  old-home-town  psychology  stood  him 
in  good  stead  in  "Life  Begins."  There  is  a  scene 
in  the  picture  where  we  all  have  to  do  an  old- 
fashioned  square  dance,  and  the  studio  started 
to  employ  an  instructor  to  show  us  how.  Bill 
hit  the  roof.  "What,"  he  yelled,  "teach  me 
to  do  a  square  dance!" 

The  upshot  of  it  was  that  Bill  himself  taught 
the  whole  company  that  square  dance,  with  all 
those  variations  of  his  own.  And  if  you  think 
he  can  only  twirl  a  rope,  you  should  see  him 
out-kick  any  chorus  girl!  In  the  scene  there 
were  Chinese  lanterns  strung  over  the  yard 
and  Bill,  feeling  like  one  of  his  own  colts  that 
day,  started  in  to  kick  one  of  them.  He  could 
do  it,  too,  and  although  the  lantern  was  higher 
than  his  head  to  begin  with  the  boys  kept  rais- 
ing it  higher  and  Bill  kept  right  on  kicking  it. 
Ultimately,  however,  he  found  out  that  he  was 
no  longer  a  colt  after  all,  for  while  kicking  it 
the  last  time  he  collapsed,  all  in,  and  couldn't 
work  any  more  that  day. 

In  Judge  Priest  there  was  a  taffy-pulling 
scene  for  which  the  studio  also  employed  an 
expert  taffy-puller — but  again  Bill  would  have 
none  of  it.  "What  d'ye  mean — I've  pulled 
taffy  in  the  best  states  in  the  Union,"  he 
cried,  "and  I  can  pull  taffy  now!"  He  pulled 
the  taffy.  And  he  played  the  fiddle  when 
the  cut  came  of  the  fiddlers  at  the  square- 
dance.  Further,  he  kept  on  playing  it  all 
afternoon  when  he  should  have  been  acting 
instead. 

\  Y/E  don't  mind  those  little  antics  of  his  a  bit. 

"  They  give  us  all  a  nice  rest  and  a  good 
show.  You  get  a  lot  of  breaks  in  a  Rogers  pic- 
ture, anyway,  especially  if  you're  an  ingenue, 
because  Bill  is  the  exact  opposite  of  a  lens  hog. 
Instead  of  hogging  the  camera  he  lets  you  have 
all  the  breaks  in  photography.  As  long  as  he 
can  do  the  talking  he'll  let  you  do  the  posing. 

Just  the  same  he's  a  scene-stealer  with  a 
vengeance  if  he  happens  to  feel  that  way.     I 

108 


remember  in  particular  one  scene  which  he 
was  doing  with  Jane  Darwell,  who  was  playing 
Bill's  next  door  neighbor  in  the  film;  it  was 
legitimately  her  scene,  and  in  it  she  had  to 
make  a  long,  impassioned  speech. 

All  the  time  she  was  speaking  her  dialogue 
Bill  was  standing  just  behind  her,  not  doing  a 
thing,  except  to  eat  a  banana.  The  scene  was 
long  and  Bill  finished  the  banana;  he  looked 
around  for  something  else  to  do,  still  without 
interrupting  the  speech.  Jane,  facing  the  cam- 
era  in   close-up    didn't   know   he  was   doing 


When  a  girl  looks  like  that  in  a 
swim  suit,  she  should  never  go  in 
the  water.  Madge  Evans  wears  a 
smart  suit  of  turquoise  blue   satin 

anything,  but  Bill  came  up  with  a  chicken-leg 
next  and  started  eating  that. 

When  we  saw  the  rushes  in  the  projection- 
room  none  of  us  were  able  to  watch  Jane  or 
listen  to  what  she  was  saying.      We  had  to 


watch  Bill  making  those  faces  over  that  banana 
and  that  chicken-leg.  He  had  lifted  that  whole 
scene  as  completely  as  a  burglar  lifts  the  family 
jewels. 

He  ducks  still  pictures  completely  if  he  can 
and  never  goes  to  the  gallery  for  portraits. 

"Let  Ro-shelley  go,"  he'll  say,  "they'd  much 
rather  look  at  her  than  at  this  homely  mug  of 
mine." 

"But,  Bill,"  the  photographer  will  protest, 
"we've  already  had  Rochelle — " 

"  Well,  take  her  agin,"  Bill  will  say,  and  go 
ambling  off  to  his  car. 

He  was  trying  to  open  a  can  in  a  scene 
one  day  when  he  looked  up  and  ad  libbed: 
"I  don't  think  the  American  emblem  should 
be  a  Blue  Eagle  at  all — I  think  it  should  be  a 
can-opener.  I'm  goin'  to  take  it  up  with 
Congress,  too." 

That  is  still  in  the  picture,  and  it  is  a  good 
example  of  just  how  Rogers  pictures  happen. 
No  author  who  ever  wrote  a  Rogers  script  ever 
recognized  his  handiwork  in  the  screen,  least 
of  all  Lamar  Trotti,  who  wrote  a  story  around 
the  title  for  "Life  Begins  at  40."  It  was  a 
grand  script,  too,  but  Bill,  knowing  how  he 
had  Rogersized  it,  would  put  his  hand  before 
his  eyes  whenever  he  saw  Trotti  coming  on  the 
set  and  yell  in  a  stage  whisper  to  the  whole 
company : 

"Jiggers,  here  comes  the  author.  Now,  no- 
body knows  nothin',  see?" 

Even  Bill's  lines  sometimes  fail  to  accom- 
plish their  purpose,  however,  and  such  a  time 
was  that  when  a  high-caste  Hindu  from  India 
visited  him  on  the  set  with  his  complete  retinue. 
The  Indian,  Bill  learned,  had  taken  a  vow  of 
silence;  no  word  was  to  pass  his  lips  for  five 
years. 

I'LL  bet  I  kin  make  him  talk,"  Bill  deter- 
mined, and  turned  himself  on  at  his  loudest 
and  funniest.  Everything  was  passed  on  to 
the  Hindu  by  an  interpreter,  and  he  laughed 
uproariously  at  Bill's  sallies;  Bill  really  was 
outdoing  himself.  He  kept  it  up  for  almost  an 
hour,  working  harder  than  he  has  in  all  likeli- 
hood ever  worked  on  any  stage,  and  the  Indian 
laughed  and  laughed.  We  on  the  set  were  in 
hysterics.  But  the  Indian  never  spoke  a  word. 
"Aw,  well,"  Bill  finally  said  in  disgust  as  the 
Hindu  left,  "I  know  why  it's  so  easy  for  him 
to  keep  quiet.  I'll  bet  he's  married  to  a  whole 
harem  and  don't  know  how  to  talk  any  more." 
Everybody  knows  Bill  Rogers,  or  think  they 
do.  His  face  and  mannerisms,  his  speech  and 
witticisms,  are  as  familiar  and  fit  their  taste 
as  comfortably  as  an  old  shoe.  But  few  people 
realize  the  keen  mind,  the  analytical  brain, 
the  endless  hours  of  work,  thought  and  study 
behind  every  apparently  careless  word  and 
gesture  which  gives  them  so  much  pleasure. 

When  Garbo  is  through  work  for  the  day — 
whether  the  director  thinks  he  is  or  not — she 
simply  says,  "I  t'ank  I  go  home  now;"  or  so 
those  who  work  with  her  tell  us.  Bill  has  a 
formula  all  his  own.  Personally  I  start  put- 
ting things  away  in  my  make-up  box  when  I 
hear  Bill  begin  to  yell: 

"Santa  Monica  Canyon!  Santa  Monica 
Canyon!" 

He'll  keep  it  up  until  the  director  nods  and 
calls  the  set,  because  when  Bill  yells  "Santa 
Monica  Canyon,"  where  his  ranch  is.  it  means 
he's  through  for  the  day. 


PHOTOPLAY  MAGAZINE  FOR  AUGUST,   1935 


iO? 


Addresses  of  the  Stars 


HOLLYWOOD,  CALIF. 


Paramount 

Benny  Baker 
George  Barbier 
Wendy  Barrie 
Douglas  Blackley 
Mary  Boland 
Grace  Bradley 
Carl  Brisson 
Kathleen  Burke 
Burns  and  Allen 
Kitty  Carlisle 
Dolores  Casey 
Claudette  Colbert 
Gary  Cooper 
Jack  Cox 

Larry  "Buster"  Crabbe 
Bing  Crosby 
Katlierine  DeMille 
Marlene  Dietrich 
Johnny  Downs 
Frances  Drake 
Mary  Ellis 
W.  C.  Fields 
William  Frawley 
Trixie  Friganza 
Cary  Grant 
Julie  Haydon 
Samuel  Hinds 
David  Holt 
Dean  Jagger 
Helen  Jepson 
Roscoe  Karns 
Walter  C.  Kelly 
Lois  Kent 
Jan  Kiepura 


Studios 
Elissa  Landi 
Billy  Lee 
Baby  LeRoy 
Carole  Lombard 
Pauline  Lord 
Ida  Lupino 
Fred  MacMurray 
Marian  Mansfield 
Herbert  Marshall 
Gertrude  Michael 
Raymond  Milland 
Joe  Morrison 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Joe  Penner 
George  Raft 
Maxine  Reiner 
Lyda  Roberti 
Charlie  Ruggles 
Marina  Schubert 
Randolph  Scott 
Sylvia  Sidney 
Alison  Skipworth 
Fred  Stone 
Sir  Guy  Standing 
Gladys  Swarthout 
Akim  Tamiroff 
Colin  Tapley 
Kent  Taylor 
Lee  Tracy 
Virginia  Weidler 
Mae  West 
Henry  Wilcoxon 


Fox  Studios, 

Astrid  Allwyn 
Rosemary  Ames 
Lew  Ayres 
Mona  Barrie 
Warner  Baxter 
Thomas  Beck 
William  Benedict 
Barbara  Blone 
John  Boles 
Rita  Cansino 
Jane  Darwell 
Rosita  Diaz 
Alan  Dinehart 
James  Dunn 
Jack  Durant 
Alice  Faye 
Stepin  Fetchit 
Ketti  Gallian 
Janet  Gaynor 
Frances  Grant 
Harry  Green 
Tito  Guizar 
Sterling  Holloway 
Rochelle  Hudson 
Roger  Imhof 
Walter  Johnson 
Arline  Judge 
Paul  Kelly 


1401   N.  Western  Ave. 
Walter  King 
Rosina  Lawrence 
Charles  Locher 
Edmund  Lowe 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Conchita  Montenegro 
Rosita  Moreno 
Herbert  Mundin 
Warner  Oland 
Pat  Paterson 
Ruth  Peterson 
John  Qualen 
Regina  Rambeau 
Bill  Robinson 
Will  Rogers 
Gilbert  Roland 
Raul  Roulien 
Siegfried  Rumann 
Jackie  Searl 
Slim  Summerville 
Shirley  Temple 
Claire  Trevor 
Helen  Twelvetrees 
Blanca  Vischer 
Henry  B.  Walthall 


RKO-Radio   Pictu 

Glenn  Anders 
Fred  Astaire 
John  Beal 
Willie  Best 
Eric  Blore 
Alice  Brady 
Helen  Broderick 
Chic  Chandler 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Preston  Foster 
Wynne  Gibson 
Alan  Hale 
Margaret  Hamilton 
Ann  Harding 
Katharine  Hepburn 


United  Artists  Studios,  1041    N.  Formosa  Ave. 

Eddie  Cantor  Miriam  Hopkins 

Charles  Chaplin  Joel  McCrea 

Douglas  Fairbanks  Mary  Pickford 

20th  Century  Studios,  1041    N.  Formosa  Ave. 

George  Arliss  Fredric  March 

Ronald  Colman  Loretta  Young 


res,  780  Gower  St. 

Pert  Kelton 
Francis  Lederer 
Gene  Lockhart 
Raymond  Middleton 
Polly  Moran 
June  Preston 
Gregory  Ratoff 
Virginia  Reid 
Erik  Rhodes 
Barbara  Robbins 
Buddy  Rogers 
Ginger  Rogers 
Anne  Shirley 
Frank  Thomas,  Jr. 
Helen  Westley 
Bert  Wheeler 
Robert  Woolsey 


Columbia  Studios, 
Robert  Allen 
Jean  Arthur 
Tala  Birell 
James  Blakeley 
Nana  Bryant 
Jack  Buckler 
Tullio  Carminati 
Nancy  Carroll 
Ruth  Chatterton 
Walter  Connolly 
Donald  Cook 
Inez  Courtney 
Richard  Cromwell 
Douglas  Dumbrille 
Lilian  Harvey 
Arthur  Hohl 


1438  Gower  St. 

Jack  Holt 
Victor  Jory 
Fred  Keating 
Arthur  Killian 
Peter  Lorre 
Marian  Marsh 
Ken  Maynard 
Tim  McCoy 
Robert  Middlemass 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Florence  Rice 
Ann  Sothern 
Raymond  Walburn 


CULVER  CITY,  CALIF. 

Hal   Roach  Studios 


Don  Barclay 
Billy  Bletcher 
Charley  Chase 
Billy  Gilbert 
Oliver  Hardy 

Metro-Goldwyn 
Brian  Aherne 
Katharine  Alexander 
Elizabeth  Allan 
Lionel  Barrymore 
Granville  Bates 
Wallace  Beery 
Constance  Bennett 
Virginia  Bruce 
Ralph  Bushman 
Charles  Butterworth 
Bruce  Cabot 
Mary  Carlisle 
Ruth  Channing 
Maurice  Chevalier 
Mady  Christians 
Constance  Collier 
Jackie  Cooper 
Joan  Crawford 
Dudley  Digges 
Jimmy  Durante 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Muriel  Evans 
Louise  Fazenda 
Preston  Foster 
Betty  Furness 
Clark  Gable 
Greta  Garbo 
Gladys  George 
C.  Henry  Gordon 
Ruth  Gordon 
Russell  Hardie 
Jean  Harlow 
Frank  Hayes 
Helen  Hayes 
Louise  Henry 
William  Henry 
Jean  Hersholt 


Patsy  Kelly 
Stan  Laurel 
Billy  Nelson 
Our  Gang 
Douglas  Wakefield 

Mayer    Studios 
Irene  Hervey 
Isabel  Jewell 
Barbara  Kent 
June  Knight 
Evelyn  Laye 
Myrna  Loy 
Jeanette  MacDonald 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Karen  Morley 
Edna  May  Oliver 
Maureen  O'Sullivan 
Cecilia  Parker 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
William  Powell 
Carl  Randall 
May  Robson 
Mickey  Rooney 
Shirley  Ross 
Rosalind  Russell 
Norma  Shearer 
Frank  Shields 
Sid  Silvers 
Harvey  Stephens 
Lewis  Stone 
Gloria  Swanson 
William  Tannen 
Robert  Taylor 
Franchot  Tone 
Spencer  Tracy 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


UNIVERSAL  CITY,  CALIF. 


Universal  Studios 


Heather  Angel 
Henry  Armetta 
Baby  Jane 
Binnie  Barnes 
Noah  Beery,  Jr. 
Phyllis  Brooks 
Andy  Devine 
Jean  Dixon 
Marta  Eggerth 
Sally  Eilers 
Douglas  Fowley 
Valerie  Hobson 
Henry  Hull 
Buck  Jones 
Boris  Karloff 
John  King 
l'"rank  Lawton 


Bela  Lugosi 
Paul  Lukas 
Joel  McCrea 
Lester  Matthews 
Henry  Mollinson 
Douglass  Montgomery 
Victor  Moore 
Chester  Morns 
Hugh  O'Connell 
Cesar  Romero 
Gloria  Stuart 
Margaret  Sullavan 
Mary  Wallace 
Irene  Ware 
Clark  Williams 
lane  Wyatt 


BURBANK,  CALIF. 

Warners-First   National    Studios 


Ross  Alexander 
Johnnie  Allen 
Mary  Astor 
Robert  Barrat 
Joan  Blondell 
Glen  Boles 
George  Brent 
Joe  E.  Brown 
James  Cagney 
Hobart  Cavanaugh 
Colin  Clive 
Ricardo  Cortez 
Joseph  Crehan 
Dorothy  Dare 
Marion  Davies 
Bette  Davis 
Olivia  de  Haviland 
Dolores  Del  Rio 
Claire  Dodd 
Robert  Donat 
Ruth  Donnelly 
Maxine  Doyle 
Ann  Dvorak 
John  Eldredge 
Gordon. Elliott 
Patricia  Ellis 
Florence  Fair 
Glenda  Farrell 
Errol  Flynn 
Kay  Francis 
William  Gargan 
Nan  Gray 
Hugh  Herbert 
Leslie  Howard 
Ian  Hunter 

Lloyd  Hughes,  616  Taft  Bldg.,  Hollywood,  Calif. 

Harold  Lloyd,  6640  Santa  Monica  Blvd.,  Hollywood, 

Calif. 

Neil  Hamilton,  351  N.  Crescent  Dr.,  Beverly  Hills, 

Calif. 

Ned  Sparks,   1765  No.  Sycamore  Ave.    Hollywood. 


Josephine  Hutchinson 
Allen  Jenkins 
Al  Jolson 
Ruby  Keeler 
Guy  Kibbee 
Joseph  King 
Robert  Light 
Margaret  Lindsay 
Anita  Louise 
Helen  Lowell 
Barton  MacLane 
Everett  Marshall 
June  Martell 
Frank  McHugh 
James  Melton 
Jean  Muir 
Paul  Muni 
Jack  Norton 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed 
Philip  Regan 
Edward  G.  Robinson 
Mary  Russell 
Winifred  Shaw 
Lyle  Talbot 
Verree  Teasdale 
Genevieve  Tobin 
Mary  Treen 
Rudy  Vallee 
Gordon  Westcott 
Warren  William 
Donald  Woods 


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PHOTOPLAY   MAGAZINE   FOR  AUGUST,    1935 

Casts  of  Current  Photoplays 

COMPLETE     FOR     EVERY     PICTURE     REVIEWED     IN     THIS     ISSUE 


Nefertiti,  Egyptian  queen,  was 
called  one  of  the  most  beautiful 
women  of  all  time.  Rita  Cansino 
is  shown  made  up  to  play  her  part 
in    Fox's   "Charlie   Chan   in    Egypt" 


"AGE  OF  INDISCRETION"— M-G-M.—  From 
the  story  by  Lenore  Coffee.  Screen  play  by  Leon 
Gordon  and  Otis  Garrett.  Directed  by  Edward 
Ludwig.  The  cast:  Robert  Lenhart,  Paul  Lukas; 
Maxine  Bennett,  Madge  Evans;  Eve  Lenhart,  Helen 
Vinson;  Emma  Shaw,  May  Robson;  Bill  Lenhart, 
David  Jack  Holt;  Felix  Shaw,  Ralph  Forbes;  Jean 
Oliver,  Catharine  Doucet;  Mrs.  Williams,  Beryl 
Mercer;  Mr.  Adams,  Minor  Watson;  Dotty,  Shirley 
Ross;  Miles,  Stuart  Casey;  Gits,  Adrian  Morris; 
Judge,  George  Irving. 

"ALIAS  MARY  DOW— Universal.— From  the 
story  by  Forrest  Halset  and  Wm.  Allen  Johnston. 
Screen  play  by  Gladys  Unger,  Rose  Franken  and 
Arthur  Caesar.  Directed  by  Kurt  Neumann.  The 
cast:  Sally,  Sally  Eilers;  Peter  Marshall,  Ray  Mil- 
land;  Henry  Dow,  Henry  O'Neill;  Evelyn  Dow, 
Katharine  Alexander;  Ritje,  Clarence  Muse;  Jimmy, 
Chick  Chandler;  Minna,  Lola  Lane. 

"ARIZONIAN,  THE"— RKO-Radio.— From  the 
story  by  Dudley  Nichols.  Directed  by  Charles 
Vidor.  The  cast:  Clay  Tallant,  Richard  Dix;  Orin 
Tallanl,  James  Bush;  Kilty  Rivers,  Margot  Grahame; 
Jake  Mannen,  Louis  Calhern;  Ed  Comstock,  Francis 
Ford;  Tex  Randolph,  Preston  Foster;  Shotgun  Keeler, 
Joe  Sauers;  Frank  McClosky,  Ray  Mayer;  Pompey, 
Willie  Best;  Sarah,  Hattie  McDaniels;  Old  Man  Red- 
fern,  Pardner  Jones;  Abel  Redfern,  Ted  Oliver;  Jason 
Redfern,  Robert  Kortmann;  Tom  Redfern,  George 
Lollier;  Smith,  John  Cough;  Shakespeare,  DArcy 
Corrigan;  Jim,  Joe  Rickson;  Bob  Henry,  Tom  Brower; 
Sam  Corliss,  Wilfred  Lucas;  Bert,  Russ  Powell. 

"BLACK  SHEEP"— Fox.— From  the  story  by 
Allan  Dwan.  Screen  play  by  Allen  Rivkin.  Directed 
by  Allan  Dwan.  The  cast:  John  Francis  Dugan, 
Edmund  Lowe;  Janelte  Poster,  Claire  Trevor;  Fred 
Curtis,  Tom  Brown;  Colonel  Upton  Calhoun  Belcher, 
Eugene  Pallette;  Mrs.  Millicent  Caldwell  Bath, 
Adrienne  Ames;  Oscar,  Herbert  Mundin;  Mather, 
Ford  Sterling;  Orville  SchmeUing,  Jed  Prouty;  Alfred 
Schmelling,  Billy  Bevan;  Captain  Savage,  David 
Torrence. 

"BREAK  OF  HEARTS"— RKO-Radio.— From 
the  story  by  Lester  Cohen.  Screen  play  by  Sarah 
Y.  Mason.  Victor  Heerman  and  Anthony  Veiller 
Directed  by  Philip  Moeller.  The  cast:  Constance, 
Katharine  Hepburn;  Roberti,  Charles  Boyer;  Johnny, 
John  Beal;  Talma,  Jean  Hersholt;  Marx,  Sam  Hardy; 
Miss  Wilson,  Inez  Courtney;  Sylvia,  Helene  Millard; 
Pazzini,  Ferdinand  Gottschalk;  Elise,  Susan  Flem- 
ing; Schubert,  Lee  Kohlmar;  Didi,  Jean  Howard: 
Phyllis,  Anne  Grey. 

"CHINATOWN  SQUAD"— Universal.— From 
the  story  by  L   G.  Blochman      Screen  play  by  Dore 


Schary.  Directed  by  Murray  Roth.  The  cast:  Tea 
Lacey,  Lyle  Talbot;  Janet  Baker,  Valerie  Hobson: 
Sergl.  McLeash,  Hugh  O'Connell;  George  Mason, 
Andy  Devine;  John  Yee,  E.  Alyn  Warren;  Quong, 
Leslie  Fenton;  Albert  Rayhold,  Clay  Clement;  Palmer, 
Bradley  Page;  William  Ward,  Arthur  Hoyt;  Lieu! 
N orris,  Wallis  Clarke;  Wanda,  Toshia  Mori;  also 
Tom  Dugan,  Jack  Mulhall,  James  Flavin,  King 
Baggot,  Otis  Harlan,  Ed.  LeSaint  and  Edward  Earle 

"  COLLEGE  SCANDAL  "—Paramount.— From 
the  story  by  Beulah  Marie  Dix  and  Bertram  Mill 
hauser.  Screen  play  by  Frank  Partos,  Charles 
Brackett  and  Marguerite  Roberts.  The  cast:  Sally 
Dunlap,  Arline  Judge;  Ssth  Dunlap,  Kent  Taylor: 
Julie  Fresnel,  Wendy  Barrie;  Chief  of  Police  Magoun 
William  Frawley;  Cuffie  Lewis,  Benny  Baker;  Penny 
Parker,  William  Benedict;  Mrs.  Fresnel,  Mary  Nash; 
Jake  Lansing,  Edward  Nugent;  Prof.  Henri  Fresnel, 
William  Stack;  Paul  Gedney,  Johnny  Downs;  Dan 
Courlridge,  Douglas  Blackley;  Toby  Carpenter,  Joyce 
Compton;  Mr.  Cummings,  Samuel  S.  Hinds;  Dean 
Traynor,  Douglas  Wood:  Dean  Elton,  Margaret 
Armstrong. 

"ESCAPE  ME  NEVER"— British  &  Dominions- 
United  Artists. — From  the  play  by  Margaret  Ken 
nedy.  Directed  by  Dr.  Paul  Czinner.  The  cast: 
Gemma,  Elisabeth  Bergner;  Sebastian,  Hugh  Sinclair; 
Caryl,  Griffith  Jones;  Sir  Ivor  McLean,  Leon  Quarter 
maine;  Lady  McLean,  Irene  Vanbrugh;  Fenella 
Penelope  Budley-Ward;  Herr  Heinrich,  Lyn  Harding 
Teremtcherva,  Rosalinde  Fuller. 

'FLAME  WITHIN,  THE"— M-G-M.— From  the 
story  by  Edmund  Goulding.  Directed  by  Edmund 
Goulding.  The  cast:  Mary  While,  Ann  Harding; 
Gordon  Phillips,  Herbert  Marshall;  Lillian  Belton, 
Maureen  O'Sullivan;  Jack  Kerry,  Louis  Hayward; 
Jock  Frazier,  Henry  Stephenson;  Mrs.  Grenfell,  Mar- 
garet  Seddon;  Rigby,  George  Hassell;  Murdoch,  Iley 
Malyon;  Nurse  Carter,  Claudelle  Kaye. 

"FRANKIE  AND  JOHNNIE"—  Select-RKO 
Release. — Directed  by  John  H.  Auer.  The  cast 
Frankie,  Helen  Morgan;  Johnnie,  Chester  Morris 
Lou,  Florence  Reed;  Timothy,  Walter  Kingsford 
Curley,  William  Harrigan;  Nellie,  Lilyan  Tashman 
Andy,  John  Larkin;  Mrs.  Thornton,  Cora  Wither 
spoon. 

"GINGER" — Fox. — From  the  story  by  Arthur 
Kober.  Directed  by  Lewis  Seiler.  The  cast:  Ginger 
Jane  Withers;  Rexford  Whiltinglon,  O.  P.  Heggie; 
Hamilton  Parker,  Jackie  Searl;  Mrs.  Parker,  Kathar- 
ine Alexander;  Daniel  Parker,  Walter  King 

"GIRL  FROM  10TH  AVENUE,  THE"— First 
National. — From  the  screen  play  by  Charles  Ken- 
yon.  Directed  by  Alfred  E.  Green.  The  cast: 
Miriam  Brady,  Bette  Davis;  Hugh  Brown,  John 
Eldredge;  Mrs.  Martin,  Alison  Skipworth;  Marland, 
Colin  Clive;  Clerk,  Gordon  Elliott;  Max  Andre 
Cheron;  Geoffrey  Sherwood,  Ian  Hunter;  Tony  Hew- 
lett, Phillip  Reed-   Valentine  French  Marland.  Kath- 


arine Alexander;  Miss  Mansfield,  Helen  Jerome  Eddy 
Marcel,  Adrian  Rosley. 

"GLASS  KEY,  THE"— Paramount.— From  the 
novel  by  Dashiell  Hammett.  Screen  play  by  Kathryn 
Scola  and  Kubec  Glasmon.  Directed  by  Frank 
Tuttle.  The  cast:  Ed  Beaumont,  George  Raft;  Pau' 
Madvig,  Edward  Arnold;  Janet  Henry,  Claire  Dodd; 
Taylor  Henry,  Ray  Milland;  Opal  Madvig,  Rosalind 
Keith;  Senator  Henry,  Charles  Richman;  "Mom,' 
Emma  Dunn;  Shad  O'Rory,  Robert  Gleckler;  Jeff, 
Guinn  Williams;  Clarkie,  Tammany  Young;  Henry 
Sloss,  Harry  Tyler;  Farr,  Charles  C.  Wilson;  Pugiy 
Matt  McHugh;  Mulrooney,  Pat  Moriarity 

"HEADLINE  WOMAN, THE"— Mascot.—  From 
the  story  by  Jack  Natteford  and  Claire  Church. 
Directed  by  William  Nigh.  The  cast:  Myrna  Van 
Buren,  Heather  Angel;  Bob  Grayson,  Roger  Pryor 
Zarias,  Jack  LaRue;  Hugo  Meyer,  Ford  Sterling 
Desmond,  Conway  Tearle;  Hamilton,  Franklyn  Pang 
born;  Blair,  Jack  Mulhall;  Clarkey,  Morgan  Wallace. 
Craig,  Russell  Hopton;  Murphy,  Sid  Saylor;  Johnny 
Corinti,  Theodore  Von  Eltz;  0  Shay,  George  Lewis- 
Johnson,  Ward  Bond;  Ernie,  Harry  Bowen;  Flanagan 
Wade  Boteler;  Fielding,  Wheeler  Oakman;  Bradley 
Warner  Richmond;  Page,  Lynton  Brent;  Duffy, 
George  Hayes;  Head  Waiter,  Eddie  Hearn;  Taxi 
Driver,  Jack  Raymond;  Trini,  Lillian  Miles;  Chase, 
Robert  Gleckler;  Baker,  Allen  Bridge;  Sadie.  Joan 
Standing;  Coroner,  Lloyd  Ingram;  1st  Waiter,  Tony 
Martelli;  Croupier.  Charles  Regan;  Taxi  Driver.  Guy 
Kingsford. 

"HEALER,  THE"— Monogram.— From  the 
novel  by  Robert  Herrick.  Adapted  by  James  Knox 
Millen  and  John  Goodrich.  Directed  by  Reginald 
Barker  The  cast:  Dr.  Holden,  Ralph  Bellamy: 
Evelyn,  Karen  Morley;  Jimmy,  Mickey  Rooney 
Joan,  Judith  Allen;  Bradshaw,  Robert  McWade;  Dr 
Thornton,  Bruce  Warren;  Applejack  J.  Farrell  Mac 
Donald;  Martha,  Vessie  Farrell 

"HOORAY  FOR  LOVE"— RKO-Radio.— From 
the  story  by  Marc  Lachman.  Screen  play  by 
Lawrence  Hazard  and  Ray  Harris.  Directed  by 
Walter  Lang.  The  cast:  Pal,  Ann  Sothern;  Doug. 
Gene  Raymond;  Bill,  Bill  Robinson;  Commodore. 
Thurston  Hall;  Trixie,  Pert  Kelton;  Duchess 
Georgia  Caine;  Chowsky,  Lionel  Stander;  Judge, 
Etienne  Girardot;  Regan,  Harry  Kernell;  Ganz,  Sam 
Hardy;  Grady,  Eddie  Kane;  Hedron,  Brady  Kline; 
Robini,  Perry  Ivins:  Fats,  Fats  Waller;  Jeni,  Jen 
LeGon. 

"IN  CALIENTE"— First  National.— From  the 
story  by  Ralph  Block  and  Warren  Duff.  Adapted 
by  Jerry  Wald  and  Julius  Epstein.  Directed  by 
Lloyd  Bacon.  The  cast:  PMa  Gomez,  Dolores  Del 
Rio;  Larry  MacArthur,  Pat  O'Brien;  Jose  Gomez 
Leo  Carrillo;  Harold,  Edward  Everett  Horton;  Clara 
Glenda  Farrell;  Biggs,  Harry  Holman;  Florist,  Her 
man  Bing;  Singer,  Phil  Regan;  Entertainer,  Winifred 
Shaw;  Entertainer,  Olive  Jones;  Reporter,  John  Hyams; 
Miss  Larry,  Florence  Fair;  Magistrate,  Luis  Alberni, 


Jimmie  Gleason  is  doing  right  well  by  himself,  and  apparently  en- 
joying it  too.  And  notice  his  technique,  even  with  gloves.  Mrs. 
Gleason,    May    Robson,    Francis    Layman,    and     Marie    Burton    watch 


PHOTOPLAY   MAGAZINE  FOR  AUGUST,    1935 


III 


Maid,  Soledad  Jimenez;  Photographer,  Geo.  Hum- 
bert; The  girl,  Dorothy  Dare;  The  man,  William 
Davidson;  the  DeMarcos  and  the  Judy  Canova 
Family 

"KLIOU" — Bennett  Pictures. — Edited  by 
Ralph  Dietrich.  Titled  by  Paul  Perez  and  Ray 
Doyle.  Directed  by  Henry  de  la  Falaise.  The  cast: 
The  hoy,  Bhat;  The  girl,  Dhi;  The  brother  Nyan; 
The  father,  Khan. 

"LET  'EM  HAVE  IT"— Reliance-United 
Artists. — From  the  story  by  Joseph  Moncure  March 
and  Elmer  Harris.  Directed  by  Sam  Wood.  The 
cast:  Mai  Stevens,  Richard  Arlen;  Eleanor  Spencer, 
Virginia  Bruce;  Aunt  Ethel,  Alice  Brady;  Joe  Keefer, 
Bruce  Cabot;  Van  Rensseler,  Harvey  Stephens; 
Buddy  Spencer,  Eric  Linden;  Barbara,  Joyce  Comp- 
ton;  Tex,  Gordon  Jones;  Mr.  Keefer,  J.  Farrell  Mac- 
Donald;  Mrs.  Keefer,  Bodi!  Rosing;  Department 
Chief,  Paul  Stanton;  Police  Captain,  Robert  Emmett 
O'Connor;  Ex-Senator  Reilly,  Hale  Hamilton;  Lola, 
Dorothy  Appleby;  Milly,  Barbara  Pepper;  Thompson, 
Matthew  Betz;  Big  Bill,  Harry  Woods;  Pete,  Clyde 
Dillson;  "Brooklyn,"  Matty  Fain;  Sam,  Paul  Fix; 
Curley,  Donald  Kirke;  "Dude,"  Eugene  Strong; 
Henkel,  Christian  Rub;  Mrs.  Henkel,  Eleanor  Wessel- 
hoeft;  Walton,  Wesley  Barry;  Reconstructionist,  Ian 
Maclaren;  Dr.  Hoffman,  George  Pauncefort;  In- 
structor, Joseph  King;  Reynolds.  Clarence  Wilson; 
Ma  Harrison,  Katherine  Clare  Ward;  Parole  Chair- 
man, Landers  Stevens;  Butler,  Sidney   Bracy. 

"MURDER  IN  THE  FLEET  "—M-G-M.— From 
the  story  by  Edward  Sedgwick.  Screen  play  by 
Frank  Wead  and  Joe  Sherman.  Directed  by  Edward 
Sedgwick.  The  cast:  Lieutenant  Tom  Randolph, 
Robert  Taylor;  Belly  Lansing,  Jean  Parker;  Mac 
O'Neill,  Ted  Healy;  "Tools"  Timmons,  Una  Merkel; 
"Spud"  Burke,  Nat  Pendleton;  Victor  Hanson,  Jean 
Hersholt;  Captain  Winslow,  Arthur  Byron;  Lieutenant 
Arnold,  Frank  Shields;  Lieutenant  Commander  David 
Tucker,  Donald  Cook;  Kamchukan  Consul,  Mischa 
Auer;  Jenny  Lane,  Mary  Doran;  "Greasy,"  Tom 
Dugan;  Waller  Drake,  Tony  Hughes;  Al  Duval,  Ray- 
mond Hatton;  "Heavy"  Johnson,  Ward  Bond;  Harry 
Jeffries,  Richard  Tucker;  Mrs.  Ambrose  Justin.  Leila 
Mclntyre;  Mr.  Ambrose  Justin,  John  Hyams. 

"NIT  WITS,  THE"— RKO-Radio.— Suggested 
by  a  story  by  Stuart  Palmer.  Screen  play  by  Fred 
Guiol  and  AI  Boasberg.  Directed  by  George  Stevens. 
The  cast:  Johnnie,  Bert  Wheeler;  Newton,  Bob 
Woolsey;  Mr.  Lake,  Hale  Hamilton;  Mary  Roberts, 
Betty  Grable;  Mrs.  Lake,  Evelyn  Brent;  Phyllis, 
Dorothy  Granger;  Sleepy,  Sleep-N-Eat;  Mr.  Chirk, 
Erik  Rhodes;  Mr.  Darrel,  Fred  Keating;  Lurch, 
Arthur  Aylesworth;  A  crooner  in  Lake's  Publ. 
House,  Joey  Ray;  A  girl  singer  in  Lake's,  Joan 
Andrews. 


"NO  MORE  LADIES"— M-G-M.— From  the 
play  by  A.  E.  Thomas.  Screen  play  by  Donald 
Ogden  Stewart  and  Horace  Jackson.  Directed  by 
Edward  H.  Griffith.  The  cast:  Marcia,  Joan  Craw- 
ford; Sherry,  Robert  Montgomery;  Edgar,  Charlie 
Ruggles;  Jim,  Franchot  Tone;  Fanny,  Edna  May 
Oliver;  Theresa,  Gail  Patrick;  Oliver,  Reginald  Denny: 
Lady  Diana  Moulton,  Vivienne  Osborne;  Caroline. 
Joan  Burfield;  Lord  Moulton,  Arthur  Treacher: 
Duffy,  David  Horsley;  Sally,  Jean  Chatburn. 

"OUR  LITTLE  GIRL"— Fox.— From  the  storv 
"Heaven's  Gate"  by  Florence  Leighton  Pfalzgraf. 
Screen  play  by  Stephen  Avery  and  Allen  Rivkin 
Directed  by  John  Robertson.  The  cast:  Mi  lly 
Middleton,  Shirley  Temple;  Elsa  Middleton,  Rose- 
mary Ames;  Dr.  Donald  Middleton,  Joel  McCrea; 
Rolfe  Brent,  Lyle  Talbot;  Sarah  Boynlon,  Erin 
O'Brien-Moore;  Circus  Performer,  Poodles  Hanne- 
ford;  Amy,  Margaret  Armstrong;  Alice,  Rita  Owin; 
Jackson,  Leonard  Carey;  Mr.  Tramp,  J.  Farrell 
MacDonald. 


"PARIS  IN  SPRING"— Paramount.— From  tin- 
play  by  Dwight  Taylor.  Screen  play  by  Samuel 
HofTenstein  and  Franz  Schulz.  Directed  by  Lewis 
Milestone.  The  cast:  Simone,  Mary  Ellis;  Paul  De 
Lille,  Tullio  Carminati;  Mignon  De  Charelle,  Ida 
Lupino;  Dupont,  Lynne  Overman;  Grandma  Leger, 
Jessie  Ralph;  Albert  De  Charelle,  James  Blakeley; 
Francine,  Dorothea  Wolbert;  Butler,  Charles,  Harold 
Entwhistle;  Doctor,  Arnold  KorfT;  Alphonse,  Hugh 
Enfield;  Elienne,  Joseph  North;  Elevator  Man,  Jack 
Raymond;  Clerk,  Sam  Ashe;  Cafe  Manager,  Akim 
Tamiroff;  Starter,  Jack  Mulhall;  Modiste,  Rolfe 
Sedan;  Interviewer,  Arthur  Housman. 

"PUBLIC  HERO  NO.  1  "—M-G-M.— From  the 
story  by  J.  Walter  Ruben,  and  Wells  Root.  Screen  play 
by  Wells  Root.  Directed  by  J.  Walter  Ruben.  The 
cast:  Doctor,  Lionel  Barrymore;  Theresa,  Jean  Arthur; 
Jeff  Crane,  Chester  Morris;  Sonny,  Joseph  Calleia; 
Duff,  Paul  Kelly;  Warden  Alcott,  Lewis  Stone;  Mose, 
Sam  Baker;  Rufe  Parker,  Paul  Hurst;  Butch,  George 
E.  Stone;  Truck  Driver,  John  Kelly;  Simpson,  Selmar 
Jackson;  Andrews,  Lawrence  Wheat;  Little  Girl,  Cora 
Sue  Collins;  Mrs.  Higgins,  Lillian  Harmer. 

"UNDER  THE  PAMPAS  MOON"— Fox.— From 
the  story  by  Gordon  Morris.  Screen  play  by  Ernest 
Pascal  and  Bradley  King.  Directed  by  James 
Tinling.  The  cast:  Cesar  Campo,  Warner  Baxter; 
Yvonne  LaMarr,  Ketti  Gallian;  Dancers,  Veloz  and 
Yolanda;  Gregory  Scott,  John  Miljan;  Tito,  J.  Carrol 
Naish;  Mama  Pepita,  Soledad  Jimenez;  Bazan,  Jack 
LaRue;  Don  Bennett,  George  Irving;  Elena,  Blanca 
Vischer;  Carmen,  Rita  Cansino;  Rosa,  Armida;  Mme. 
LaMarr,  Ann  Codee;  Little  Jose,  Phillip  Cooper; 
Pierre,  Paul  Porcasi;  Big  Jose,  Max  Wagner;  Pietro. 
Chris  Martin 


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Cal  York's  Gossip  of  Hollywood 


CONTINUED  FROM  PAGE  35 


CATURDAY  night  is  the  big  night  for  dates 
^around  town — just  the  way  it  is  where  you 
live.  Everybody  starts  early  and  continues 
indefinitely.  All  but  Glenda  Farrell.  Glenda 
has  no  Saturday  night  dates  until  her  son 
Tommy  goes  to  bed — and  she  gets  in  early 
because  Tommy  has  to  go  to  Sunday  School 
in  the  morning!  You  know,  that  gay  girl 
Glenda,  the  life  of  the  party,  the  best  gold 
digger  on  the  screen?     Same  girl. 

IACK  OAKIE,  that  wit-cracker,  wants  to 
^know  why  Paramount  went  to  all  the 
trouble  to  borrow  Margaret  Sullavan  for 
"So  Red  the  Rose." 

What  he  can't  understand  is  why  they 
didn't  change  the  title  to  "  So  Red  the  Nose" 
and  star  W.C  Fields! 

K  A  AY  ROBSON  has  bought  Marie  Dressler's 
'  *  'portable  dressing  room  out  at  M-G-M. 
She  is  going  to  have  it  painted  outside — but 
intends  to  leave  the  interior  exactly  as  it  is, 
pictures,  furnishings  and  everything.  Says 
she  hopes  Marie's  spirit  will  help  her  to  be  a 
better  actress  and  make  more  people  happy. 

TWO  St.  Bernard  pups,  fluffy  and  fat,  are 
'  wondering  what  it's  all  about  here  in  Holly- 
wood. They're  a  long  way  from  their  native 
land  of  Switzerland.  Margaret  Sullavan 
picked  them  up  during  her  European  honey- 
moon jaunt  with  her  husband  William  Wyler. 
They  come  from  a  long  line  of  heroic  fore- 
bears, Maggie  claims.  Seems  that  their  grand- 
fathers used  to  rescue  stranded  travelers  in 
Alpine  passes  by  carrying  bread  and  brandy 
around  their  necks.  No  such  bootlegging  will 
be  countenanced  here,  however,  says  Margaret, 
unless  they  learn  to  tote  her  the  noonday 
buttermilk. 

Still  in  a  dilemma  as  to  names,  Maggie 
thinks  they'll  probably  be  christened  "CheeseV 
Rye,"  because  after  all  they're  Swiss. 

KJELSON  EDDY  and  Freddie  Bartholomew 
'  ^went  to  San  Francisco  on  a  personal  ap- 
pearance tour,  and  Freddy  came  back  singing. 
Nelson  is  seriously  giving  lessons  to  the 
youngster. 

TTHEL  and  George  are  two  falcons  with 
'—careers  in  "The  Crusades."  Moreover 
Ethel  and  George  have  a  sense  of  drama. 

When  one  of  their  feathered  colleagues  rolled 
over  on  his  wings  and  died  on  the  set  one  day, 
they  promptly  arranged  a  Blessed  Event — 
doubtless  inspired  by  the  "life  goes  on"  theme 
of  so  many  movies. 

The  quadruplets  who  cheeped  at  C.  B. 
De  Mille  were  promptly  christened  "Cecil," 
"Henry,"  "Loretta"  and  "Saladin,"  after 
De  Mille,  Wilcoxon,  Loretta  Young  and  the 
Saracen  chieftain  of  the  picture. 

Both  parents  and  offspring  are  doing  nicely, 
and  Ethel  and  George  are  stout  in  their  denials 
that  parenthood  is  any  hindrance  to  a  career. 

DETTE  DAVIS  is  one  of  those  swell  kids  who 
'-'really  back  up  their  relatives  in  whatever 
they  do.  Husband  Harmon  lives  in  an  auto 
camp — so  Bette  lives  there,  too.  Sister  Bar- 
bara works  in  a  dress  shop  in  Beverly  Hills, 
so  Bette  buys  all  her  clothes  there.  A  nice 
boy  named  Ted  Newton,  who  isn't  a  relative 

112 


but  a  friend,  sends  word  he  is  arriving,  so 
Bette  meets  him  with  a  brass  band.  Ted 
met  with  a  disappointment  the  last  time  he 
was  here,  and  Bette  thought  the  band  would 
make  him  feel  better  about  it  this  time. 

THE  next  big  excitement  on  the  M-G-M  lot 
is  going  to  be  a  little  German  girl  named 
Luise  Rainer,  pronounced  Riner.  They  say  her 
rushes  in  "Escapade"  had  everyone  in  the  pro- 
jection room  doing  nip-ups  and  she'll  be  a 
star  any  minute  now.  Luise  has  one  pet 
passion — music  on  the  set  all  the  time  a  scene 
is  not  actually  being  shot.  The  only  difference 
between  herself  and  several  other  actresses  is 
that  Luise's  music  is  Wagner  and  Beethoven. 
Bill  Powell,  who  plays  the  lead  in  "Es- 
capade," broke  down  and  bought  her  a 
dozen  records  the  other  day — the  kind  she 
likes.     Seems  he  does,  too. 


THEY  DO  COME  BACK! 

New  names,  new  "finds,"  new 
stars  of  today!  A  number  of 
them  came  into  pictures  and 
went  out  again  a  score  of 
years  ago.  You'll  find  an 
amazing  array  of  familiar 
faces  in  PHOTOPLAY'S 

"MEMORY  ALBUM" 

beginning    in   the    September   issue. 


"IF  I  had  a  million  dollars — " 

'     What  would  you  do? 

Well — Bing  Crosby  is  well  on  his  way  to  that 
first  row  of  goose  eggs  and  just  the  other  day 
he  sighed  dreamily  and  confessed  to  old  Cal 
how  he  spent  what  he  called  "the  ideal  day." 

It  was  on  his  ranch  at  Rancho  Santa  Fe. 
Bing  says  he  got  up  in  the  morning  early, 
played  eighteen  holes  of  golf,  came  back  and 
had  a  swim,  read  the  paper  and  ate  lunch. 

Then  he  exercised  his  saddle  horse,  had 
another  swim,  ate  supper,  listened  to  the  radio 
and  pulled  into  the  downy  around  nine  P.M. 

That's  Bing's  ideal  day.  But  maybe  you 
have  different  ideas. 

INTO  Hollywood,  unannounced,  unheralded, 
'slipped  radio's  number  one  woman  last 
month. 

Jane  Froman,  most  beautiful  songstress  of 
the  air,  finally  succumbed  to  urgings  and  took  a 
trip  to  Hollywood  for  some  film  tests.  Al- 
though she  is  what  Paul  Whiteman  once  called 
the  "perfect  television  type,"  Jane  has 
steered  clear  of  the  camera  which  would  seem 
to  have  so  much  to  offer  her. 

The  reason  is  that  ever  since  she  was  a 
small  girl  Jane  has  had  a  slight  stutter  to  her 
speech.  It  never  bothers  her  when  she  sings, 
but  it  keeps  her  from  delivering  lines. 


She's  working  to  correct  it.  Let's  hope 
success  is  in  sight.  With  her  voice  and  her 
extreme  beauty  she  could  be  a  feminine 
Crosby  over  night. 

MARY  PICKFORD  is  looking  for  another 
Mary  Pickford. 
She  sincerely  wishes  to  foster  the  career  of 
some  young  girl  even  to  giving  her  the  name. 
A  protegee  of  Mary's  would  have  a  start 
second  to  none,  with  the  name  as  additional 
value. 

A  LL  Clark  Gable  is  waiting  for  is  that  two 
'  *weeks  between  pictures.  Boy,  oh,  boy, 
has  he  got  it  all  planned!  Big  excitement. 
Listen  carefully,  girls.  Clark  is  going  to  leap 
in  that  old  smelly  fishing  boat  he  chartered  and 
go  to  sea  for  yellowtail!  He  won't  have  to 
shave  for  two  weeks,  he  will  wear  clothes  you 
would  probably  give  to  the  ashman,  and  what 
a  time  he  will  have.  No  floating  around  on 
dance  floors  in  popular  resorts  for  him 

K  A  AE  WEST  is  a  lady  of  surprising  activity, 
'  *  'but  we  never  thought  she  would  go  in  the 
chop  suey  business!  A  fleet  of  white  delivery 
trucks  with  blue  wheels  and  four  blue  stars  on 
the  side  is  now  running  around  town  delivering 
Chinese  dishes  hot  off  the  griddle.  Seems  a 
valued  Oriental  cook  who  had  been  in  Mae's 
employ  for  years  left  her  a  number  of  choice 
recipes  when  he  died.  So  Mae  went  into 
business  with  them. 

TOUR  extras  were  sitting  on  the  set  of 
'  "  Diamond  Jim  Brady."  Two  of  them  had 
been  stars  in  their  own  right  in  the  past,  Frank 
Mayo  and  Mildred  Harris. 

The  assistant  director,  feeling  his  authority, 
shouted  for  them.  They  didn't  rise  quickly 
enough  to  suit  his  nibs  so  he  proceeded  to  get 
unnecessarily  tough  about  it. 

Then  he  felt  a  hand  on  his  shoulder  and 
Edward  Arnold  walked  with  him  to  the  corner 
of  the  set. 

When  he  returned  his  voice  was  amazingly 
low  and  his  manner  was  strangely  polite. 

Ed  Arnold,  who  has  known  what  it  is  like 
to  be  down  as  well  as  up,  had  given  him  some 
wise  counsel. 

BY  the  time  this  is  published,  we  hope  that 
Gloria  Stuart  has  had  her  wish  fulfilled. 

Ever  since  Gloria  knew  she  was  to  be  a  mother 
she  has  hoped  for  twins.  When  Mrs.  Richard 
Dix  had  her  two  boys  not  long  ago,  Gloria 
sighed  with  envy.  Boys  are  her  choice,  but 
girls  will  make  her  just  as  happy. 

Young  master  or  mistress  Sheekman  (Gloria's 
married  name)  singular  or  plural,  whether 
conscious  of  the  fact  or  not,  has  already  had  a 
Christmas  and  an  Easter  celebration.  At 
Yuletide,  Gloria  had  a  candle  burning  for  him 
or  her  or  they  on  the  mantel.  At  Easter  she 
fixed  the  baby  or  babies-to-be  an  Easter  basket 
with  eggs  and  a  rabbit. 

And  when  the  youngster  or  youngsters  does 
or  do  open  his,  hers  or  their  eyes,  he,  she  or 
they  will  look  right  across  the  street  and  see 
another  famous  movie  star  leaving  in  the  morn- 
ing and  coming  home  at  night.  For  the  Sheek- 
mans  have  moved  out  to  Brentwood  in  antic- 
ipation of  the  event.  Across  the  street  from 
the  Clark  Gables 


'■•'ft 


25   CENTS 


m 


I 


BY 
TCHETCHET 


HEPBURN  Killinq  Her  Own  CAREE 


WOULDN'T  YOU  THINK  SHE'D  KNOW  BETTER? 


«v8 

/ 

^i 

V" 

...and  all 
because  she 


iHTTTili  iTIIfliTn 


fastidious  touch 
which  makes  a 
woman  winsome 


Use  LISTERINE  before 
social  engagements  to 
check  halitosis  [breath] 

Lambert  Pharmacal  Co.,  St.  Louis,  Mo. 


PHOTOPLAY  MAGAZINE   FOR  SEPTEMBER,    1935 


fi^C^ 


Beginning  in  the  October  Issue 

FACE  DOWN 

The  Greatest  Hollywood 
Mystery-Thriller  Ever  Written 


IN  popular  parlance  V,FACE  DOWN"  has  everything — 
suspense — drama — mystery— thrills — motion  picture  back- 
ground—a plot  that  will  hold  your  absorbed  attention  and  a 
degree  of  suspense  that  you  have  rarely  seen  in  any  novel. 

The  mysterious  and  highly  secret  visit  of  a  world-famous 
movie  actress  to  the  office  of  a  popular  physician — her  egually 
secret  departure  after  a  considerable  stay — his  bullet  riddled 
body  later  discovered — her  falling  into  the  clutches  of  a  wily, 
self-seeking,  double  crossing  lawyer — the  involvement  in  the 
case  of  Richard  Brent,  brilliant  and  fearless  young  detective 
and  finally  the  astounding  thing  that  took  place  that  night  in 
her  palatial  home,  all  happening  in  the  first  installment  com- 
bine to  start  this  smashing  story  at  a  breath-taking  speed  the 
momentum  of  which  carries  through  installment  after  install- 
ment to  the  very  end. 

FACE  DOWN  stands  sguarely  on  its  own  feet  as  one  of  the 
greatest  detective  stories  and  certainly  the  greatest  Hollywood 
novel  that  has  yet  found  its  way  into  print. 

The  opening  installment  of  FACE  DOWN  combined  with 
the  many  other  interesting,  informing  and  generally  pleasing 
features  comprising  the  October  Photoplay  make  it  a  par- 
ticularly outstanding  issue.  By  all  means  do  not  miss  it.  On 
sale  September  5th  at  all  newsstands. 


October  Photoplay  on  sale  September  5th 


PHOTOPLAY  MAGAZINE   FOR   SEPTEMBER,    1935 

A  CHALLENGE  TO   ALL   SCREEN  HISTORy! 

Think  back  to  your  greatest  film  thrill!  Recall  the  mightiest  moments 
of  romance,  action,  soul=adventure  of  the  screen!  A  picture  has  come 
to  top  them  all!  For  many  months  Hollywood  has  marvelled  at  the  stu= 
pendous  production  activities  at  the  M=G=M  studios,  not  equalled  since 
/yBcn  Hur";  for  many  months  three  great  film  stars  and  a  brilliant 
cast  have  enacted  the  elemental  drama  of  this  primitive  love  story.  Deeply 
etched  in  your  memory  will  be  Clark  Gable  as  the  handsome  seafar= 
ing  man;  Jean  Harlow  as  the  frank  beauty  of  Oriental  ports;  V^allacc 
Beery  as  the  bluff  trader  who  also  seeks  her  affections.  "China  Seas"  is 
the  first  attraction  with  which  M=G=M  starts  its  new  Fall  entertain= 
ment  season. We  predict  its  fame  will  ring  lustily  down  the  years  to  come! 


CLARK 


GABLE 


JEAN 


HARLOW 


WALLACE 


BEERY 


with 

Lewis  STONE  •  Rosalind  RUSSELL 

Directed  by  Tay  Garnett  •  Associate  Producer:  Albert  Lewin 


A     METRO  =  COLDWyN« 


MAYER     PICTURE 


WINNERS    OF    PHOTOPLAY 

MAGAZINE    GOLD    MEDAL 

FOR  THE  BEST  PICTURE  Or 

"THE  YEAR 

1920 
"HUMORESQUE" 

1921 
"TOL'ABLE  DAVID" 

1922 

"ROBIN  HOOD" 

1923 

"THE  COVERED  WAGON" 

1924 

"ABRAHAM  LINCOLN" 

1925 

"THE  BIG  PARADE" 

1926 

"BEAU  GESTE" 

1927 
"7th  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

"ALL  QUIET  ON  THE 

WESTERN  FRONT" 

1931 

"CIMARRON" 

1932 

"SMILIN"  THROUGH" 

1933 

"LITTLE  WOMEN" 


PUBLISHED  MONTHLY  BY 

MACFADDEN  PUBLICATIONS,  INC. 

BERNARR  MACFADDEN,  PRESIDENT 

IRENE  T.   KENNEDY,  TREASURER 

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PUBLISHING  OFFICE 

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COPYRIGHT,   1935,   BY 
MACFADDEN  PUBLICATIONS,  INC.,  NEW  YORK 


PHOTOPLAY 

THE     ARISTOCRAT     OF     MOTION     PICTURE     MAGAZINES 


KATHRYN     DOUGHERTY,     PUBLISHER 
RUTH     WATERBURY,     EDITOR 

WILLIAM  T.WALSH,  MANAGING  EDITOR 
IVAN  ST.  JOHNS,  WESTERN  EDITOR 
WALLACE     HAMILTON     CAMPBELL,      ART     EDITOR 


VOL.  XLVIII    NO.  4 


SEPTEMBER,    1935 


HIGH-LIGHTS       OF       THIS       ISSUE 

Close-Ups  and  Long-Shots .      .       Kathryn  Dougherty  21 

Guessing  Right  for  Stardom     .      .       Muriel  Babcock  24 

The  Beauty  Who  Cannot  Stay  in  Love    .    Jack  Grant  26 

Cal  York's  Gossip  of  Hollywood 30 

Don't  Love  Me! 34 

Is  Hepburn  Killing  Her  Own  Career?    Kirtley  Baskette  38 

What  Was  the  Best  Picture  of  1934? 40 

Photoplay's  Memory  Album 

Edited  by  Frederick  L.  Collins  41 

"I  Think  Women  Are  Awful!"  .      .      says  Bette  Davis 

To  Ruth  Rankin  48 
"I  Think  Women  Are  Swell!"   .      .     says  Una  Merkel 

To  Mary  Hill  49 

Swinging  Around  the  Social  Circle  with  Mitzi  50 

Seymour — Photoplay's  Style  Authority  .            .      .      .  53 
A  Romance  That  Is  Stronger  Than  Death    .... 

Dorothy  Calhoun  70 

Photoplay's  Hollywood  Beauty  Shop. 

Carolyn  Van  Wyck  72 

PHOTOPLAY'S       FAMOUS       REVIEWS 


Brief  Reviews  of  Current  Pictures 
The  Shadow  Stage    .... 


6 
66 


PERSONALITIES 


The  Best  Dressed  Woman  of  the  Month       ....  15 

Robert  Taylor  Chooses  Success    .            28 

Love  Comes  First  for  Fred  MacMurray 

Julie  Lang  Hunt  29 

Adrian  Answers  20  Questions  on  Garbo          ...  36 

Franchot  Tone — Fortune's  Favorite 

Mitzi  Cummings  52 

The  Man  Who  Plays  "The  Informer"  Walter  Ramsey  65 
On  the  Cover,  Ann  Harding,  Painted  by  Tchetchet 

INFORMATION        AND        SERVICE 

Letters 5 

Hollywood  Menus 

Ask  the  Answer  Man 79 

The  Fan  Club  Corner 109 

Addresses  of  the  Stars HO 

Casts  of  Current  Photoplays HI 

3 


im 


MISS  LOMBARD 
PLAYS   TENNIS 


0°° 


CAROLE  apparently  finds  something  very  funny  in  this 
game.  Maybe  her  opponent  fell  down.  The  game  isn't 
all  one  big  laugh,  however.  Carole  is  all  set  for  some  fast 
and  strenuous  playing,  too.  Tennis  is  Miss  Lombard's  favorite 
outdoor  sport,  and  you  see  her  here  relaxing  with  a  swift 
game  after  a  day's  work  in  her  "Hands  Across  the  Table" 


Elissa  Landi  is  quite  the  outdoor-sports  girl.    She's  here  with  a  group  of  guests  at  her  tennis  party.  From  left  to 
right:    Hazel   Hayes,   Peter  Lorre,  the  hostess,   Phillip    Reed,   Jean   Muir.   Maureen  O'Sullivan,   Paul  Cavanagh 


I  WAS  a  little  amused  and  very  indignant 
'  after  reading  in  your  July  edition  a  letter 
from  Joe  Giacoletti  on  "  Naughty  Marietta."  I 
saw  the  picture  when  it  first  came  to  Cleve- 
land, and  have  been  in  a  trance  ever  since. 
Since  then  I  have  seen  it  four  times,  and  the 
trance  is  an  incurable  but  delightful  malady. 
Dorothy  Fa  ye  Patterson,  E.  Cleveland,  O. 

W/E'LL  have  to  ask  Mr.  Giacoletti  and  his 
college  chums  not  to  be  jealous  without 
showing  it,  because  that  must  have  been  their 
trouble  when  they  booed  such  a  pleasing  per- 
sonality and  voice  as  Nelson  Eddy's.  I  have 
seen  "Naughty  Marietta"  five  times  and  I'm 
still  floating  on  air.  In  fact,  I  have  even  been 
inspired  to  write  poetry  about  him. 

Doris  May,  Bloomfield,  New  Jersey 

IT  has  been  my  good  fortune  to  have  heard 
Nelson  Eddy  in  grand  opera  as  well  as  in 
"Naughty  Marietta,"  so  in  reply  to  Joe 
Giacoletti,  Indiana  University,  if  college 
students  are  incapable  of  recognizing  Mr.  Eddy 
for  the  great  artist  he  is,  it  is  something  for 
them  to  worry  about,  not  Mr.  Eddy. 

Rhea  E.  McCann,  Pacific  Grove,  Calif. 

IN  answer  to  Giacoletti's  letter  in  the  July 
'Photoplay,  I  say  the  Indiana  University 
must  either  be  without  a  sense  of  music  or  it 
must  be  striving  to  attract  attention  by  appear- 
ing different.  In  our  city,  "  Naughty  Marietta" 
had  to  be  held  over  by  popular  demand.  Nel- 
son Eddy  has  certainly  taken  this  country  by 
storm,  and  rightly  so.  He  has  a  great  talent 
and  a  personality  not  often  equalled. 

Colleen  Lunsford,  Tampa,  Florida 


The  movie-going  pub- 
lic determines  the 
trend  of  the  screen. 
Letters  have  influence 


Joan  Bennett  takes  her  charming 
daughter,  Diana  Fox,  frequently 
to  the  polo  matches.  They  fas- 
cinate Diana.  Incidentally,  Diana 
is      over      her      camera-shyness 


P)OES  the  same  thing  affect  all  university 
^students  that  affects  Joe  Giacoletti,  who 
wrote  a  "boo"  letter  in  Photoplay's  July 
issue?  Imagine  daring  to  call  Nelson  Eddy  a 
"bellering  baritone"!  Well,  if  that's  all  that 
is  wrong,  go  ahead  and  "beller,"  Mr.  Eddy! 
We  love  it. 

Nancy  S.,  Kansas  City,  Missouri 

CO  Joe  Giacoletti  and  the  Indiana  University 
^students  don't  like  Nelson  Eddy?  What's 
the  matter,  boys?  Are  the  girl  friends  falling 
too  hard  for  him?  Or  don't  you  know  a  splen- 
did voice  when  you  hear  one? 

Ruth  King,  Cranford,  New  Jersey 

TELL  Joe  Giacoletti  that  the  fair  sex  thinks 
'  Nelson  Eddy  is  swell.  We  girls  all  have 
fallen  for  him. 

Lona  Daspit,  Houma,  Louisiana 

MY  thanks  to  Photoplay  for  a  real  story 
on  Nelson  Eddy.  (By  Frederick  L.  Col- 
lins, July  issue — Ed.)  And  no  use  in  my  try- 
ing to  tell  you  what  I  think  of  "Naughty 
Marietta."    Can't  find  the  words. 

Mary  Wilson,  Indianapolis,  Ind. 

WE  will  now  call  the  meeting  to  order  and 
offer  up  a  little  prayer  for  the  Hopedale 
minister  who  wants  to  "redeem"  Clark  Gable. 
Last,  but  not  least,  keep  our  Gable  as  natural, 
sincere  and  fine  as  he  now  is. 

I.  Hoffman,  Buffalo,  New  York 

A  WORD  about  the  people  who  write  in  to 
criticize.    It  seems  to  me  they  have  failed 
[  please  turn  to  page  7  ] 


BRIEF  REVIEWS 

OF       CURRENT       PICTURES 

CONSULT  THIS  PICTURE 
SHOPPING  GUIDE  AND  SAVE 
YOUR    TIME,    MONEY    AND    DISPOSITION 

•  INDICATES      PICTURE      WAS      NAMED      AS      ONE     OF     THE     BEST     UPON     ITS     MONTH     OF     REVIEW 


AFTER  OFFICE  HOURS  —  M-G-M.-Smart 
lines  and  clever  situations,  with  Constance  Bennett 
as  the  would-be  reporter  in  satin  trains  and  furbelows, 
and  Clark  Gable  her  hard-boiled  managing  editor. 
(Apr.) 


AGE    OF    INDISCRETION— M-G-M.— The    old 

divorce  question  all  over  again,  with  David  Jack  Holt 
stealing  the  picture  as  the  child  victim.  Paul  Lukas, 
Madge  Evans,  Helen  Vinson,  May  Robson.     (Aug.) 


ALL  THE  KING'S  HORSES— Paramount.— An 
entertaining  but  familiar  story  of  the  king  and  the 
commoner  who  look  alike  and  change  places.  Carl 
Brisson  is  charming,  and  Mary  Ellis,  in  her  screen 
debut,  delightful.      (May) 

ALIAS  MARY  DOW— Universal.— A  clean  and 
amusing  little  picture  with  Sally  Eilers  at  her  best  as  a 
tough  babe  suddenly  dropped  into  the  midst  of  riches 
when  she  impersonates  a  kidnapped  daughter.  Ray 
Milland.     (Aug.) 


ARIZONIAN,  THE— RKO-Radio.— A  perfectly 
swell  Western,  with  all  the  trimmings  and  Richard 
Dix  a  real  villain-scaring  he-man.  Margot  Grahame 
is  lovely  as  the  leading  lady.  Preston  Foster,  Louis 
Calhern.     (Aug.) 


BABY     FACE     HARRINGTON— M-G-M— An 

amusing  enough  little  picture  with  Charles  Butter- 
worth  as  the  timid  soul  mistaken  for  a  big-shot 
gangster.  Una  Merkel.  Nat  Pendleton,  Donald 
Meek.   (June) 


BAND  PLAYS  ON,  THE— M-G-M.— Essentially 
the  old  rah-rah  collegiate  stuff,  with  the  touchdown 
on  the  last  gun.  Good  performances  by  Robert 
Young.  Stu  Erwin  and  Betty  Furness.  (March) 

BEST  MAN  WINS,  THE— Columbia.— An  inter- 
esting film  with  Jack  Holt,  Edmund  Lowe  and  Flor- 
ence Rice  for  romance,  underseas  adventures  for 
excitement  and   Bela  Lugosi  as  a  menace.     (March) 

BIOGRAPHY  OF  A  BACHELOR  GIRL— M  G- 

M. — Ann  Harding  as  you  like  her  best,  in  a  bright, 
sophisticated  film.  Robert  Montgomery,  Una  Mer- 
kel, Eddie  Horton  Edward  Arnold  and  Charles 
Richman  make  it  a  grand  cast.     (March) 


•  BLACK  FURY— First  National —A  saga  of 
the  coal  mines  presenting  with  intense  realism 
and  power  the  elemental  problems  of  the  miners. 
Paul  Muni  gives  a  memorable  performance,  and 
Karen    Morley   lends  excellent   support.      (June) 

BLACK  SHEEP— Fox.— A  cleverly  concocted 
story,  with  Edmund  Lowe  in  top  form  as  a  shipboard 
card-sharp  who  tries  to  save  his  son,  Tom  Brown, 
from  the  foils  of  lady  thief  Adrienne  Ames  and  loses 
his  own  heart  to  Claire  Trevor.  Nice  direction  by 
Allan  Dwan      (Aug.) 

BORDERTOWN  —  Warners.— Outstanding  per 
tormances  by  Bette  Davis  and  Paul  Muni  make  this 
one  worthwhile.  The  story  is  of  the  bitter  disil- 
lusionment of  a  young  attorney  who  loses  his  first 
case,  then  falls  prey  to  the  schemings  of  a  jealous 
woman.  Not  altogether  pleasant,  but  gripping. 
(Apr.) 

BREWSTER'S  MILLIONS— United  Artists.— 
Jack  Buchanan  and  Lili  Damita  in  a  fairly  entertain- 
ing musical  comedy  version  of  the  familiar  story  of 
a  young  man  who  must  spend  millions  in  order  to 
inherit  a  still  greater  fortune.      (July) 

•  BREAK  OF  HEARTS— RKO-Radio— Per- 
formances of  sterling  merit  by  Katharine  Hep- 
burn and  Charles  Boyer  place  this  on  the  "Don't 
miss  it  "  list  in  spite  of  a  rather  thin  modern-Cinder- 
ella love  story.  Excellent  support  by  John  Beal,  Jean 
Hersholt  and  others.  (  Aug.) 


BRIDE  OF  FRANKENSTEIN,  THE— Universal. 

— Boris  Karloff  rises  from  the  flames  again  to  seek 
a  mate  and  one  is  created  for  him.  Lots  of  chills,  and 
a  new  high  in  fantastic  horror      Good  cast.     (July) 

•  CALL  OF  THE  WILD  — 20th  Century 
United  Artists. — A  vigorous,  red-blooded  screen 
version  of  Jack  London's  novel  that  you  are  sure  to 
enjoy.  Clark  Gable,  Loretta  Young,  Jack  Oakie. 
Reginald  Owen,  and  the  great  dog.  Buck.     (July) 

CAPTAIN  HURRICANE— RKO-Radio.— A  dull 
story  with  a  grand  cast.  Too  bad  they  didn't  find 
a  better  vehicle  for  stage  star  James  Barton's  screen 
debut.  Helen  Westley.  Henrv  Travers.  Gene  Lock- 
hart.      (May) 

CAR  99 — Paramount. — An  entertaining  and  ex- 
citing picture  which  Junior  will  want  to  see  twice,  with 
Sir  Guy  Standing  good  as  the  master  mind  of  a  bank 
robbing  gang,  protecting  himselt  by  masquerading  as 
a  professor.      (May) 

•  CARDINAL  RICHELIEU— 20th  Century 
United  Artists.  —  A  beautiful  historical  drama 
with  George  Arliss  at  his  best  as  the  great  Cardinal 
of  France.  Maureen  O'Sullivan,  Edward  Arnold. 
(June) 

CARNIVAL — Columbia. —  The  experiences — some 
funny,  many  sad — of  an  anxious  father  whose  mother 
less  baby  is  constantly  in  danger  of  being  snatched 
from  him  by  the  Children's  Welfare  Association.  Lee 
Tracy.  Sally  Eilers.  Jimmy  Durante.     (Apr.) 

CASE  OF  THE  CURIOUS  BRIDE,  THE— First 

National. — A  mystery  handled  in  the  casual  manner 
movie  audiences  love,  with  Warren  William  as  the 
amateur  sleuth  and  Margaret  Lindsay  the  bride 
whose  curiosity  is  aroused.  Murder  thrills.  Good 
(July) 

CASINO    MURDER    CASE,    THE— M-G-M.  - 

Paul  Lukas  is  the  Philo  Vance  who  steps  in  and  solves 
the  mystery,  with  Alison  Skipworth.  charming  Rosa 
lind  Russell,  Ted  Healy  and  Louise  Fazenda  lending 
good  support.      (May) 

CHARLIE  CHAN  IN  PARIS— Fox.— Warner 
Oland  at  his  best  as  Chan,  with  Mary  Brian  and 
Thomas  Beck  carrying  the  love  interest.     (March) 

CHASING  YESTERDAY— RKO-Radio.— Ana 
tole  France's  "The  Crime  of  Sylvestre  Bonnard' 
loses  importance  in  the  screen  telling.  Good  per 
formances  by  Anne  Shirley,  O.  P.  Heggie,  Helen 
Westley  and  Elizabeth  Patterson.  But  the  film  storv 
is  pallid.      (June) 

CHINATOWN  SQUAD.— Universal.— Speedy  di- 
rection and  a  competent  cast  make  good  entertain- 
ment of  this  mystery  wherein  Lyle  Talbot,  who  drives 
a  sightseeing  bus  through  Chinatown,  solves  two 
murders  and  wins  Valerie  Hobson.    (Aug.) 

CLIVE  OF  INDIA— 20th  Century-United  Artists 
— A  stirring  and  impressive  story  of  a  young  man 
who  almost  single-handed,  conquered  India  for 
Britain.  Ronald  Colman  is  excellent  as  Clive, 
Loretta  Young  gives  a  fine  performance  in  the  role  of 
his  wife.    (March) 

COLLEGE  SCANDAL— Paramount— A  clever 
double  murder  mystery  played  against  a  breezy  col- 
lege backdrop  makes  this  a  great  evening  for  amateur 
sleuths.  Arline  Judge.  Kent  Taylor,  Wendy  Barrie. 
Edward  Nugent,  Mary  Nash.     (Aug.) 

COUNTY  CHAIRMAN,  THE— Fox.— Will  Rog 
ers  as  a  lovable  but  astute  rural  politician  is  at  his 
best.  Good  cast  includes  Evelyn  Venable,  Louise 
Dresser,  Kent  Taylor.  Entertainment  for  the  family 
(March) 

COWBOY      MILLIONAIRE,       THE— Fox.— A 

Western  for  sophisticates,  and  an  hilarious  comedy. 
George  O'Brien  and  Edgar  Kennedy  tops  as  "local 
color"  on  a  dude  ranch.  Evalyn  Bostock.  Maude 
Allan       (July) 


•  DARING  YOUNG  MAN.  THE— Fox— Re 
freshingly  different  material  and  clever  dialogue 
distinguish  this  picture  about  two  young  people 
(Jimmy  Dunn  and  Mae  Clarke)  who  are  good  re- 
porters on  rival  papers  and  constantly  getting  them- 
selves into  mad  situations  trying  to  outwit  each 
other  on  hot  tips.     (July) 

DAVID  COPPERFIELD— M-G-M— An  incom- 
parable photoplay,  and  one  that  will  live  with  you 
lor  years.  Freddie  Bartholomew  as  the  child, 
David,  W.  C.  Fields  as  Micawber,  Madge  Evans  as 
Agnes  are  only  a  few  of  a  long,  superb  cast.  It's  a 
brilliant  adaption  of  Dickens'  famous  novel.  (Mar^h) 

DEATH  FLIES  EAST— Columbia.— A  rathet  dull 
and  illogical  picture  with  Conrad  Nagel  and  Florence 
Rice  rising  above  screen-story  difficulties  and  Oscar 
Apfel,  Raymond  Walburn  and  Irene  Franklin  strug- 
gling for  laughs  with  un-funny  material      (June) 

DEVIL  IS  A  WOMAN,  THE— Paramount.— 
Marlene  Dietrich  in  a  series  of  static  and  exquisite 
views.  The  story  lacks  motivation  and  Von  Stern- 
berg's direction  has  drained  all  animation  from  the 
cast.  Cesar  Romero.  Edward  Everett  Horton. 
Lionel  At  will.      (May) 

DINKY — Warners. — The  youngsters  will  enjoy 
Jackie  Cooper  as  the  boy  who  is  sent  to  an  orphanage 
when  his  mother  (Mary  Astor)  goes  to  prison  falsely 
accused.     Roger  Pryor,  Henry  Armetta.     (July) 

DOG  OF  FLANDERS.  A— RKO-Radio.— Fine 
performances  by  young  Frankie  Thomas  and  O.  P. 
Heggie  make  this  Ouida  classic  really  live  on  the 
screen.  It's  a  film  children  will  love  and  parents  will 
enjov       (May) 

•  DOUBTING  THOMAS— Fox.— One  of  the 
best  Will  Rogers'  pictures  This  time  Will's 
wife  (Billie  Burke)  gets  the  acting  bug,  and  Will 
turns  crooner  to  cure  her.  Alison  Skipworth.  Sterling 
Holloway.      (July) 

EIGHT  BELLS — Columbia. — A  fairly  entertain- 
ing boat  trip  with  Ralph  Bellamy,  a  demoted  sea 
captain,  saving  the  day  in  a  maritime  crisis.  Ann 
Sothern  is  the  romantic  prize.     (July) 

ENCHANTED  APRIL  —  RKO-Radio.  —  Ann 
Harding  in  a  quiet  little  story  of  the  enchantment 
wrought  by  Italy  in  the  spring.  Frank  Morgan. 
Ralph    Forbes.    Katharine    Alexander.    Jane    Baxter 

(March) 

•  ESCAPE  ME  NEVER— British  &  Dominions- 
United  Artists. — A  magnificent  screen  ver- 
sion of  the  stage  success,  with  Elisabeth  Bergner 
giving  one  of  the  finest  performances  ever  recorded, 
as  the  waif  who  is  "adopted"  by  a  young  madcap 
musical  genius.  Excellent  support  by  Hugh  Sinclair 
and  Griffith  Jones.     (Aug.) 

EVERGREEN — Gaumom     Jritigh. — You'U    love 

lejsie  Matthews,  danin-;  ot  the  London  stage,  and 
she  has  a  chance  to  do  some  grand  singing  and  danc- 
ing in  this  merry  little  story.  (March) 

FEDERAL  AGENT— Select  Pictures  —Age-old 
crook  stuff  with  Bill  Boyd  as  a  government  man 
trying  to  outwit  dangers.  Don  Alvarado  and  his 
wo  lady  friends.  (Mar  h) 

FLAME  WITHIN,  THE— M-G-M.— A  triangle 
romance,  with  psychiatrist  Ann  Harding  being  forced 
to  choose  between  a  dipsomaniac  patient  she  has 
cured,  Louis  Hayward.  and  sober,  industrious  Herbert 
Marshall.  Outstanding  performance  by  Maureen 
O'Sullivan  as  a  neurotic  heiress.     (Aug.) 

FOLIES  BERG  .RE—  20th  Century-United  Ar- 
tists.— Disregard  the  story  and  give  yourself  up  to 
Maurice  Chevalier's  charm,  the  music,  singing  and 
dancing.  Ann  Sothern  and  Merle  Oberon  good. 
'Apr.) 

FORSAKING    ALL    OTHERS— M-G-M.— Joan 

Crawford,  Clark  Gable  Robert  Montgomery  and 
Charles  Butterworth  at  their  best  in  a  simple  story 
that  leaves  you  dizzy  with  laughter  and  braced  like 
a  champagne  cocktail.     (March) 

[  PLEASE  TURN  TO  PAGE   13  ] 


Don't  say  it,  write  it!  You 
can  only  tell  a  few  what 
you  think  of  a  film,  thou- 
sands    read     "Letters" 


Here's  catching  the  deep-dyed  vil- 
lain in  an  off  moment.  Bela  Lugosi, 
at  the  left,  hardly  looks  the  des- 
picable rascal  and  horror-stirring 
individual  he  is  on  the  screen.  Actu- 
ally he  is  one  of  the  quietest  and 
most  retiring  persons  you  could 
ever  find.  He's  passing  banter  with 
Binnie    Barnes    and    Jean    Hersholt 


V 


"*_—»" 


[  CONTINUED  FROM  PAGE  5  ] 

to  realize  the  immense  stride  forward  the  films 
have  made  in  the  past  two  years.  I  have  just 
seen  "Les  Miserables."  A  few  years  ago  the 
very  people  who  criticize  would  have  turned 
thumbs  down  on  that  picture  to  go  see  Clara 
Bow  in  something  flaming.  Today,  a  serious 
audience  sat  through  it  enthralled.  Thousands 
who  have  never  dreamed  of  reading  Victor 
Hugo's  masterpiece  are  attending  the  theater 
precisely  to  see  that  picture. 

A  few  years  ago,  what  young  person  knew 
anything  about  Robert  Browning  and  his 
pathetic  and  beautiful  wife,  Elizabeth  Barrett. 
"The  House  of  Rothschild,"  "Clive  of  India," 
and  "Cardinal  Richelieu"  were  history  in  the 
making.  "All  Quiet  on  the  Western  Front" 
was  the  greatest  preachment  against  war  the 
films  have  ever  shown.  Grace  Moore  and  Jan 
Kiepura  have  brought  grand  opera  down  to 
the  level  of  the  common  folk,  and  more  of 
them  are  attending  opera  than  ever. 

Everyone  has  his  foibles  and  faults,  the 
motion  picture  industry  is  no  exception,  but 
the  good  it  has  done,  the  reforms  it  has  accom- 
plished, the  happiness  it  has  brought  to  millions 
— well,  its  virtues  far  exceed  its  faults. 

Eileen  R.  Adler,  Los  Angeles,  Calif. 

j  BELIEVE  "Private  Worlds"  the  best  pic- 
ture to  come  out  of  Hollywood  in  many  a 
month.  Its  sincerity  and  thoughtfulness  won 
me,  and,  I  think,  every  person  should  see  it. 
I  have  been  unemployed  for  a  long  time  and 
was  very  downcast,  but  after  seeing  "Private 
Worlds"  I  was  given  new  hope,  largely  from 
the  sound  ideas  it  had  on  life.  The  performance 
of  every  player  is  something  to  cheer  about. 
J.  Hossitt,  St.  Louis,  Missouri 

A  PICTURE   like    "Private    Worlds"    is   a 
Mribute  to  intelligent  movie-goers.  The  fine 
quality  of  acting  by  each  one  of  the  cast  makes 
this  picture  the  satisfying  whole  that  it  is. 
M.  H.  S.,  Lincoln,  Nebraska 


<< 


w 


^s 


':■  V 


Charlie  Ray  has  about  decided 
that  he'll  do  no  more  pictures, 
in  fact  Charlie  has  gone  so  far 
in  his  decision  as  to  set  him- 
self   up    in    a    tidy    florist    shop 


Hmm-mm!  Get  that  very,  very, 
very  heavy  look  the  alluring 
Marlene  Dietrich  gives  the  he- 
man  of  he-men,  Clark  Gable! 
And  look  what  he  does,  grins  it 
off!    Clifton  Webb  ignores  it  all 


I  WISH  to  say  Gene  Raymond  is  a  real  gentle- 
'  man.  Just  recently  he  made  a  very  lonely 
person  a  very  happy  one,  with  no  thought  of 
publicity  or  gain,  which  proves  how  he  really 
deserves  the  respect  and  love  of  his  fans.  It 
was  this  way:  I  wrote  to  Mr.  Raymond,  with- 
out thought  of  a  reply,  to  tell  him  that  he  re- 
minded me  of  someone  I  had  lost,  someone  I 
loved  dearly — my  pretty  little  sister.  To  my 
surprise  I  received  a  signed  photograph  of  Mr. 
Raymond.  It  is  little  actions  like  that  that 
make  the  world  a  happier  place. 
Mrs.  Vera  Yeatts,  Christchurch,  New  Zealand 

SO  many  heedless  picture  fans  are  loud  in 
their  disparagement  of  their  evening's  enter- 
tainment, blaming  the  actors,  director,  pro- 
ducer, even  the  local  theater  management, 
when  they  themselves  are  largely  to  blame. 
They  are  like  people  who  go  into  a  restaurant, 
consult  the  menu  and  then  ask  the  waiter  if 
there  is  anything  better  than  ordinary  that 
day.  They  will  attend  a  theater  without 
[  please  turn  to  page  12  ] 


DOWN  on  the  RANCH 


Simplicity  is  the  keynote  for  the 
interiors  of  the  house.  The  white 
walls,  handwoven  rugs  and  draper- 
ies, well-chosen  antiques,  make  it 
a    most    beautiful    and    livable    home 


8 


Time  out  for  play!  Papa  Bing  and 
Mama  Dixie  Lee  desert  the  children 
for  a  while  and  enjoy  a  swim  in  the 
pool  built  on  the  estate.  It  looks 
like   Dixie  is  in  for  a   good   ducking! 


The  combination  of  the  modern  and 
the  old-fashioned  lend  particular 
charm  and  interest  to  these  rooms. 
Incidentally,  the  adobe  exterior  walls 
of    the    house    are    three    feet    thick 


with  BING  CROSBY 


The  Crosby  estate  at  Rancho  Santa  Fe — 
Binq  modernized  two  old  adobe  houses 
on  the  place,  then  built  a  new  wing  of 
the  same  material,  making  one  of  the 
most  charming  homes  in  all  California. 
It  stands  in  a  setting  of  sixty-five  acres 


An  old-fashioned  corner  in  the  house, 
with  a  square  piano,  lace  curtains, 
and  an  oil  lamp  (wired,  of  course!) 
This  is  where  Bing  does  his  crooning 
down   on   the   farm.     Who    wouldn't! 


Monarch  of  all  he  surveys!  Bing 
looks  the  place  over,  and  forgets 
all  about  the  trials  and  tribula- 
tions of  movie  making.  The  ranch 
is  just  a  few   miles  from   San   Diego 


After  a  swift  game  of  tennis,  Mr. 
Crosby  will  invite  you  up  on  the 
shaded  porch  for  a  long,  cool  drink. 
Every  detail  of  the  home  is  designed 
for  ideal   comfort   and   happy   living 


10 


PHOTOPLAY   MAGAZINE   FOR  SEPTEMBER,    1935 


from  the   latest   hits   of 


Curly  Top"  is  tops  for  Shirley!   SHE 
DANCES  AGAIN  . . .  SHE  SINGS  2  SONGS 
in  this  excitingly  different  story! 

"SURPRISE!"  SHIRLEY  SEEMS  TO  SHOUT 
GLEEFULLY.  For  what  a  joy  package  of  surprises 
this  picture  will  be! 

"Curly  Top"  is  completely  different  in  story  and 
background  from  all  the  other  Temple  triumphs. 
This  time,  Shirley  plays  the  mischievous,  lovable 
ringleader  of  a  group  of  little  girls,  longing  for 
happiness  and  a  home.  Once  again,  she  dances — 
she  sings — in  that  winsome  way  which  captured 
the  heart  of  the  whole  world. 

And  .  .  .  SURPRISE!  .  .  .  Rochelle  Hudson,  as 
Shirley's  faithful  sister,  sings  for  the  first  time  on 
the  screen,  revealing  a  rich,  beautiful  voice  in  a 
song  that  will  be  the  hit  of  the  year.  Her  song 
duets  with  John  Boles — their  wealthy  and  secret 
benefactor — lead  to  a  love  duet  that  ends  in  perfect 
harmony ! 

"Curly  Top"  is  tops  for  Shirley  .  .  .  and  that 
means  tops  in  entertainment  for  the  whole  family! 


l-% 


"All  my  life,  I've  had  a  hunger 
in  my  heart  ...  a  hunger  to 
love  and  be  loved." 


•CU1UYTOP' 


with 

JOHN   BOLES 
ROCHELLE    HUDSON 

JANE    DARWELL 

Produced  by  Winfield  Sheehan 
Directed  by  Irving  Cummings 
• 
"Spunky— if  you  don't  stop  sneezing, 
you're  going  to  catch   p-monia.    You 
really  ought  to  have  a  hot  lemonade." 


^f5P 

w  I  •- 

PHOTOPLAY  MAGAZINE   FOR   SEPTEMBER,    1935 


n 


your  favorite   stars! 


JANET  GAY  NOR 


AND 


HENRY  FONDA 

The  FARME 

T  A  If  EC      HflE 

lAAOatflr 

Charles  Bickford  Roger  Imhof 
Slim  Summerville  Jane  Withers 
Andy  Devine  Margaret  Hamilton 

Produced  by  Winfield  Sheehan 

Directed  by  Victor  Fleming 

Screen  Play  by  Edwin  Burke 

Prom  Max  Gordon's  Stage  Play      *      Author* 

Frank  B.  Elser  and  Marc  Connelly    •    Based  on 

'the  novel  "Rome  Haul"  by  Walter  D.  Edmonds 


.  .  .  Henry  Fonda  zooms  to  star- 
dom as  the  son  of  the  soil  who 
works  on  the  canal  to  earn  money 
for  a  farm. 


YOU . . .  who  loved  "State  Fair". . .  HAVE 
ANOTHER    TREAT    COMING! 

Set  in  a  dramatic,  colorful  era  of  American  life 
now  shown  for  the  first  time  .  .  .  when  the  speed 
of  the  railroad  doomed  the  picturesque  waterways 
.  .  .  this  story  is  a  refreshingly  new,  vital,  heart- 
warming tale  of  simple  folk  on  the  great  Erie 
Canal,  when  it  was  one  of  the  world's  wonders,  the 
gateway  through  which  civilization  took  its  West- 
ward march  .  .  .  when  its  lazy  waters  rang  with 
the  shouts  of  swaggering  boatmen,  bullying  their 
women,  brawling  with  their  rivals. 

Through  it  all  threads  the  romance  of  a  kissable 
little  miss  who  hides  her  sentimental  yearnings  be- 
hind a  fiery  temper  .  .  .  while  a  dreamy  lad,  home- 
sick for  the  soil,  contends  for  her  affection  with 
the  mighty-fisted  bully  of  the  waterways. 

Ask  your  theatre  manager  when  he  plans  to 
play  it! 


On  these  pages  letters  from  all  over  the 
world  discuss  films  and  stars.  And  when 
the   movie-goer  speaks,   Hollywood   listens 


[  CONTINUED  FROM  PAGE  7  ],     •    ■ 

having  the  very  faintest  idea  of  what  the  pro- 
gram is — and  kick  if  it  doesn't  suit  their  taste. 
Pick  your  entertainment  as  you  would  your 
food.  Consult  some  good  picture  magazine. 
[  We  recommend,  and  highly,  too,  Photo- 
play.— Ed.] 

Mrs.  M.  M.  Sanborn,  Portland,  Maine 

\ V/HAT  is  the  justification  for  this  sudden 
**  turn-about  from  smug  denouncing  of  the 
movies  into  hearty  approbation?  Well,  just 
take  a  look  at  the  mighty  and  imposing  list  of 
recent  winners:  "The  Informer,"  "Black 
Fury,"  "The  Band  Concert,"  and  "Private 
Worlds," — especially  "Private  Worlds,"  the 
movie  of  the  past  decade,  and  truly  a  work  of 


art  if  in  the  cinema  there  ever  was  one.  The 
movies  are  coming  into  their  own  and  are  quite 
able  to  weather  all  adverse  criticism  for  the 
gropings  and  many  mistakes  of  the  past. 

Louis  E.  Palffy,  Minneapolis,  Minn. 

THE  effect  of  the  movies  on  the  young  people 
'  in  this  town  is  amazing.  After  they  have 
seen  a  sexy  picture,  they  discuss  it  for  a  while 
and  then  completely  forget  its  existence. 
Whereas,  having  seen  a  fine  picture,  they  will 
refer  to  it  time  and  time  again  as  being  one  of 
the  high-spots  of  the  months,  for  example, 
"Laddie."  They  adored  Virginia  Weidler  as 
Little  Sister.  Also,  why  not  more  pictures  deal- 
ing with  amusing  incidents  and  less  with  the 
gruesome  scenes  of  "true  life"? 
Carol  L.  Whittf.more,  West  Roxbury,  Mass. 


Not  part  of  Hollywood's  foreign  invasion — Boris  Karloff.  Katherine 
DeMille  and  Thurston  Hall  are  taking  a  promenade  on  the  Columbia 
lot  in  the  costumes  they  wear  for  roles  in  "The  Black  Room  Mystery" 

12 


Jean  Parker  was  dashing  out  to 
play  when  the  camera  stopped  her. 
Jean's  play  suit  has  a  short  blouse 
to  permit  an  extra  strip  of  sun  tan 


TO  write  a  fan  letter  on  the  subject  of  Will 
'  Rogers  doubtless  is  like  writing  to  residents 
of  the  dustbowl  of  Colorado  and  asking,  "Did 
you  like  the  last  rain?"  Any  praise  of  Mr. 
Rogers  is  so  obvious,  so  universally  accepted 
that  it  might  deservingly  awake  that  over- 
worked phrase,  "So  what?"  So  give  us  an 
occasional  glimpse  of  the  Gilberts  and  the 
Gables  to  palpitate  our  susceptible  hearts, 
but  steadily,  continually  and  as  often  as  pos- 
sible let  us  gaze  upon  the  big,  natural,  open- 
hearted  man  from  the  great  open  spaces,  and 
we  will  fill  the  theaters  from  the  orchestra  to 
the  balcony  and  dream  our  dreams  and  sigh 
our  sighs  over  this  typical,  whimsical,  romantic 
American  man. 

Leilah  Heath,  El  Paso,  Texas 

TOR  a  time  in  "Doubting  Thomas,"  Will 
'  Rogers  has  the  appearance  of  a  heavy  hitter 
on  a  baseball  team  who  fans  three  straight 
times,  not  even  nicking  a  foul  strike.  But 
when  Will  pulls  that  take-off  on  Bing  Crosby  as 
a  big-time  crooner,  he  knocks  a  home-run  with 
the  bases  full,  and  we  hilariously  forget  the 
slump  in  his  screen  batting  average  earlier  in 
the  play. 

Leslie  E.  Dunkin,  Wolcott,  Indiana 

GO   Into   Your   Dance"   proved   but   one 
thing,  Al  Jolson  is  still  the  greatest  song- 
and-dance  star  in  the  world. 

Fulton  King,  Weyers  Cave,  Virginia 


Brief  Reviews  of  Current  Pictures 


CONTINUEII   FROM    PAGF   6 


•  FOUR  HOURS  IO  KILL— Paramount  — 
Tense  and  compelling  screen  entertainment 
with  Richard  Rarthelmess,  in  the  finest  character 
opportunity  of  his  career,  as  the  doomed  killer  hand- 
cuffed to  a  guard  in  a  theater  lobby  for  four  hours 
Skilful  support  by  Roscoe  Karns,  Helen  Mack,  Joe 
Morrison.  Gertrude  Michael  and  others.     (June) 

FRANKIE    AND    JOHNNIE— Select-RKO    Re 

lease. — The  American  classic  suffers  from  the  censor's 
scissors  on  the  screen,  but  you'll  enjoy  seeing  Helen 
Morgan  as  the  notorious  Frankie.  Chester  Morris 
as  the  great  lover,  and  the  late  Lilyan  Tashman  as 
NeUie  Bly.     (Aug.) 

*G  MEN — First  National. — Government  heroes 
at  work.  Lots  of  shooting  and  excellent 
acting.  Fast-moving  and  packs  a  wallop.  Jimmy 
Cagney  at  his  best.  Ann  Dvorak.  Margaret  Lindsay. 
Bob  Armstrong      Not  for  the  kiddies.     (July) 

GEORGE  WHITE'S  19.?5  SCANDALS— Fox.— 

A  clean  Scandals.  Jimmy  Dunn  and  Alice  Faye  are 
the  small-time  team  who  let  success  go  to  their  heads 
Ned  Sparks  gets  most  of  the  laughs.  And  Eleanor 
Powell  is  a  tap  dancer  so  good  vou  can  hardly  believe 
it !     (June) 

GHOST  WALKS,  THE— Invincible.— A  theatri- 
cal group  rehearses  a  melodrama  in  a  haunted  house, 
and  when  a  real  maniac  slips  in.  things  happen.  A 
unique  storv,  with  John  Miljan,  Richard  Carle,  June 
Collyer.     (Apr.) 

GILDED  LILY,  THE— Paramount.— Good  enter 
tainment,  but  not  as  much  punch  as  you  have  a 
right  to  expect  from  a  movie  with  Claudette  Colbert 
in  the  lead    and  Wesley  Ruggles  directing.     {March) 

GINGER — Fox.— Jane  Withers,  as  a  little  slum 
girl  who  humanizes  a  Park  Avenue  family,  is  your 
reason  for  seeing  this  one.  Good  cast  includes  O.  P. 
Heggie,  Walter  King,  and  Jackie  Searl.     {Aug.) 

GIRL     FROM      10th     AVENUE.     THE— First 

National. — The  old  story  of  a  drunken  millionaire 
marrying  a  poor  little  shop  girl.  Bette  Davis  is  good 
as  the  girl  who  tries  to  win  her  husband's  love  while 
braving  his  snobbish  friends.  Just  so-so  entertain- 
ment. Colin  Clive,  Alison  Skipworth,  Ian  Hunter. 
(Aug.) 

GLASS  KEY,  THE— Paramount.— A  murder 
mystery  with  George  Raft,  as  the  loyal  Man  Friday 
of  political  boss  Edward  Arnold,  solving  things  in  a 
suave  but  exciting  manner.  Capable  cast  also  in- 
cludes Claire  Dodd,  Ray  Milland,  and  others.    (Aug.) 

•  GO  INTO  YOUR  DANCE— First  National 
— A  grand  evening  for  those  who  like  singing 
and  dancing  with  a  plausible  story  sandwiched  in. 
Al  Jolson  better  than  ever;  Ruby  Keeler  good  as 
always:  Glenda   Farrell   in   top  support.      (June) 

GOIN'  TO  TOWN— Paramount.— Mae  West, 
pursuing  the  man  instead  of  being  pursued,  in  a  fast- 
moving,  wise-cracking  film,  that  will  keep  you  laugh- 
ing.     (May) 

GOLD  DIGGERS  OF  1935— First  National- 
Good  tunes,  talented  cast  make  this  one  enjoyable 
entertainment  for  those  who  like  big,  splashy  musicals. 
Dick  Powell,  Gloria  Stuart,  Alice  Brady,  Adolphe 
Meniou.  Glenda  Farrell.  and  others.     (July) 

GOOD  FAIRY,  THE— Universal.— Margaret 
Sullavan,  in  the  title  role,  and  Herbert  Marshall 
head  the  cast  of  this  screen  adaptation  of  the  stage  hit. 
The  scenes  are  played  in  high  comedy  throughout. 
But  comedy       (March) 

GRAND  OLD  GIRL— RKO- Radio.— That  grand 
old  trouper.  May  Robson,  gives  a  superfine  per- 
formance as  a  veteran  high  school  principal  who 
bucks  the  town's  politicians  for  the  welfare  of  her 
pupils.  Mary  Carlisle  and  Alan  Hale  highlight  a 
good  supporting  cast.   (March) 

GREAT  GOD  GOLD— Monogram.— The  story 
promises  to  be  an  exciting  expose  on  the  receivership 
racket,  but  it  becomes  stupid.  Martha  Sleeper  does 
as  well  by  her  part  as  possible.  Regis  Toomey  gets 
nowhere.      (May) 

GREAT  HOTEL  MURDER,  THE— Fox.— Old 
reliable  sure-fire  Edmund  Lowe-Victor  McLaglen 
stuff,  with  Vic  as  a  dumb  house  detective  and  Eddie 
the  guest  who  writes  mystery  stories,  both  trying 
to  discover  who  poisoned  the  victim.  Mary  Carlisle, 
C.  Henry  Gordon.      (May) 

GRIDIRON  FLASH— RKO-Radio.— A  college 
football  story  about  a  paroled  convict  (Eddie  Quillan) 
who  finally  wins  the  game  and  Betty  Furness.  too. 
Glenn  Tryon.  Lucien  Littlefield.     (March) 


HEADLINE  WOMAN,  THE— Mascot— A  well- 
paced,  entertaining  newspaper  yarn  with  Roger 
Pryor,  Heather  Angel,  Jack  LaRue.  old-timer  Ford 
Sterling,  and  others  handling  well  the  amusing  dia- 
logue and  neat  situations.     (Aug.) 

HEALER,  THE — Monogram. — A  somewhat  la- 
bored and  obvious  film,  with  Ralph  Bellamy  as  the 
healer  who  works  miracles  with  crippled  children, 
Judith  Allen,  the  villainess  who  tries  to  lure  him  to 
the  big  city,  and  Karen  Morley,  the  heroine,  who 
comes  to  the  rescue.     (Aug.) 

HELL  DORA  DO— Fox.— A  hollow  story  in  a 
mining  town  setting  which  fails  to  give  Richard 
Arlen  the  kind  of  part  he  deserves.  (March) 

HERE  IS  MY  HEART— Paramount.— You'll 
applaud  this  one.  For  between  laughs  Bing  Crosby 
and  Kitty  Carlisle  sing  those  haunting  tunes,  and  the 
story  is  good      (March) 


Close  pais  and  co-workers  are  lit- 
tle Cora  Sue  Collins  and  Freddie 
Bartholomew.  They  are  together 
in      M-G-M's      "Anna       Karenina" 


HOLD  'EM  YALE— Paramount.— A  weak  but 
pleasant  little  picture  about  four  thugs  who  inherit 
a  lady.  Patricia  Ellis  is  the  lady.  Cesar  Romero, 
Larry  Crabbe,  Andy  Devine,  William  Frawley. 
George  E.  Stone.     (June) 

HONGKONG  NIGHTS— Futter  Prod.— A  highly 
implausible  story  about  a  Chinese  gun-runner  and  an 
American  Secret  Service  man.  Production  and 
photography  superb,  dialogue  and  story  poor.  Tom 
Keene.  Wera  Engels.  Warren  Hymer.      (May) 

HOORAY  FOR  LOVE— RKO-Radio— A  fuzzy 
carbon-copy  of  the  original  "42nd  Street"  formula 
for  musicals.  Ann  Sothern  and  Gene  Raymond  carry 
the  luke-warm  love  story.  Bill  Robinson  and  "Fats" 
Waller  top  the  talent  in  a  Harlem  song  and  dance. 
(Aug.) 

HOOSIER  SCHOOLMASTER,  THE— Mono- 
gram.— Norman  Foster  is  the  schoolmaster  in  the 
screen  version  of  this  old-time  favorite,  with  Charlotte 


Henry  as  the  girl  he  loves.  Fred  Kohler,  Jr.,  Wallace 
Reid,  Jr.,  Dorothy  Libaire.     (June) 

I'LL  LOVE  YOU  ALWAYS— Columbia.— An  un- 
inspired production,  with  Nancy  Carroll  and  George 
Murphy  unable  to  overcome  the  disadvantages  of 
mediocre  material  and  direction.     (July) 

•  IN  CALIENTE— First  National.— Musical 
comedy  in  a  Mexican  setting,  with  Dolores  Del 
Rio,  Eddie  Horton,  Pat  O'Brien,  Glenda  Farrell. 
Lots  of  laughs,  good  dancing.  A  bright  evening's 
entertainment.     (Aug.) 

•  THE  INFORMER  — RKO-Radio.— Motion 
picture  drama  at  its  best.  Victor  McLaglen 
gives  an  unforgettable  performance  as  the  slow-witted 
Irish  giant  who  betrays  his  pal  to  the  British  for  a 
twenty  pound  reward.  Margot  Grahame,  Heather 
Angel.  Preston  Foster,  Wallace  Ford,  Una  O'Connor, 
top  excellent  support.     Don't  miss  this  one      (July) 

•  IRON  DUKE,  THE— Gaumont  British— An 
interesting  picture  with  George  Arliss  as  Well- 
ington, and  the  Duke's  triumphs  told  in  a  careful 
thoughtful,  if  not  brilliant  manner.     (Apr.) 

IT  HAPPENED  IN  NEW  YORK— Universal. - 

You'll  be  amused  by  press-agent  Hugh  O  Connell's 
tricks  to  get  movie  star  Gertrude  Michael  into  the 
limelight,  and  the  interference  of  a  taxi  driver,  Lyle 
Talbot  and  his  sweetie.  Heather  Angel.  Lots  of 
laughs.      (May) 

IT'S  A  SMALL  WORLD— Fox.— Gay  dialogue 
in  a  wisp  of  a  story,  with  Spencer  Tracy  and  Wendy 
Barrie.     Lots  of  laughs.     (June) 

I'VE  BEEN  AROUND— Universal  —A  good  cast 
wasted  on  a  trite  story  and  amazingly  stagey  dialogue. 

(March) 

JACK  AHOY — Gaumont  British. — It  you  can 
laugh  at  old  jokes,  this  isn't  bad.  However,  Eng- 
land's comedian,  Jack  Hulburt,  deserves  better  treat- 
ment.    (Apr.) 

JEALOUSY— Columbia  —Watch  George  Murphy 
if  you  go  to  see  this  picture  about  a  prize  fighter  who 
is  inordinately  jealous  of  his  pretty  wife.  Nancy 
Carroll.  Donald  Cook,  Arthur  Hold.     (March) 

KENTUCKY  BLUESTREAK— Talisman—  Some 
interesting  photography  of  a  horse  race,  done  with 
a  small  camera,  is  the  highlight  in  this  one.  Eddie 
Nugent.  Junior  Coghlan.   Patricia  Scott      (July) 

KLIOU — Bennett  Pictures. — A  fresh  and  charm- 
ing travelogue  type  picture  drama,  with  the  primitive 
tribesmen  of  Indio-China  the  main  actors.  It's  the 
film  result  of  the  Marquis  de  la  Falaise's  latest  jungle 
journey.  You'll  enjoy  it.  Gorgeous  scenery  in 
Technicolor.     (Aug.) 

LADDIE—  RKO-Radio.— Old  fashioned,  homey. 
Out  a  grand  picture  is  this  love  story  of  Laddn-  (John 
Beal)  and  Pamela  (Gloria  Stuart)  whose  romance  is 
bitterly  opposed  by  her  father  (Donald  Crisp). 
Excellent  direction  by  George  Stevens.      (May) 

LADIES  LOVE  DANGER— Fox.— A  murder 
mystery  with  lots  of  fun  sandwiched  between  the 
thrills.  Gilbert  Roland.  Mona  Barrie.  Adrienne 
Ames      (July) 

•  LES  MISERABLES— 20th  Century  United 
Artists. — A  close-knit  and  powerful  screen  re- 
countal  of  the  Victor  Hugo  classic.  Fredric  March  and 
Charles  Laughton  give  memorable  performances. 
(May) 

LET  'EM  HAVE  IT— Reliance-United  Artists.— 
All  the  thrills  of  the  old  gangster  pictures,  but  your 
sympathy  is  with  the  heroic  G-men  sleuths.  Richard 
Arlen,  Harvey  Stephens,  Eric  Linden  for  bravery, 
Virginia  Bruce  and  Alice  Brady  for  sentiment  and 
comedy.     (Aug.) 

LET'S  LIVE  TONIGHT— Columbia.— A  wabbly 
story  gives  Tullio  Carminati  and  Lilian  Harvey  an 
opportunity  to  be  romantic  in  a  gauzy,  waltzy  man- 
ner. Film  lacks  emotional  warmth,  but  cast,  includ- 
ing Hugh  Williams.  Janet  Beecher,  Tala  Birell.  is 
good.      (May) 

LIFE  BEGINS  AT  40— Fox.— You'll  enjoy  this 
film  with  Will  Rogers  in  the  human,  sympathetic 
role  of  a  small  town  editor,  Richard  Cromwell  and 
Rochelle  Hudson  for  romance;  and  Slim  Summerville 
and  Sterling  Holloway  to  keep  you  laughing  when 
Will  isn't  on  the  screen.      (May) 

LIFE  RETURNS— Universal.— The  miraculous 
operation  that  Dr.  Robert  E.  Cornish  performs  on  a 
dog,  restoring  his  life  after  death  was  pronounced, 
would  make  a  worthwhile  short  subject.  But  the 
long  introduction  is  boring.     (Apr.) 

[  PLEASE  TURN  TO  PAGE  14  ] 

13 


Brief  Reviews  of  Current  Pictures 


[continued  from  page  13 


LITTLE  COLONEL,  THE— Fox.— Shirley  Tem 
pie  cuter  than  ever  as  the  famous  story  book  char- 
acter. Lionel  Barrymore  is  the  testy  old  grandfather. 
Evelyn  Venable  and  John  Lodge  the  child's  parents. 
Tap  dancer  Bill  Robinson  nearly  steals  the  picture. 
(May) 

LITTLE  MEN — Mascot. — A  nice  homey  little 
film  made  from  Louisa  M.  Alcott's  book,  with  Erin 
O'Brien-Moore  as  Aunt  Jo,  Ralph  Morgan  as 
Professor  Bhaer,  and  Frankie  Darro  the  boy  Dan. 
(March) 

LITTLE  MINISTER,  THE— RKO-Radio.  —  A 
beautiful  screen  adaptation  of  Barrie's  famous  ro- 
mance, with  Katharine  Hepburn  as  Babbie  and  John 
Beal  in  the  title  role.  Beryl  Mercer,  Alan  Hale 
Andy  Clyde.   Donald   Crisp,  top  support.      (March) 

•  LIVES  OF  A  BENGAL  LANCER— Para- 
mount.— Brittle  dialogue,  swift  direction,  pic- 
torial grandeur,  and  intelligent  production  make  this 
picture  one  you  must  see.  Gary  Cooper,  Franchot 
Tone,  Richard  Cromwell,  Sir  Guy  Standing  head  an 
excellent  cast       (March) 

LIVING  ON  VELVET— Warners.— Every  woman 
loves  to  get  her  hands  on  a  terribly  attractive  man 
and  reform  him.  And  when  Kay  Francis  is  the  re- 
former, what  man  has  a  chance?  George  Brent 
didn't.  Warren  William,  Helen  Lowell  help  a  lot. 
Smart  dialogue,  well  done  picture.      (May) 

LOTTERY  LOVER— Fox.— Bright  in  some  spots, 
unfortunately  dull  in  others,  this  film  story  with  Lew 
Ayres,  Nick  Foran  and  Peggy  Fears.     (March) 

LOVE  IN  BLOOM— Paramount.— Catchy  songs 
admirably  sung  by  Dixie  Lee  (Mrs.  Bing  Crosby, 
you  know)  and  Joe  Morrison,  plus  the  mad  antics  of 
George  Burns  and  Gracie  Allen,  make  this  bright, 
light  entertainment.      (May) 

LOVES  OF  A  DICTATOR— GB.— An  historical 
drama,  well  cast  and  beautifully  presented,  telling 
the  romantic  story  of  Struensee  (Clive  Brook)  who 
was  taken  into  the  Court  of  Denmark  as  dictator 
and  fell  in  love  with  the  bride-queen  (Madeleine 
Carroll).     (June) 

MAN  WHO  KNEW  TOO  MUCH,  THE— G.  B  — 

A  neat  and  exciting  little  melodrama  that  keeps  you 
hanging  on  your  chair  every  minute  of  the  way. 
Nova  Pilbeam  (of  "Little  Friend"  fame),  Edna 
Best,  Leslie   Banks  and  Peter  Lorre.      (May) 

MAN  WHO  RECLAIMED  HIS  HEAD,  THE— 

Universal. — As  fine  and  important  a  picture  as  has 
ever  been  made,  with  Claude  Rains  in  a  superb  per- 
formance as  the  pacifist  who  was  betrayed  by  an  un- 
scrupulous publisher.  Joan  Bennett,  Lionel  Atwill. 
(March) 

MARINES  ARE  COMING,  THE— Mascot.— A 
breezy  mixture  of  comedy  and  romance  with  William 
Haines  as  a  Marine  Corps  lieutenant  and  Armida 
pursuing  him.  Esther  Ralston,  Conrad  Nagel,  Edgar 
Kennedy.      (March) 

MARK  OF  THE  VAMPIRE— M-G-M.— A  con- 
fused and  incoherent  mystery  which  has  as  its  only 
virtue  some  fine  acting  by  Lionel  Barrymore.    (June) 

MARY  JANE'S  PA— First  National.— Just  aver- 
age. Over-sentimental  entertainment,  with  Guy 
Kibbee  as  Pa  who  deserts  his  family  but  is  eventually 
led  back,  by  a  little  child,  to  rescue  wife  Aline  Mac- 
Mahon       (July) 


McFADDEN'S  FLATS— Paramount.— Plenty  ot 
laughs  and  maybe  a  sniffle  in  this  story  of  the  girl 
(Betty  Furness)  who  goes  away  to  school  and  comes 
back  high-hatting  her  family  and  neighbors.  Walter 
C.  Kelly  is  grand  as  the  hod-carrier  king,  Dick 
Cromwell  is  the  sweetheart.      (May) 

MEN  OF  TOMORROW— London  Films  —Film 
version  of  Anthony  Gibb's  novel,  "The  Young 
Apollo,"  with  Merle  Oberon  and  Robert  Donat.  But 
in  spite  of  cast  and  story  advantages,  this  is  a  jerky, 
incoherent  picture.     (July) 

MILLION  DOLLAR  BABY— Monogram.— Little 
Jimmy  Fay  is  cute  as  the  youngster  whose  parents 
dress  him  in  skirts  and  a  wig  and  put  him  under  con- 
tract to  a  movie  studio  as  a  second  Shirley  Temple. 
(March) 

MISSISSIPPI— Paramount.— Plenty  of  music, 
lavish  sets,  a  romantic  story  and  picturesque  southern 
atmosphere  make  this  pleasant  entertainment  with 
Bing  Crosby,  W.  C.  Fields,  Joan  Bennett  and  Gail 
Patrick.      (Apr.) 

MISTER  DYNAMITE— Universal.— Eddie  Lowe 
rides  to  glory  in  this  Dashiell  Hammett  yarn  as  the 
slick  detective  who  is  interested  in  justice  principally 
because  it  pays  him  fat  fees.  A  beautifully  paced 
story  that  keeps  you  baffled  and  makes  you  laugh. 
Jean  Dixon.  Esther  Ralston.  Victor  Varconi.      (June) 

MURDER  IN  THE  FLEET— M-G-M— An  un- 
believable yarn  aboard  one  of  Uncle  Sam's  battleships, 
with  Robert  Taylor,  Jean  Parker,  Una  Merkel  and 
others  wasted.  Ted  Healy,  master  comedian,  and 
Nat  Pendleton  lend  the  only  bright  spots.      (Aug.) 

MURDER  ON  A  HONEYMOON— RKO-Radio. 

— An  amusing  and  intriguing  mystery,  with  Edna 
May  Oliver  as  the  intrepid  female  amateur  detective 
and  Jimmy  Gleason  the  slow  witted  inspector.  Good 
entertainment.     (Apr.) 

MUTINY  AHEAD— Majestic— Just  an  average 
picture,  a  hybrid  sea-and-crook  drama  with  Neil 
Hamilton's  regeneration  as  the  main  story  thread, 
and  Kathleen  Burke  and  Leon  Ames  in  fair  support. 

(May) 

MY  HEART  IS  CALLING— Gaumont  British  — 
If  you  like  singing — lots  of  it — you  will  find  this  mu- 
sical film  a  treat.  Jan  Kiepura,  famous  European 
tenor,  has  a  grand  voice.  But  why  didn't  they  let 
Maria  Eggerth  sing  more3     Sonnie  Hale  good.  (Apr.) 

MYSTERY  MAN,  THE— Monogram.— Pretty 
meaty,  and  a  good  picture  idea.  But  you  have  to 
like  newspaper  atmosphere  with  hard-drinking  re- 
porters who  can  always  solve  the  mystery.  Maxine 
Doyle  and  Robert  Armstrong.      (May) 

MYSTERY  WOMAN,  THE— Fox— Fairly  in 
teresting  combination  of  romance  and  mystery  con- 
cerning two  spies.  Gilbert  Roland  and  John  Halliday 
both  in  love  with  Mona  Barrie     (March) 

NAUGHTY  MARIETTA— M-G-M.— A  thunder- 
ing big  melodious  adventure  picture,  with  lots  of 
romance  and  a  story-book  plot.  You've  never  heard 
singing  lovelier  than  Jeanette  MacDonald  and  Nelson 
Eddy  give  you  in  this  Victor  Herbert  musical.    (Apr.) 

NIGHT  IS  YOUNG,  THE— M-G-M.— A  small- 
scale  "Merry  Widow,"  with  Ramon  Novarro  and 
Evelyn  Laye  singing  agreeably  and  Charles  Butter- 
worth,  Una  Merkel  and  Eddie  Horton  lor  fun. 
I  March) 


NIGHT  LIFE  OF  THE  GODS— Universal— A 
whimsical  and  fantastic  film  about  a  scientist  who 
discovered  a  formula  for  turning  statues  into  men 
and  men  into  statues.     (March) 


NIT  WITS,  THE— RKO-Radio.— Wheeler  and 
Woolsey  mixed  up  in  a  murder  case,  at  their  funniest. 
Rowdy,  hilarious,  without  a  dull  moment.-  Good 
supporting  cast  includes  Betty  Grable,  Evelyn  Brent, 
Hale   Hamilton,   Fred   Keating  and  others.      (Aug.) 


•  NO  MORE  LADIES— M-G-M— A  perfect 
darb  of  a  flossy  comedy,  with  Joan  Crawford, 
Robert  Montgomery  and  Franchot  Tone  the  wise- 
cracking, sophisticated  triangle.  Charlie  Ruggles. 
Edna  May  Oliver,  Arthur  Treacher,  Reginald  Denny, 
and  the  rest  of  the  brilliant  cast,  cooperate  to  give 
you  a  laugh  a  minute.     (Aug.) 


NOTORIOUS  GENTLEMAN,  A— Universal.— 
Top  entertainment,  and  full  of  suspense,  is  this  story 
of  a  murderer  (Charles  Bickford)  who  lets  suspicion 
fall  upon  a  woman  (Helen  Vinson)  until  he  is  trapped 
by  Attorney  Onslow  Stevens      (Apr.) 

NUT  FARM,  THE— Monogram.— What  happen? 
when  hicks  arrive  in  the  movie-city  and  outslick  the 
Hollywood  slicker.  Funny  at  times.  Wallace  Ford 
Betty  Alden.  Florence  Roberts,  Oscar  Apfel.    (Apr.) 

•  OIL  FOR  THE  LAMPS  OF  CHINA— First 
National. — This  fine,  sincere  story  of  an  ideal- 
ist's unwavering  faith  in  his  job  will  remain  long  in 
your  memory.  Pat  O'Brien  is  the  American  oil  com- 
pany's employee  in  China,  Josephine  Hutchinson  his 
wife.  Arthur  Byron,  Jean  Muir.  Excellent  cast 
A-l  direction       (July) 

ONE,  FRIGHTENED  NIGHT— Mascot —Creepy 
music,  banging  doors  and  all  the  usual  fol-de-rol  of 
mysteries.  Charley  Grapewin's  acting  is  the  only 
attraction.      (July) 


ONE  MORE  SPRING— Fox.— A  too-sweel  screen 
adaptation  of  Robert  Nathan's  novel  about  three 
depression  victims  (Warner  Baxter,  Janet  Gaynor 
and  Walter  King)  who  live  happily  together  in  h  tool 
barn  in  Central  Park.      (May) 


ONE  NEW  YORK  NIGHT— M-G-M— A  lasL, 
entertaining  mystery-comedy-drama,  played  in  a 
breezy,  highly  enjoyable  manner  by  Franchot  Tone 
Una  Merkel,  Conrad  Nagel  and  Steffi  Duna.     (June) 

•  OUR  LITTLE  GIRL— Fox.— Made  to  order 
for  Shirley  Temple  fans  with  Shirley  cuter  than 
ever,  and  talented  enough  to  carry  the  trite  story. 
Joel  McCrea  and  Rosemary  Ames  are  the  parents, 
Lyle  Talbot  the  other  man.  A  human,  pleasant 
picture — and  it's  all  Shirley's.     (Aug.) 


PARIS  IN  SPRING— Paramount.— Tuneful  and 
colorful,  this  presents  the  lovely  voice  of  Mary  Ellis 
and  the  Latin  fretfulness  of  Tullio  Carminati,  in  a 
series  of  lovers  quarrels  and  mix-ups,  which  are 
finally  ironed  out  by  grandmother  Jessie  Ralph. 
Good  supporting  cast.     (Aug.) 


PARTY  WIRE— Columbia.— Lots  of  healthy 
laughs  in  this  little  picture  about  the  havoc  small- 
town gossips  stir  up  by  listening  in  on  party  lines. 
Jean  Arthur,  Victor  Jory,  Charley  Grapewin  head  a 
well  chosen  cast.      (July) 

I  PLEASE  TURN  TO  PAGE  16  1 


Photoplays    Reviewed    in    the    Shadow 

Stage    Th  is    Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pick  out  your  evenings  entertainment      Mak.e  this  your  reference  hsc 

Page 

Page 

Page 

Accent  on  Youth — Paramount 66 

Honeymoon  Limited — Monogram 101 

Old  Curiosity  Shop— B.I.P.-Alliance.  . .   69 

Anna  Karenina — M-G-M 69 

In  Old  Kentucky — Fox 67 

Page  Miss  Glory — Warners 67 

Becky  Sharp — Pioneer-RKO  Release.  .    66 

Keeper  of  the  Bees,  The — Monogram. .    69 

Raven,  The — Universal 101 

Broadway  Gondolier — Warners 68 

Ladies  Crave  Excitement — Mascot.  .  .  .  100 

Sanders  of  the  River  —  London  Films- 

Calm  Yourself— M-G-M 100 

Lady  Tubbs — Universal 100 

United  Artists 69 

Charlie  Chan  in  Egypt — Fox 68 

Clairvoyant,  The— GB  Prod 69 

Escapade— M-G-M 100 

Love  Me  Forever — Columbia 66 

Mad  Love— M-G-M 101 

Make  a  Million — Monogram 101 

Man  on  the  Flying  Trapeze,  The — Para- 

She—RKO-Radio 67 

Stranded — Warners 69 

Front  Page  Woman — Warners 68 

mount 100 

39  Steps,  The— GB  Prod 68 

Hard  Rock  Harrigan — Fox 68 

Men  Without  Names — Paramount.  ...   68 

Welcome  Home — Fox 100 

14 


WOMAN  of  the  MONTH 

Late  Summer  mood.  White  accents  on  sheer  black  in  fluted 
ruff  and  cotton  gloves — starkly  simple  daytime  costume 
of    Gladys    Swarthout,    opera    star,    leaving    the    Vendome 


15 


Brief  Reviews  of  Current  Pictures 


CONTINUED  FROM  PAGE  14 


PEOPLE'S  ENEMY,  THE— RKO-Radio.— An 
out-dated  melodrama  with  Preston  Foster  as  the 
gangster  sent  up  for  income  tax  evasion  and  Melvyn 
Douglas,  the  attorney,  whom  he  suspects  of  double- 
crossing.      (July)  ■  - 

PEOPLE  WILL  TALK— Paramount.— One  of 
of  the  most  charming  of  the  Charlie  Ruggles-Mary 
Boland  comedies.  Leila  Hyams,  Dean  Jagger.  It's 
deft,  human  comedy  for  the  whole  family.     (June) 

PHANTOM  FIEND,  THE— Twickenham.— A 
real  horror  thriller  based  on  England's  famous  "Jack 
the  Ripper"  crimes.  Ivor  Novello  and  Elizabeth 
Allan.     Not  for  the  children.     (July) 

PRINCESS  CHARMING — Gaumont-  British.— 
Another  version  of  the  old  story  of  the  princess  in 
distress.  Only  the  lovely  presence  of  Evelyn  Laye 
and  handsome  Henry  Wilcoxon  make  this  pleasant 
enough    entertainment        (March) 

PRINCESS  O'HARA— Universal.— Nice  enter- 
tainment, with  Jean  Parker  as  the  girl  who  becomes  a 
hack  driver  after  her  father  is  killed,  and  Chester 
Morris  the  racketeer  boy-friend.     (June) 

,  PRIVATE  LIFE  OF  DON  JUAN,  THE— United 
Artists. — Douglas  Fairbanks  is  good  as  the  gay 
Lothario,  who  is  finally  forced  to  give  up  balcony 
climbing  and  settle  down  in  the  country  with  his 
patient  wife.  Benita  Hume,  Binnie  Barnes,  Merle 
Oberon.      (March) 

•  PRIVATE  WORLDS— Walter  Wanger-Par- 
amount. — A  triumph  in  adult  entertainment, 
this  film  radiates  skill  and  understanding.  Claudette 
Colbert  and  Charles  Boyer  give  superb  performances 
as  two  psychiatrists  in  a  hospital  for  mental  cases 
who  suddenly  discover  their  own  lives  tangled  and 
warped.  Excellent  performances,  too,  by  Joan 
Bennett  and  Joel  McCrea.     (June) 

•  PUBLIC  HERO  No.  1—M-G-M.— Another 
G-men  picture  with  a  well  knit  story,  lots  of 
grand  humor  and  plenty  happening.  Chester  Morris 
and  Jean  Arthur  are  excellent  in  the  leads.  Joseph 
Calleia,  Lionel  Barrymore,  Lewis  Stone  and  Paul 
Kelly  top  A-l  support.     (Aug.) 

RECKLESS— M-G-M  —  The  clever  talents  of 
Jean  Harlow,  William  Powell  and  Franchot  Tone, 
pooled  for  the  story  of  a  show  girl  who  marries  a 
millionaire  and  comes  to  grief  when  his  suicide  leaves 
her  with  a  ruined  reputation  and  a  baby  to  take  care 
of.     (June) 

RED  HOT  TIRES— First  National.— If  you  care 
for  automobile  racing,  with  crack-ups,  there's  plenty 
of  it.  Lyle  Talbot  is  the  racing  driver,  Mary  Astor, 
Frankie  Darro,  Roscoe  Karns.     (Apr.) 

RIGHT  TO  LIVE,  THE— Warners.— Colin  Clive, 
Josephine  Hutchinson  and  George  Brent  capably 
present  Somerset  Maugham's  drama  of  a  crippled 
husband  whose  wife  falls  in  love  with  his  brother. 
A-l    direction   by   William    Keighley.      (May) 

ROBERTA— RKO-Radio.— A  film  treat  you 
shouldn't  miss,  with  Fred  Astaire  really  coming  into 
his  own  as  a  top-notch  entertainer.  An  excellent 
cast,  including  Ginger  Rogers,  Irene  Dunne,  Randy 
Scott,  combined  with  gorgeous  gowns,  excellent 
direction  and  grand  settings,  make  this  one  of  the 
most  delightful  experiences  you've  ever  had  in  a 
theater.      (May) 

RUGGLES  OF  RED  GAP— Paramount.— Mary 
Boland,  Charlie  Ruggles,  SaZu  Pitts  and  Charles 
Laughton  in  a  humorous,  adventurous  story  about 
an  English  valet  who  comes  to  America,  to  Red 
Gap,  and  poses  as  a  British  Colonel.  You'll  enjoy 
it.      (March) 

RUMBA — Paramount. — You'll  like  the  native 
rumba  dancers,  and  George  Raft  and  Carole  Lom- 
bard do  some  smooth  stepping.  But  the  story  is 
obvious.     (Apr.) 

•  SCARLET  PIMPERNEL,  THE  —  United 
Artists. — Leslie  Howard  at  his  best  as  a  coura- 
geous young  Englishman  posing  as  a  fop  in  order  to 
rescue  French  noblemen  from  the  guillotine.  Merle 
Oberon  lovely  as  his  wife.  A  swift,  colorful  adventure 
film.     (Apr.) 


•  THE  SCOUNDREL  —  Hecht  -  MacArthur - 
Paramount. — Noel  Coward  in  the  cold  role  of 
a  heartless,  philandering  publisher  gives  one  of  the 
greatest  performances  ever  recorded  in  this  mag- 
nificently executed  character  study.  Julie  Haydon, 
Hope  Williams,  Alexander  Woollcott,  Stanley  Ridges. 
Martha  Sleeper      (July) 


SECRET  BRIDE,  THE— Warners.— Barbara 
Stanwyck,  Warren  William,  Grant  Mitchell,  Glenda 
Farrell  and  Arthur  Byron  are  lost  in  the  wordy  maze 
of  this  film's  plot.     (March) 

SHADOW    OF    DOUBT— M-G-M— A    bow    to 

Constance  Collier,  a  grand  old  actress  who  gives  a  lift 
to  this  involved  murder  mystery.  Ricardo  Cortez, 
Virginia  Bruce,  Isabel  Jewell,  Regis  Toomey,  Arthur 
Byron.  Betty  Furness  and  others  lend  good  support 
(Apr.) 

SING  SING  NIGHTS— Monogram.— An  in- 
teresting and  well-sustained  screen  puzzle  centering 
about  three  people  who  confess  singly  to  the  murder 
of  munitions  smuggler  Conway   Tearle.      (March) 

SPRING  TONIC— Fox.— Spotty  entertainment, 
with  Claire  Trevor  running  away  from  Lew  Ayres  on 
their  wedding  eve.  and  getting  mixed  up  with  animal 
trainers  and  bootleggers  in  the  persons  of  Walter 
King,  Tala  Birell,  ZaSu  Pitts  and  others.  Good  cast 
is  whipped  by  unconvincing  situations.     (July) 

•  STAR  OF  MIDNIGHT— RKO-Radio.— Wil- 
liam Powell  and  Ginger  Rogers  banter  through- 
out this  sparkling,  guaranteed-to-baffle  mystery. 
Irresistible  wit  eases  the  tension  of  the  drama;  win- 
ning performances  by  all  concerned.      (June) 

STOLEN  HARMONY  —  Paramount.  —  George 
Raft  and  Ben  Bernie  (with  the  boys)  pool  their 
talents  happily  to  make  this  a  thoroughly  enjoyable 
film.  Breezy  dialogue,  catchy  songs,  snappy  dances. 
Watch  for  newcomer  Lloyd  Nolan.  Grace  Bradley, 
Goodee  Montgomery.  Charles  Arnt.      (June) 

STRAIGHT  FROM  THE  HEART— Universal  — 
Baby  Jane  Quigley,  Roger  Pryor  and  Mary  Astor 
in  a  trite  and  obvious  story  concerning  a  young 
politician  who  discovers  love  means  more  to  him 
than  being  mayor.      (May) 

STRANGERS  ALL— RKO-Radio.— A  pip  ot  a 
simple  little  family  picture.  May  Robson  is  the  mother 
who  has  four  children,  all  as  different  as  the  seasons. 
Preston  Foster,  James  Bush,  William  Bakewell, 
Florine  McKinney.  Bakewell's  performance  is  aces 
high.      (Jti,ne) 

SWELL-HEAD— Columbia.— Okay  for  baseball 
fans.  But  aside  from  the  diamond  stuff,  this  is 
pretty  hackneyed.  Wallace  Ford,  Barbara  Kent, 
and  old-timers  Sammy  Cohen,  the  late  Mike  Donlin 
and  Bryant  Washburn.     (July) 


SWEET  ADELINE— Warners.— Nice  musical 
entertainment  with  sweet  melodies,  lovely  lyrics  by 
Jerome  Kern,  and  charming  Irene  Dunne.  Phil 
Regan  and  Hugh  Herbert  are  excellent.     (March) 


SWEET  MUSIC— Warners.— Disregard  the  story 
and  enjoy  Rudy  Vallee,  debunked,  and  Ann  Dvorak 
who  is  sensationally  good  at  dancing,  singing  and 
acting.  Helen  Morgan,  Alice  White,  Ned  Sparks 
(May) 

SWEEPSTAKE  ANNIE— Liberty.— A  poor  little 
girl  wins  a  fortune  in  a  sweepstakes  and  finds  plenty 
of  people  to  help  her  spend  itl  Quite  an  entertaining 
little  drama,  in  spite  of  a  few  limps     (March) 

SYMPHONY  OF  LIVING— Invincible.— Certain 
emotional  power  and  good  music  relieve  the  tedium 
and  pathos  of  this  story  of  a  thwarted  genius  who 
finds  triumph  in  the  glories  of  his  prodigy.  Al  Shean, 
Charles  Judels,  Lester  Lee,  Evelyn  Brent,  John 
Darrow.      (May) 

$10  RAISE — Fox. — The  saga  of  the  routine  clerk 
who  can't  get  married  without  a  ten  dollar  raise  is  a 
delightful  story  in  the  capable  hands  of  Edward 
Everett  Horton.  Karen  Morley  is  his  romance; 
Alan  Dinehart  the  villain.     (June) 


TIMES  SQUARE  LADY— M-G-M.— Virginia 
Bruce  moves  another  notch  toward  stardom  as  the 
Iowa  girl  who  goes  to  Broadway  to  manage  some 
shady  enterprises  she's  inherited.  Newcomer  Robert 
Taylor  and  Pinky  Tomlin  are  grand!     (May) 


TRANSIENT  LADY— Universal.— A  murder 
and  a  lynching  for  excitement.  Gene  Raymond  for 
romance,  June  Clayworth  and  Henry  Hull  for  acting, 
but  this  story  lacks  the  necessary  direction  to  make 
it  the  really  powerful  stuff  it  might  have  been.  (May) 


TRAVELING  SALESLADY— First  National  — 
A  light,  airy  little  comedy  at  which  you  can  just 
relax  and  look  and  laugh.  Joan  Blondell,  Glenda 
Farrell,   Hugh   Herbert,   William   Gargan  and   Ruth 

Donnelly.      (June) 


UNDER  PRESSURE— Fox.— Victor  McLaglen 
and  Edmund  Lowe  as  sand  hogs  engaged  in  the  dan- 
gerous business  of  cutting  a  tunnel  under  the  East 
River.     Exciting  entertaiment.     (Apr.) 


UNDER  THE  PAMPAS  MOON— Fox— A  fast 
romantic  comedy  with  Warner  Baxter  in  Gaucho 
garb  searching  for  a  stolen  race  horse  and  finding 
lovely  Ketti  Gallian  instead.  Jack  LaRue,  John 
Miljan.  Rita  Cansino.  Armida.     (Aug.) 


UNFINISHED  SYMPHONY,  THE— Gaumont- 
British. — The  musical  score  alone — Franz  Schubert's 
compositions  played  by  the  Vienna  Philharmonic 
Orchestra — puts  this  on  the  must  list  for  music 
lovers.  The  film  story  of  the  musician's  life  is  inter- 
esting too.      (March) 


UNWELCOME  STRANGER,  THE— Columbia. 
— Little  Jackie  Searl  is  the  crippled  child  around  a 
race-track  on  whom  Jack  Holt  blames  a  streak  of 
bad  racing  luck.  Just  so-so  entertainment,  but 
Jackie,  Holt,  and  Mona  Barrie  are  good.     (July) 


•  VAGABOND  LADY— Hal  Roach-M-G-M.— 
A  spirited,  delightfuly  mad,  and  most  enjoyable 
comedy  with  Robert  Young  really  coming  into  his 
own  as  the  captivating  scape-grace  son  of  a  too,  too 
dignified  family.  Evelyn  Venable  is  the  romantic 
prize.  Good  performances,  too.  by  Reginald  Denny 
Frank  Craven.      (June) 


VANESSA— HER    LOVE    STORY— M-G-M.— 

Helen  Hayes  is  excellent  as  Walpole's  lovely  heroine, 
but  the  film  as  a  whole  leaves  something  to  be  de- 
sired. Good  portrayals  by  May  Robson  and  Otto 
Kruger.  Robert  Montgomery  is  inadequate  as 
Benjie.     (May) 


VILLAGE  TALE— RKO-Radio.— A  somewhat 
sordid  drama  of  rural  hates,  jealousies  and  thwarted 
loves,  with  Randolph  Scott,  Robert  Barrat.  Kay 
Johnson,  and  a  good  supporting  cast      (July) 


WEDDING  NIGHT.  THE  —  Sam  Goldwyn- 
United  Artists. — A  tragic  story,  beautifully  told,  with 
a  powerful  love  theme  concerning  a  Polish  farm  girl 
and  sensitive  young  novelist.  Anna  Sten  and  Gary 
Cooper  superb  in  the  leads.  Excellent  support. 
(Apr.) 


WEREWOLF  OF  LONDON,  THE— Universal. 
— If  you  like  blood-curdling  excitement,  chills  and 
creeps,  you'll  enjoy  shivering  to  this  shocker  with 
Henry  Hull  as  the  werewolf  who  becomes  bestial 
when  the  moon  is  full.  Warner  Oland,  Valerie  Hob- 
son,  Spring  Byington.  Leave  the  children  at  home 
(July) 


WEST  POINT  OF  THE  AIR— M-G-M— A 
father-son  story,  with  Wallace  Beery  as  an  old  Army 
sergeant  and  Robert  Young  his  son  who  returns  from 
West  Point,  his  father's  superior  officer.  In  addition 
to  an  appealing  story,  there  are  some  of  the  most 
thrilling  flight  sequences  you've  ever  seen.  Maureen 
O'Sullivan  is  romantic  prize.      (May) 


WHILE  THE  PATIENT  SLEPT— First  National 
— Just  another  murder  mystery,  thin  in  spots.  Aline 
MacMahon  and  Guy  Kibbee  are  in  top  form;  Allen 
Jenkins,  Robert  Barrat,  Lyle  Talbot  and  Patricia 
Ellis  hold  up  support.      But  the  story  sags.      (June) 


•  WHOLE  TOWN'S  TALKING,  THE— Co- 
lumbia.— Edward  G.  Robinson,  as  two  other 
men,  gives  his  finest  performance  in  a  brilliant  picture. 
Excellent  support  by  Jean  Arthur.     (Apr.) 


WINGS  IN  THE  DARK— Paramount  —An  avia- 
tion story  with  a  heart.  Grand  performances  by 
Myrna  Loy  as  a  stunt  flyer,  and  Gary  Grant,  her 
blind  aviator  lover.     (Apr.) 


WINNING  TICKET,  THE— M-G-M.— Comedy 
capers  cut  by  Ted  Healy,  Leo  Carrillo  and  Louise 
Fazenda  over  the  disappearance  of  a  winning  sweep- 
stakes ticket.     (Apr.) 


WOMAN  IN  RED,  THE— First  National.— 
Sparkling  dialogue  freshens  up  this  old  story  of  the 
poor  girl  married  into  society.  Good  performances 
by  Barbara  Stanwyck,  Gene  Raymond  and  Genevieve 
Tobin.      (May) 


WOMEN  MUST  DRESS— Monogram.— A  nice 
little  domestic  drama  by  Dorothy  Reid,  widow  of  the 
still-beloved  Wally.  Interestingly  handled;  Minna 
Gombell's  performance  is  outstanding.     (Apr. ) 


16 


Even  the  severest  critic  tossed  orchids  to 
Julie  Haydon  for  her  fine  work  opposite 
Noel  Coward  in  "The  Scoundrel."  It  won 
the  lovely  actress  a  long-term  contract 
with  Paramount.    No  picture  assigned  yet 


Whoever  is  on  the  receiv- 
ing end  of  that  mischiev- 
ous look,  we  envy  him! 
Maureen  O'Sullivan  was 
caught  by  the  camera  on 
the  "Anna   Karenina"  set 


Tommy  Evans 


Vivacious  and  charming  is 
Janet  Gaynor  as  the  im- 
petuous young  lass  who 
runs  a  canal  boat  in  "The 
Farmer  Takes  a  Wife." 
The  farmer,  Henry  Fonda 


Richee 


Favorite  of  the  ladies,  admired  by  all  the 
men,  Gary  Cooper  stays  at  the  top  as  one 
of  filmdom's  most  popular  stars.  You'll 
see  him  next  in  the  romantic  title  role  of 
the  classic  love  tragedy  "Peter  Ibbetson" 


P  H  O  T  O  P  L  AY 

CLOSE-UPS 

AND    LONG-SHOTS 


BY  KATHRYN  DOUGHERTY 


AFTER  more  than  fifty  years  on  stage  and  screen,  Tully  Marshall  is  to  retire. 
If  you're  a  youngster  that  may  mean  but  little  to  you.    If  you  have  watched 
pictures  grow  from  "infancy"  to  their  present  sturdy  mankind,  that  bit  of 
news  will  signify  a  lot. 

Tully  stepped  into  the  Hollywood  scene  in  1916,  at  the  age  of  fifty-two,  the  year 
after  D.  W.  Griffith  had  produced  the  master  spectacle  that  revolutionized  the 
picture  industry — "The  Birth  of  a  Nation." 


TULLY  was  no  amateur  in  dramatics.     For  thirty-three  years  he  had  played 

before  the  footlights,  and  he  carried  his  role  of  Joe  Brooks,  in  Eugene  Walter's 
famous  play,  "Paid  in  Full,"  from  the  stage  to  the  screen. 

Between  "  Paid  in  Full "  and  his  latest  and  last — "A  Tale  of  Two  Cities," — he  has 
been  cast  in  hundreds  of  roles. 

He  was  a  far  greater  actor  than  his  billing  indicated. 

His  versatility  was  amazing — no  character  role  was  too  difficult  for  him  to  essay 
and  to  triumph  in. 

You'll  remember  him  particularly,  I'm  sure,  as  that  unregenerate  frontiersman — 
Jim  Bridgers — in  inimitable  "scenes  with  Ernest  Torrence  in  "The  Covered. 
Wagon." 

And  so  now,  after  half  a  century  before  the  public,  Tully  Marshall  feels  that  he  is 
entitled  to  a  rest.  Well,  if  I  had  worked  that  long,  I,  too,  would  say,  "Enough  is 
enough." 


THE  trend  of  pictures  at  the  moment  seems  to  be  toward  pageantry,  action  and 

terror.  I  have  in  mind  as  examples,  "The  Crusades,"  "The  Last  Days  of 
Pompeii,"  "G-Men"  films,  and  "She." 

Love  as  a  great  passion  that  transcends  all  else  doesn't  seem  to  be  the  keynote  of 
many  of  the  successful  films  of  late.  As  witness  "The  Informer,"  "Les  Miser- 
ables,"  or  "Lives  of  a  Bengal  Lancer." 

Indeed,  the  tender  passion  tends  to  perform  nowadays  the  function  of  merely  a 
prop  for  the  plot. 

Perhaps  Americans  have  tired  of  love  in  pictures,  though  I  don't  think  so.  Nelson 
Eddy's  enormous  volume  of  adoring  letters  tells  another  story. 


A  ND  that  brings  up  the  question,  is  it  Eddy's  voice  or  his  personality,  or  some 
subtle  magnetism  that  electrifies  his  feminine  audience? 
Probably  all  three. 

21 


Of  course  this  is  the  day,  too,  of  music  on  the  screen.  The  studios  began  with 
crooners  and  other  radio  artists  of  song,  and  then — rather  timidly,  it  must  be 
admitted — ventured  to  cast  famous  singers  whose  voices  had  entranced  the  trained 
ears  of  the  most  sophisticated  New  York  audiences. 


CCREEN  courtship,  as  a  result,  seems  to  be  a  public  matter,  publicly  arrived  at. 
^It  is  rather  difficult  for  the  extreme  realists  to  imagine  the  tenor  and  the  soprano 
doing  their  nightingaling  in  the  moonlight  without  the  entire  community  being  very 
alert  as  to  what  is  going  on. 

Ah,  well,  this  custom  has  been  followed — apparently  with  success — for  centuries 
in  both  Spain  and  South  America.  With  a  slight  difference,  of  course.  The  movies 
permit  the  lover  to  take  his  lady  in  his  arms.  In  old  Madrid,  however,  the  swain 
kept  his  feet  on  the  ground,  while  his  inamorata  kept  hers  firmly  on  the  balcony. 


\  A  /HATEVER  became  of  the  masterpiece  that  Hecht  and  MacArthur  made  in 
the  Paramount  studios  in  Astoria,  Long  Island — the  same  studio,  you  know, 
in  which  Noel  Coward  played  his  outstanding  role  in  "The  Scoundrel." 

Jimmy  Savo — superb  stage  clown — was  to  star  in  it — and  it  was  announced  the 
title  would  be  "Once  in  a  Blue  Moon."  Cecilia  Loftus  and  Whitney  Bourne  were 
also  in  the  cast,  and  every  Russian  and  gypsy  to  be  found  around  New  York  City* 

"The  Scoundrel"  was  made  and  released,  still  no  news  about  the  "Blue  Moon." 

But  let  us  now  go  to  Kentucky — -to  the  town  of  Winchester — and  pick  up  the 
daily  newspaper  of  that  community.  Under  the  heading  "Colored  Notes,"  we 
read  that  the  Lily  of  the  Valley  Society  was  presenting  "an  uproariously  humorous 
film,  with  Jimmy  Savo,  in  'Once  in  a  Blue  Moon.'  ' 

Can  this  be  the  Hecht-MacArthur  masterpiece  that  so  mysteriously  disappeared, 
only  to  be  brought  to  light  in  darkest  Kentucky? 


A    LOOK  into  Madge  Evans'  career  reveals  she  has  performed  a  very  difficult 
feat.     She's  one  of  the  few  screen  players  who  started  as  small  children  and 
managed  to  find  themselves  in  pictures  after  they  had  grown  up. 

She  was  a  babe  of  three  when  she  appeared  in  the  earliest  screen  version  of  "The 
Sign  of  the  Cross."  William  Farnum  was  the  star.  Little  Madge's  name  burned  on 
marquees  throughout  the  land  for  the  next  eight  or  nine  years.  She  was  a  child  star 
idol  in  those  days. 


/'"WME  the  gangling  period  that  pre-notes  adolescence  and  Madge  went  into 
^-^ retirement — to  reappear  at  fifteen  in  one  film,  only  to  vanish  once  more  from 
the  public  eye. 

After  a  while  she  found  her  way  to  the  stage — and  for  the  past  four  years  has  been 
a  screen  actress  for  Metro-Goldwyn-Mayer.  Now  Gaumont-British,  after  seeing 
her  in  the  role  of  Agnes  in  "David  Copperfield,"  has  called  her  to  England  to  play 
the  feminine  lead  in  "The  Tunnel." 

Often  on  the  verge  of  stardom,  but  never  quite  achieving  it,  there  lies  ahead  of 
her  a  clean-cut  opportunity  to  gain  fame  far  greater  than  that  of  her  childhood  days. 

Will  Shirley  Temple's  career  follow  a  similar  course? 


THE  motion  picture  industry  stands  more  secure  today  than  it  has  for  the  past 
couple  of  years.    Reorganization,  ruthless  but  necessary  pruning  of  adventitious 

expenses,  a  more  precise  policy  of  handling  all  business  affairs,  seems  to  prevail  in 

the  majority  of  the  studios. 

The  choice  of  pictures  for  the  schedules  has  been  done  with  exceptional  care,  and 

I  foresee  a  great  increase  in  attendance  at  motion  picture  theaters. 

Moreover,  in  spite  of  all  the  starts  and  stops,  it  looks  as  though  business  in 

general  is  really  rounding  that  famous  corner  at  last. 


22 


PHOTOPLAY  MAGAZINE   FOR   SEPTEMBER,    1935 


23 


ntil  death 
o  us  part 


l\omeo  and  Juliet!...  Antony  and  Cleopatra!... Tristan 
and  Isolde!. ..Dante  and  Beatrice!... Heloise  and  Abelard! 
. . .  Lovers  all — out  of  the  scores  upon  scores  of  lovers 
who  down  through  the  ages  have  fired  the  imagination 
and  the  creative  artistry  of  bards  and  minstrels,  poets 
and  playwrights,  painters  and  writers. 

Without  end  are  the  enduring  love  stories  of  the  world 
—those  transcendental,  inspiring  romances  that  reach  into 
the  hearts,  souls  and  minds  of  people — to  lift  humans  out 
of  themselves  for  one  brief,  thrilling  instant  in  the  scheme 
of  things  and  make  them  kin  to  the  gods  in  Paradise! 

W     • 

vly  aking  its  place  alongside  the  immortal  love  romances  of 

all  time  is  the  touching,  tenderly  beautiful  story  of  Peter 
andMaryinDuMaurier  s  glorious  tale,  "Peter  Ibbetson." 
Here  was  a  love  truly  beyond  all  human 
understanding — a  love  that  endured  through 
childhood,  manhood  and  old  age  —  a  love 
that  flamed  with  a  brilliant  intensity — a  love 
that  burned  even  beyond  the  grave. 


Gary  Cooper  and  Ann  Harding  in  a  scene  from  the  Paramount 
Picture  "Peter  Ibbetson"  directed  by  Henry  Hathaway 


As  a  novel,  "Peter  Ibbetson"  left  an  indelible  imprint  on 
all  who  read  it.  As  a  stage  play,  and  then  again  as  an 
opera,  idealized  with  music,  it  entranced  those  fortunate 
enough  to  have  witnessed  its  performance.  Now  it  is  being 
brought  to  the  screen  by  Paramount,  with  a  devotion  to 
casting  and  direction  that  promises  to  further  deify,  if  pos- 
sible, what  is  already  recognized  as  an  immortal  work. 

v_Jary  Cooper  has  been  chosen  to  portray  the  sincerity  and 
manly  manliness  of  Peter  Ibbetson,  while  Ann  Harding 
has  won  the  coveted  role  of  Mary,  who  was  the  Duchess 
of  Towers.  The  screen  play  has  been  placed  under  the 
lucid  and  understanding  direction  of  Henry  Hathaway, 
who  guided  the  destinies  of  "Lives  of  a  Bengal  Lancer." 

As  a  living,  breathing  canvas  that  recreates  the  glamor- 
ous scenes  and  the  passionate  interludes  of 
Du  Maurier's  story,  the  photoplay  "Peter 
Ibbetson"  gives  every  promise  of  presenting 
another  screen  masterpiece  in  this  story 
of  a  love  that  will  last  through  all  eternity. 


GUESSING 

Right  f 
STARDOM 


A  star's  success  depends 
on  his  roles.  And  most  of 
them  flop  miserably  when 
they   choose   their   own 


Connie  Bennett  stamped  her  foot  and 
yelled  until  RKO  bought  "Rockabye" 
for  her  to  star  in.  It  was  a  lemon! 
Joel     McCrae    was    leading     man 


Joan  Crawford  fought  against  being 
cast  in  "Forsaking  All  Others."  She 
didn't  want  to  share  starring  honors 
with    Gable    and     Bob     Montgomery 


But  Joan's  two  leading  men  in  the 
M-G-M  film  strengthened  her  posi- 
tion as  a  star.  The  film  was  a  big 
hit.    She  admits  now  she  was  wrong 


CALL  it  lack  of  horse  sense,  call  it  lack  of  the  editorial 
mind,  call  it  a  plus  quantity  of  super  developed  ego 
which  sees  only  a  good  scene  rather  than  a  good  whole 
script,  but  there  is  scarcely  a  Hollywood  actor  or  actress  who 
can  pick  his  or  her  own  pictures  and  pick  them  successfully. 
They  have  to  be  taken  by  the  hands  and  either  led  or  given  a 
good  hard  push  into  a  success! 

Every  film  star  who  ever  lived  has  at  some  time  or  another 
said:  "Oh,  if  they'd  just  let  me  alone  and  let  me  choose  my  own 

24 


parts  instead  of  making  me  act  in  these  gol-darned  simpleton 
pictures!    I  could  show  'em!" 

Every  time  I  interview  a  Hollywood  star,  at  some  point 
before  the  conversation  is  over,  the  star  either  lowers  the  voice 
confidentially  lest  some  executive  hear  or  else  lifts  it  to  the 
skies  to  make  sure  they  will  and  says,  "You  know,  I  shouldn't 
be  doing  this  sort  of  thing.  I  had  an  awful  fight  with  the  studio 
over  it.  I  should  be  playing  (tragic)  (comic)  (sophisticated) 
(sweet    girlish)    roles."      (Note    to    reader:    insert    vour   own 


By  MURIEL 
BABCOCK 


Janet  Gaynor  rebelled  strenuously  against  play- 
ing with  an  all-star  cast  in  "State  Fair."  She 
knows  now  that  sharing  honors  with  Will  Rogers, 
Louise    Dresser,   and    Norman    Foster   was    her  gain 


Jack  LaRue  hoped 
playing  in  "The 
Story  of  Temple 
Drake"  would 
make  him  a  movie 
hero.  But  Jack  has 
never  recovered 
from     that     role 


Two  stars  turned 
down  the  role  of 
Mildred  in  "Of 
Human  Bondage." 
Yet,  Bette  Davis, 
willing  to  take  a 
risk,  rode  high  in 
the  unwanted  part 


descriptive  word  according  to  individual  star.)  I  used  to  take 
this  all  literally,  but  now  it  drifts  in  one  ear  and  out  the  other! 

For,  just  let  'em  try  picking  their  own,  and  they  usually 
either  fall  flat  on  their  noses  or  else  they  pass  up  juicy  plums 
which  a  less  argumentative  confrere  accepts  and  upon  which  he 
rides  to  glory. 

And  so  the  next  time  you  are  wondering  why  your  favorite 
actor  of  yesterday  doesn't  seem  to  be  getting  along  so  well, 
don't  blame  him  or  his  acting  or  his  age  or  his  love  affairs,  or 


take  any  one  of  the  hundred  excuses  which  might  be  offered, 
but  blame  poor  story  selection.  And  ten  chances  to  one,  you'll 
find  he  has  been  putting  in  his  oar  with  "helpful  "  story  sugges- 
tions which  haven't  helped  a  bit. 

But,  of  course,  for  one  actor  who  falls  on  his  nose,  another 
will  always  ride  to  glory.  For  one  actor  who  makes  a  mistake 
in  judgment,  another  gets  the  juicy  plum! 

The  latest  example  of  the  latter  is  "G-Men."  The  studio 
wanted  Edward  G.  Robinson  to     f  please  turn  to  page  86  I 


25 


Hollywood  says  Loretta  Young,  in 
love  three  times — disastrously — 
is  fated.    What  a  misstatement! 


HOLLYWOOD  is  furiously  trying  to  create  a 
new  legend.     In  a  community  overwrought 
with    superstitions,    credoes    and    imaginary 
curses,    they    are    attempting    to    manufacture   a 
malignant  fate  that  controls  Loretta  Young's  ven- 
tures into  love. 

"The  beauty  who  cannot  stay  in  love"  they 

call  her.     "Why,"  they  ask,  "is  a  young  girl, 

twenty-two    years    of    age,    as    beautiful    as 

Loretta,  as  obviously  attractive  to  men,  as 

deluged  with  equally  attractive  men  from 

whom  to  choose — why  isn't  she  married? 

Love  touches  her  but  it  doesn't  stick.   No 

one  as  completely  lovely  as  she  should 

be    living    quietly    at    home    with    her 

mother  and  three  sisters.    She  has  been 

in  love  three  times,  deeply,  wholely 

and — disastrously.      Why   is  it   her 

fate  to  fall  in  love  with  the  wrong 

men?     Why?     A  dozen  whys?" 

It  is  easy  to  create  legends  in 
Hollywood.  They  don't  require 
even  as  much  material  as  actually 
exists  in  this  case. 

Loretta  Young  is  a  beauty,  one 
of  the  most  ethereally  beautiful 
women  in  the  world.  She  was 
born  to  be  loved  and  cherished 
and  worshipped  by  men.  In  other 
ages,  men  would  have  fought  for 
her  favor,  gladiators  would  have 
ridden  to  death  for  her  glove.  And 
Hollywood,  sensing  something 
wrong  with  this  picture,  is  answer- 
ing the  question  with  the  creation 


"No  one  as  completely  lovely  as  she, 
and  deluged  with  attractive  men, 
should  be  living  quietly  at  home," 
say  the  opinions.  Meet  the  family: 
Polly  Ann  and  mother,  seated,  with 
Sally    Blane    and    Loretta,    standing 

26 


When  Loretta  and  Spencer  Tracy 
met,  he  was  unhappy — she  tried  to 
cheer  him.  That  their  companionship 
ripened  into  love  is  no  one's  fault. 
As  they  found  out  how  far  it  might 
go,  they  had  the  courage  to  drop  it 


By  JACK 
GRANT 


of  a  malignant  fate.     It  is  a 
poor  answer. 

Loretta  Young  is  so  forth- 
right, honest  and  sincere  that 
it  is  difficult  to  imagine  any- 
one misunderstanding  her.  I 
know  very  few  young  girls  as 
completely  shorn  of  affecta- 
tions —  particularly  girls  as 
young  as  the  twenty-two- 
year-old  Loretta.  Never 
have  I  seen  her  display  co- 
quetry or  any  of  the  so-called 
feminine  wiles  that  are  the 
heritage  of  all  womankind. 
.  You  see,  I  have  known 
Loretta  since  just  before  her 
eighteenth  birthday.  She  was 
then  a  youngster  frightened 
by  the  crash  of  her  marriage, 
bewildered  by  the  wreckage 
of  her  dreams.  An  elopement 
had  seemed  so  romantic  to 
her  and  it  must  be  remem- 
bered that  Loretta  still  dwelt 
in  the  land  of  fairy-story 
princes. 

I  am  not  at  all  sure  but 
that  she  had  some  of  the  at- 
tributes of  a  Prince  Charming 
mixed  up  with  the  realities  of 
the  man  she  expects  some  day 
to  meet  and  marry.  People 
are  constantly  disappointing 

[  PLEASE  TURN   TO  PAGE   108  1 


Attracted  by  the  clean  youth 
of  Grant  Withers,  the  idea  of 
falling  in  love,  plus  eloping, 
Loretta  married.  But  realiza- 
tion that  he  did  not  actually 
need  her  brought  a  separation 


The  man  Loretta  will  eventu- 
ally marry  will  awaken  first 
her  sympathy.  His  need  of  her 
will  cause  her  to  love,  a  rich 
maternal  love.  It  is  the  stuff 
pioneer  women   were  made  of 

27 


Robert  Taylor  Chooses  SUCCESS 


These  two  young  men  are  headed  for 
film  fame.  The  one  thinks  marriage 
would  be  fatal  to  his  career,  the 
other  believes  a  wife  will  help  him 


Robert  Taylor  says  young  love  can  be  psy- 
chologically controlled.  If,  by  some  quirk 
of  fate  he  "falls  in  love,"  he'll  fall  out  again 
— and  he  knows  how!  He's  a  strong  man  to 
resist  the  charm  of  cute  little  Jean  Parker. 
Or  maybe  Frank  Shields  is  tough  competi- 
tion!    At   any    rate,   it's   three   on   a    match 


BY  JULIE 


TEN  or  twelve  years  from  now  I  am  very  certain  the  follow- 
ing chapter  will  be  added  to  the  success  story  of  Robert 
Taylor,  M-G-M's  talent  find  of  the  year.    Briefly,  it  will 
probably  read  something  like  this: 

"  Mr.  and  Mrs.  Robert  Taylor  celebrated  their  first  anni- 
versary recently  by  opening  their  new  forty-acre  estate. 
Screen  fans  will  remember  Mr.  Taylor  as  the  film  idol  who 
deserted  the  screen  at  the  height  of  his  career  in  1945  to 
follow  his  desire  for  travel  and  to  become  a  gentleman  farmer. 
"  Mrs.  Taylor  is  well  known  in  prominent  social  circles  here." 
You  see,  at  twenty-three,  Robert  Taylor  has  made  up  his 
mind  not  to  take  any  chances  with  life. 

28 


At  twenty-three,  he  has  discovered  that  man's  insistent  ca- 
pacity for  love  and  happiness  in  early  youth  can  be  psycholo- 
gically controlled. 

At  twenty-three,  he  is  quiet  certain  that  the  blinding  ecstasy 
of  first  love  and  youthful  marriage  is  but  a  treacherous  trap  on 
the  slippery  road  to  success. 

At  twenty-three,  Robert  Taylor  is  really  a  remarkable 
young  man. 

He  is  on  the  first  rung  of  the  ladder  that  goes  straight  up, 
and  it's  my  hunch  he  will  climb  to  the  top  without  even  a  slight 
hitch.  His  recent  series  of  picture  thefts  from  veteran  stars  in 
such  productions  as  [please  turn  to  page  98  | 


LOVE 

Comes  First 

for  Fred 
MacMurray 


One  of  the  sweetest  love  stories  ever  toSd 
is  that  of  MacMurray  and  Lillian  Lamont. 
She  gave  up  chances  for  stage  fame  in  New 
York  because  Fred  was  lonesome  for  her  in 
Hollywood.  He's  defying  filmdom's  success 
code,  but  he  says  they  will  be  married — 
as   soon   as   his   career  is  firmly  established 


ANG   HUNT 


ACCORDING  to  Hollywood's  success-code,  Fred  Mac- 
Murray  has  the  wrong  attitude.    He  insists  upon  giving 
love  top  billing  over  all  the  vital  issues  pertaining  to  his 
career  and  fame. 

Since  the  flurry  of  his  almost  melodramatic  success  six  months 
ago  in  "The  Gilded  Lily,"  Fred  MacMurray's  screen  destiny 
has  been  gathering  dizzy  momentum. 

From  the  Colbert  starring  picture  he  was  rushed  into  "Car 
99,"  then  into  another  top  notch  spot  in  Paramount's  G-men 
drama,  "Men  Without  Names,"  followed  by  a  royal  summons 
from  the  great  Hepburn  herself,  to  play  opposite  her  in  "Alice 
Adams." 


Even  the  cynics,  hereabouts,  have  to  admit  that  this  is  nice 
going. 

But  the  social  career  of  Mr.  MacMurray  has  remained  stolid- 
ly and  determinedly  in  its  original  grooves.  He  has  yet  to 
attend  his  first  Hollywood  party.  Invitations  poured  in  follow- 
ing the  first  preview  of  "The  Gilded  Lily"  because  film  hostesses 
keep  a  weather  eye  for  "Comers,"  especially  those  of  the  six- 
foot-two,  dark-and-handsome  variety. 

Fred's  mail  became  suddenly  heavy  with  formally  engraved 
cards  for  functions  to  which  even  established  stars  would  think 
twice  before  sending  their  regrets.  There  were  personally 
written  notes  bidding  him  [please  turn  to  page  96] 

29 


CAL  YORK'S  GOSSIP 


IT'S  Katherine  Thalberg — in  other  words, 
little  Norma  Shearer  the  Second — and 
Katherine  Cornell  can  take  a  bow,  for  Norma 
and  her  husband,  production  wizard  Irving 
Thalberg,  have  named  their  brand  new  little 
heiress  after  the  great  actress  who  first  acted 
the  role  of  Elizabeth  Barrett  Browning  on  the 
New  York  stage. 

30 


One  of  the  newest  ro- 
mances in  movie  town 
is  that  of  Estelle 
Taylor  and  Lee  Tracy. 
Judging  by  the  wide 
smiles  they  are  wear- 
ing, the  actor  and 
actress  seem  pretty 
well  pleased  with  the 
situation,  too.  She's 
Jack  Dempsey's  "Ex" 


Since  the  Jolsons 
adopted  Al,  Junior, 
Ruby  stays  pretty 
close  to  home.  How- 
ever, Miss  Keeler 
slipped  away  from 
the  nursery  long 
enough  one  day  to 
accompany  her 
Mother  to  the  polo 
matches.  But  we'll 
bet  Ruby's  mind  isn't 
wholly   on    the    game 


As  soon  as  Al  Jolson 
finished  his  first  Pa- 
cific coast  broad- 
cast at  N.B.C.,  he 
locked  himself  up  in 
a  sound  booth  and 
telephoned  Ruby,  who 
was  listening  in  on 
the  program  at  home. 
Al  is  asking,  "How 
did     you     like    it?" 


Norma  played  the  role  on  the  screen,  of 
course,  and  her  tribute  in  naming  her  daughter 
after  Miss  Cornell  should  dispel  any  possible 
ideas  that  the  two  could  have  been  jealous  of 
each  other's  success. 

Little  Katherine  looks  like  her  daddy — has 
black  hair  and  big  brown  eyes — which  sort  of 
even  things  up  in  the  Thalberg  family,  for 
Irving,  Jr.  rather  favors  his  gorgeous  mother 
Norma,  you  know 


Don't  let  the  gossips  fool  you!  Regard- 
less of  what  they  say,  Peggy  Walters  and 
Lyle  Talbot  are  still  remancing.  If  you 
doubt  it,  just  take  a  look  at  the  love 
light  burning  in  Lyle's  eyes.  Lyle  and 
Peggy  were  partying  at  the  Brown  Derby 


A  FTER  he  finishes  his  present  picture,  W. 
'  *C.  Fields  is  going  to  take  a  long  vacation. 
It  may  be  for  six  months,  it  may  be  for  a  year. 
It  may  be  forever. 

Lovable  Bill's  health  has  been  in  a  bad 
state  now  for  almost  a  year.  His  insomnia, 
which  plagues  him  constantly,  has  worn  him 
down  to  a  nub.  So  he's  going  to  forget  all 
about  work  and  see  what  happens. 

Everybody  in  Hollywood  is  pulling  for  Bill 
to  get  well.  If  he  does  leave  the  screen,  he'll 
be  missed  just  about  as  much  as  anyone  could 
be  in  this  town. 

\A//HAT  brought  Kay  Francis  back  from 
*^  her  European  trip  so  soon? 

"Butter  and  fresh  eggs,"  as  she  said — or  a 
gentleman  named  Delmer  Daves  who  writes 
scenarios  for  the  movies? 

Romance  prophets  consider  Mr:  Daves,  a 
former  middle-western  lawyer  who  turned 
writer,  probably  so  he  could  get  to  know  trie 
charming  Kay,  a  real  threat  to  that  Lady's 
single-blessedness. 

Daves  wrote  "Stranded"  and  he  and  Kay 
hit  it  off  very,  very  well.  'Tis  said  that 
Chevalier,  Count  de  Carpegna  and  all  the  rest 
haven't  an  outside  chance  with  this  scribbling 
Romeo     'Tis  said. 

ONE  of  the  most  disconsolate  young  gentle- 
men in  Hollywood  was  Henry  (Hank) 
Fonda  after  his  collision  with  Janet  Gaynor 
had  given  her  brain  concussion  and  forced  her 
to  withdraw  under  the  medico's  orders  from 
"Way  Down  East." 

The  little  noggin  tap— which,  of  course, 
wasn't  Hank's  fault  any  more  than  Janet's— 
cost  Fox  just  about  $250,000— or  will,  because 
practically  half  of  the  old  D.  W.  Griffith  epic 
had  been  made.    Expensive  bump. 


OF  HOLLYWOOD 


Josephine  Hutchinson  (right)  and  the 
Adolphe  Menjous  were  among  the  merry- 
makers at  the  Warner  Brothers'  party 
given  at  the  Ambassador.  The  two  ladies 
seem  displeased  at  the  camera's  in- 
trusion.     But    Mr.    Menjou    doesn't    mind 


THE  village  is  fairly  seething  with  ex-Mrs. 
'  Barrymores.  There  is  Dolores  Costello 
Barrymore,  enduring  her  ordeal  with  beauty 
and  dignity.  There  is  Michael  Strange  (nee 
Blanche  Oelrich,  to  Mrs.  Leonard  Thomas, 
to  Mrs.  John  Barrymore,  to  Mrs.  Harrison 
Tweed — and  back  to  Michael  Strange  who 
once  wrote  a  play  called  "Clair  de  Lune,"  in 
which  Jack  and  Ethel  appeared  together.  She 
is  being  courted  by  RKO,  I  understand,  to 
write.  And  there  is  the  first  Mrs.  Lionel 
Barrymore,  Doris  Rankin,  now  Mrs.  Malcolm 
Mortimer,  living  quietly  in  Santa  Monica 
with  her  writer-husband  and  ten-year-old 
daughter.  Doris  is  beautiful  as  when  she 
played  leads  on  Broadway,  even  with  her 
snow  white  hair.  The  only  ex-Mrs.  Barry- 
more missing  is  Catherine  Harris,  Jack's 
first  wife. 

IF  you  expected  all  the  inside  of  the  Barry- 
'more  marital  mixup  to  be  aired  in  court, 
you're  due  to  be  disappointed.  Seems  as  how 
Dolores  and  John  have  got  together  without 
benefit  of  the  bench  and  settled  things  reason- 
ably for  both. 

However,  it  is  definitely  all  over,  and  it 
won't  be  long  before  you'll  be  seeing  Dolores 
back  on  the  screen.  She  has  had  some  very, 
very  nice  offers. 

("1EORGE  BRENT,  for  some  reason  or  other, 
^has  suddenly  eased  up  in  the  aviation  busi- 
ness and  gone  in  heavy  for  boxing.  Why?  Is  he 
after  Joe  Louis  or  just  getting  ready  to  fight  off 
those  rumors  about  himself  and  Der  Greta, 
which  are  still  smouldering  since  George's 
stand-in  traveled  East  with  Garbo?  Word 
from  Sweden  hints  that  Greta  is  her  same  old 
self.  After  a  few  smiles  she  closed  up  like 
the  clam. 


Playing  peek-a-boo 
with  Mr.  Cameraman 
are  Bette  Davis  and 
Paul  Muni.  Bet  Paul 
is  calling  the  photog- 
rapher names!  This 
is  a  rare  picture  be- 
cause you  seldom  see 
Bette  without  hubby 
Harmon  Nelson  nor 
Paul  without  his  wife 


Since  it  was  a  War- 
ner Brothers'  party, 
here  is  Jack  enter- 
t  a  i  n  i  n  g  a  pair  of 
guests  with  a  little 
sleight  -  of  -  hand. 
What,  up  to  his  old 
tricks?  Jean  Muir  is 
getting  his  attention, 
and  her  escort, 
George  Brent,  is  giv- 
ing Jack  a  suspicious 
can't-fool-me    glance 


Another  gay  group  at 
the  Warner  Brothers' 
party.  Harry  Joe 
Brown,  Anita  Louise, 
Sally  Eilers  and  Mrs. 
Mervyn  LeRoy  (Doris 
Warner)  find  some- 
thing very  amusing. 
Looks  like  Doris 
cracked  the  joke. 
Crown's  sifting  pretty 


VOU  know  Nigel  Bruce,  the  portly  English- 
'  man  who  plays  the  bland,  emotionless 
Britisher  to  perfection?  The  epitome  of  self- 
control,  if  you  recall,  the  guy  who  never 
blinked  in  "She"  when  the  savages  were  ready 
to  broil  him.  Well,  do  /  have  his  number! 
Inside  information  concerning  certain  carry- 
ings-on in  his  private  life  has  just  reached  my 
ears  from  our  secret-contact  (aged  eleven)  out 
in    the    Hawthorne    School,    Beverly    Hills. 


Seems  Pauline  Bruce,  ten,  arrives  at  school 
every  morning  looking  dreadfully  annoyed. 
My  contact  made  inquiry. 

"Well,"  revealed  Pauline,  "I  wish  my  dad- 
dy would  stop  singing  at  the  top  of  his  lungs 
when  he  drives  me  to  school  every  morning. 
It's  so  undignified." 

And  that's  that. 


It  was  a  starry  line-up  the  cameraman  ran  into  at  the  party  given  by  Walter  Wanger!  Above,  left  to 
right,  you  see  Henry  Fonda,  newest  leading  man  on  the  Fox  lot,  Gail  Patrick,  Walter  Wanger,  who  was 
host  to  all  the  stars,  blonde  Alice  Faye,  Ida  Lupino,  and  William  Wellman,  director.  Wanger  and 
Wellman  didn't  risk  putting  down  their  glasses  while   the    picture    was   being    taken,    you    will    notice! 


CEEMS  like  the  movies  must  have  their 
^  teams.  Now  word  comes  from  within  Para- 
mount that  Sylvia  Sidney  and  Fred  Mac- 
Murray,  the  handsome  new  fella  which  is 
breaking  the  women's  hearts,  are  all  set  to 
join  up  and  become  a  team.  How  do  you  like 
the  idea?  Of  course,  that  doesn't  matter, 
because  the  pictures  have  already  been  set. 

RINGER  ROGERS  is  burning  a  bit  at  a  story 
^-^that  she  has  always  wanted  to  kiss  Fred 
Astaire.  The  story  went  that  Ginger,  before 
a  kiss  sequence,  rubbed  her  hands  with  glee 
and  said,  "Now,  watch  me  give  him  the  works 
— this  is  what  I've  been  waiting  for!"  Wal — it 
made  a  good  story,  but  the  trouble  with  it 
was  that  it  wasn't  Ginger  at  all — but  a  char- 
acter actress  who  said  it — and  did  it! 

Ay/ARGARET  SULLA  VAN  is  the  biggest 
'  "  'puzzle  right  now  in  Hollywood.  Did  she  or 
did  she  not  actually  split  up  with  her  husband, 
Director  Willie  Wyler?  Is  she  or  is  she  not  go- 
ing to  get  a  divorce?  Margaret  left  the  house, 
you  know,  because,  said  she,  it  was  to  be  re- 


decorated. Well — we've  heard  that  it  had 
to  be  re-decorated  because  there  was  a  bit  of  a 
demonstrative  argument  and  things  got  mussed 
up.  Anyway,  Margaret  has  been  back  with 
her  husband  to  stall  divorce  rumors — but 
everyone  wonders  how  long  until  another 
disagreement. 

I I  ERE  is  one  of  the  most  heartening  bits  of 

'  'news  in  a  long  time.  Spencer  Tracy's  little 
son,  John,  you  know,  has  been  deaf  since 
birth.  The  Tracys  have  done  everything 
possible  to  bring  out  his  hearing,  but  never 
has  there  been  any  success. 

Well — the  other  day  at  his  tenth  birthday 
party,  John,  for  the  first  time  in  his  life,  heard 
his  own  name.  Suddenly,  but  faintly,  his 
hearing  arrived.  Is  he  a  happy  kid,  and  are 
the  Tracy's  happy!  Spencer  gave  John  some 
polo  mallets  for  the  birthday  celebration. 
Little  ones,  of  course. 

\V/E  would  be  the  last  one  in  the  world  to 

™  accuse  Dick  Powell  of  being  lazy  in  love. 

But    huccome,    huccome    that    Dick    spends 


most  of  his  time  with  Mary  Brian  and  Virginia 
Bruce,  both  of  whom  live  practically  across 
the  street  in  Toluca  Lake?  He's  no  fool. 
No  Leg  work. 

C  PEAKING  of  leg  work — remember  black 
^stockings?  Joan  Crawford  is  wearing  them 
again,  and  they  say,  they  do,  that  they're 
going  to  be  seen  again  on  the  better  dressed 
pins. 

THAT  old  dabbil,  rumor,  again  raised  its 
'  questioning  topknot  when  another  military 
man,  or  rather  a  sailor,  Lieutenant  Larry 
Blodgett,  U.S.N.,  flew  down  from  the  North- 
west to  visit  Ann  Harding.  Like  Major  Ben 
Sawbridge,  he  was  regarded  as  a  possible 
suitor  for  Ann  who  has  no  engaging  romance 
at  the  present.  "Just  a  friend,"  said  Ann 
however. 

TOR  years  Wallace  Ford  has  considered  him- 
'  self  an  orphan.  But  a  woman  wrote  him 
from  Scotland  saying  that  she  was  his  aunt 
and  that  his  real  mother  was  alive. 


32 


Alison  Skipworth  apparently  doesn't  en- 
joy  having  her  merry-making  interrupted 
by  picture-taking.  She  wouldn't  smile 
for  the  camera.  Next  to  Alison  is  radio 
star  Frances  Langford,  now  signed  by 
Wanger  for  the  films.  Then  George  Raft, 
Joan  Bennett,  Director  Raoul  Walsh  and 
Bert  Hanlon.  Wouldn't  an  autograph 
hound  have  given  his  all  for  an  invitation 


This  trio  left  the  dance  floor  long  enough 
to  cooperate  with  the  orchestra.  Andy 
Oevine  is  about  to  hit  something  an  awful 
wallop  and  make  a  big  noise.  Drumming 
with  Andy  are  Paul  Kelly  and  Ida  Lupino 


HLAYBOY  Sidney  Smith  has  finally  caught 

up  with  Lilian  Bond,  it  seems. 

And  this  ought  to  point  a  moral  to  swains 
who  have  had  to  hustle  to  win  that  well  known 
"Yes." 

Mister  Smith  pursued  Lilian  from  New  York 
to  London.  There  they  had  an  argument. 
Lilian  came  back  to  America  and  went  to 
Florida.    On  the  next  boat  came  suitor  Smith. 


When  he  arrived  in  the  Sunshine  State,  Lilian 
promptly  sailed  for  Nassau.  Smith  chartered 
a  plane  and  followed.  Lilian  came  to  Cali- 
fornia.   So  did  Sidney  Smith. 

And  it  is  now  Mr.  and  Mrs.  Smith. 

IDA  LUPINO  has  rushed  again  to  succor  the 
'wounded  heart  of  Tom  Brown,  who  seems  to 
have  at  last  lost  out  with  Anita  Louise,  or 


vice  versa.  The  idyllic  romance  was  always 
something  for  Hollywood  to  regard  and  sigh 
wistfully  over.  Butnowitisovah.  Cary  Grant 
and  Betty  Furness  would  both  like  to  be 
exclusively  the  others,  we  understand,  but 
are  kind  of  afraid  to  get  committed.  Result — 
Cary  ushers  Marian  Marsh  places  and  Betty 
diverts  that  charming  Latin  from  Manhattan 
(yes,  he  was  born  in  New  York)  Cesar  Romero. 


33 


DON'T 
LOVE  ME! 


(Synopsis  of  preceding  installments) 

She  was  a  nurse,  and  two  men  came  under  her  care.  Sam  Wcrks  coveted  her, 
Gregory  Cooper  loved  her.  She  married  Cooper,  but  he  died,  under  suspicious 
circumstances.  On  Werk's  testimony  she  was  cleared  in  the  death,  but  then  Wcrks 
ordt  red  her  to  sign  over  to  him  a  $10,000  check  left  her  by  Cooper.  Werks  said  he 
had  falsified  his  testimony  to  clear  her.  She  ran  away,  to  Hollywood,  and  a  break 
in  the  movies.  Her  first  director,  the  most  noted  in  Hollywood  was  murdered — 
as  she  wailed  outside  his  home.  She  had  seen  a  mysterious  woman  enter  the 
house,  and  not  leave,  but  she  remained  silent  in  the  subsequent  investigation 
because  it  would  mean  destruction  of  her  career.  Her  second  director,  Scott 
Dei  ring,  fell  in  love  with  her.  Then,  at  a  parly,  she  learned  the  identity  of  the 
mysterious  woman.  That  night,  Scott  proposed.  Less  than  a  week  later,  in 
Scott's  apartment,  she  noticed  on  Scott's  desk  a  letter  to  him  from  Sam  Werks. 
Did  Sam  Werks  intend  to  blast  her  first  peace  and  happiness,  her  love  for  Scott? 
What  %eas  in  the  letter'  But  she  never  got  to  know,  at  that  time.  She  saw  Sam 
Werks  himself  before  she  learned  the  contents  of  the  letter.  That  was  after  she  and 
Scott  had  quarreled)  and  Scott — in  a  drunken  frenzy — had  struck  her.  She  told 
Scott  she  hated  him,  ami  that  he  had  belter  watch  out.  His  Japanese  servant 
overheard  her.  She  left  Scott,  in  anger — only  to  return  sometime  later,  worried 
about  him,  to  find  him  dead.  Murder,  the  police  said.  And  she  was  held  as  the 
murderess!  It  was  then  that  Sam  Werks  appeared — to  defend  her — his  fee,  if 
successful,    their    marriage! 


ILLUSTRATION   BY  JAMES  MONTGOMERY  FLAGG 


THE  preliminary  days  of  the  trial  were  much  the  same  as 
those  of  any  other  criminal  action  in  an  American  court. 
There  was,  of  course,  rather  more  publicity  in  my  case 
than  in  most.  And.  it  was  a  news-cameraman's  holiday.  The 
rotogravure  sections  of  the  newspapers  were  full  of  pictures  of 
me  in  everything  from  a  white  rubber  bathing  suit  to  a  volumi- 
nous mink  wrap.  Snapshots  and  candid  camera  studies  that 
had  been  taken  in  all  innocence  by  Uncle  Lou  Mueller's  trailing 
photographers  were  dug  up  and  printed  all  over  the  country! 

As  most  of  those  pictures  were 
of  me  and  some  visiting  mas- 
culine celebrity  they  made  great 
material  for  the  front  page. 
Men  who  didn't  even  know  me 
from  Eve  but  who  had  acci- 
dentally stood  near  me  at  a  bene- 
fit, a  preview  or  some  other 
public  occasion,  found  their 
likenesses  and  mine  smeared  in 
ink  all  over  the  country  from 
Malibu  to  Maine  under  such 
captions  as  "Beautiful  Blonde 
Suspect     and     Ex-Ambassador 

Talk  It  Over"  or  "Major  General  Says  Alleged  Slayer  Physi- 
cally Perfect  Specimen." 

The  courtroom  was  jammed.  There  were  enough  special 
newspaper  correspondents  alone  to  fill  the  entire  balcony  and  a 
lot  of  discomfort  was  enjoyed  by  all.  Women  came  by  the 
dozens,  impelled  by  I-don't-know-what  morbid  curiosity.  I 
wonder  if  I  am  being  too  unkind  to  the  members  of  my  own 
sex  if  I  voice  the  suspicion  that  they  watched  me  the  way 
tigers  in  a  cage  watch  one  of  their  comrades  which  is  slightly 

34 


The  concluding  installment  of 
a  gripping  story  of  a  strange 
fate  that  seemed  to  pursue  this 
screen  enchantress — men  died 
when  they  fell  under  her  spell! 


wounded    waiting  until  it  is  weak  enough  to  be  killed  with 
safety. 

I  think  my  cynicism  in  regard  to  the  motives  which  influenced 
the  feminine  portion  of  the  audience  to  suffer  acute  discomfort, 
session  after  session  was  inspired  partly  by  the  fact  that  on 
the  third  day  of  the  trial  I  discovered  Sylva  Valesquez  sitting 
in  the  last  row  of  the  spectators'  part  of  the  courtroom.  She 
was  wearing  a  veil  and  was  so  inconspicuously  dressed  that  she 
was  especially  conspicuous.     A  woman  of  her  type — and  mine, 

worse  luck — becomes  more  no- 
ticeable the  more  she  tries  to 
tone  herself  down. 

She  didn't  know    that  I  saw 
and    recognized    her.      No   one 
makes  such  a  careful  study  of 
the  audience  before  which  he  or 
she  must  appear  as  the  defend- 
ant in  a  murder  trial.     There's 
plenty  of  time  for  it  and  you'd 
go   mad   if   you   didn't.      As  I 
understand  it,  most  defense  at- 
torneys    deliberately     instruct 
their  clients  to  watch  the  spec- 
tators.   It's  supposed  to  keep  your  mind  off  visions  of  gallows, 
electric  chairs,  lethal  chambers  or  whatever  such  conveniences 
your  particular  state  affords. 

I  might  not  have  spotted  Sylva  anyway — she  was  so  far 
back — if  my  attention  had  not  been  called  to  her  in  the  first 
place  by  the  fact  that  she  kept  a  pair  of  opera  glasses  trained 
on  me  about  half  the  time.  You  get  used  to  almost  any  vulgar 
impertinence  if  you  happen  to  run  conspicuously  foul  of  the 
law  of  the  land,  but  I  thought  that  using  high-powered  lenses 


flieny  TiaCC 


The  courtroom  was 
jammed.  There 
were  enough  spe- 
c  i  a  I  newspaper 
correspondents 
alone  to  fill  the 
balcony.  Women 
came  by  thedozen. 
And  they  watched 
me  like  tigers 
watch  a  wounded 
comrade — waiting 
until  it  is  weak 
enough  to  be 
killed  in   safety 


was  a  little  like  shooting  game  with  telescopic  sights  and  a 
silencer.  It  made  me  just  angry  enough  so  that  I  kept  a  side- 
wise  but  hawklike  vigil  on  my  own  account.  When  she  thought 
I  wasn't  looking  in  her  direction  at  all  she  threw  back  her  veil 
entirely  to  repair  her  make-up — it  must  have  been  pretty  hot 
in  those  crowded  seats  under  the  balcony — and  I  recognized  her. 
Her  presence  annoyed  and  irritated  me.  Sylva  had  a  habit 
of  being  around  during  the  melodramatic  crises  of  my  career 
and  I  didn't  like  buzzards. 


I  was  pretty  sure  she  had  no  intention  of  testifying  against 
me — we  had  almost  a  secret  unspoken  agreement  not  to  tell  on 
each  other — but  I  couldn't  figure  out  why,  otherwise,  she  kept 
coming  back,  day  after  day,  watching  me.  Perhaps  she  was 
sadistically  interested  in  seeing  someone  else  go  through  an 
ordeal  which  she  had  herself  escaped. 

At  any  rate  she  gave  me  food  for  surmise  and  conjecture 
which,  perhaps  mercifully,  sometimes  distracted  my  attention 
from  the  seriousness  of  my  plight    [  please  turn  to  page  103  ] 

35 


ADRIAN 

ANSWERS 

20 

QUESTIONS 
ON 

GARBO 


i 


s 


«* 


A  scene  from  the 
newest  Garbo  film, 
"Anna  Karenina." 
Fredric  March  is 
her  leading  man. 
This  is  the  twen- 
tieth picture  the 
Swedish  star  has 
made    for     M-G-M 


Afriend  of  Garbo's 
for  years,  Adrian, 
the  designer,  now 
risks  her  displeas- 
ure by  discussing 
the  star  because 
he  wants  to  cor- 
rect thefalse  ideas 
people  have  of  her 


UP  to  the  present  time, 
Adrian,  famous  Metro- 
Goldwyn-Mayer  de- 
signer, has  steadfastly  refused 
to  give  out  any  interviews  or 
answer  any  questions  pertain- 
ing to  the  glamorous  Garbo. 
It  is  Hollywood  legend  that 
once  a  person  begins  using  her 
name  promiscuously,  Garbo 
no  longer  includes  him  in  her 
small  circle  of  friends. 

Adrian  has  been  a  loyal 
friend  of  many  years  stand- 
ing. He  has  such  respect  and 
admiration  for  Garbo,  no  one 
has  ever  been   able  to  get 


36 


The  star  has  never  worn  love- 
lier clothes,  nor  clothes  that 
interested  her  more,  than  those 
Adrian  designed  for  her  which 
you    see    in    "Anna    Karenina" 


Garbo  never  dresses  her  hair  in  the 
mode  of  the  moment.  She  creates  her 
own  hair  arrangement,  and  it  usually 
starts  a  new  style.  Adrian's  problem 
is  to  design  hats  that  go  with  her  hair 


him  to  commit  himself  in  any  way.  Since  her  first  days  of 
silent  pictures,  Adrian  has  been  dressing  her  for  her  roles. 
Theirs  has  been  a  happy  and  successful  working  combination. 
He  knows  her  better,  perhaps,  than  any  other  person  in 
Hollywood.  Therefore  it  is  obvious  that  he  has  very  good 
reasons  for  talking  and  has  agreed  for  the  first  time,  to  an- 
swer these  muchly-asked  questions. 

Q. — Why  have  you  avoided  giving  out  stories  on  Garbo, 
when  you  haven't  objected  to  talking  about  other  stars  of 
similar  importance? 

A. — Simply  because  there  is  nothing  I  could  say  about 
Miss  Garbo,  that  would  not  infringe  upon  her  own  desire  for 
her  personal  privacy. 

Q. — Why  are  you  willing  to  discuss  Garbo  now? 

A. — So  many  people  have  printed  ridiculous  things  about 
her  and  have  misquoted  me  very  often.  I  feel  that  if  I  can 
clear  up  of  the  fantasy  concocted  about  her,  I  shall  be  glad. 


Q. — Is  Garbo's  perpetual  fleeing  done  for  effect,  or  because 
she  really  doesn't  like  people? 

A.— It  surely  isn't  done  for  effect.  It's  done  because  she 
would  love  the  privilege  of  having  her  own  privacy  in  spite  of 
being  a  motion  picture  star.  You  know  as  well  as  I  do  that 
there  are  certain  types  of  people  who  like  and  demand  large 
groups  of  friends  around  them.  And  there  are  those  who  live 
very  quietly.  Garbo  happens  to  be  one  of  the  latter.  She 
hates  being  stared  at  and  being  made  a  fuss  over.  Do  you 
think  that's  extraordinary? 

Q.—  Does  Garbo  realize  that  a  movie  star  is  public  property? 

A. — I  think  she  recognizes  that  a  movie  star  is  considered 
public  property,  but  I  don't  think  she  has  accepted  that  in 
her  own  consciousness,  and  is  rebellious.  She  has  often  said 
that  she  would  give  anything  in  the  world  to  have  the  privi- 
lege of  the  freedom  of  walking  about,  shopping,  traveling,  etc., 
without  being  noticed.     You        [  please  turn  to  page  76  ] 

37 


K 


ATIE  Takes  Sock " 

"  'Break  of  Hearts'  Cold " 

"Hepburn  Opens  With  That  Tired 
Feeling " 

" '  Hearts'  Is  'No  Dice' " 

With  such  colloquially  colorful  but  pithy 
headlines  did  Variety,  that  shrewd  Bible  of  box-office,  record 
the  popular  fate  of  Katharine  Hepburn's  last  picture,  "Break 
of  Hearts." 

No  undue  mental  strain  is  required  to  deduce  that  its  re- 
ception wasn't  so  hot. 

At  the  great  Music  Hall  in  New  York  City,  where  the  same 
Katie  in  "Little  Women"  reaped  $110,000  in  one  week,  this 
year's  big  Hepburn  picture  struggled  for  half  that  amount. 
In  every  "key  city" — Pittsburgh,  Kansas  City,  Baltimore, 
Seattle — all  over  the  nation,  to  speak  in  trade  terms  of  the 

38 


No  actress  was  ever  wel- 
comed to  the  screen  with 
greater  enthusiasm  than 
Katharine  Hepburn.  And 
yet,    today    she    is    slipping 


motion     picture     business,     Hepburn     dis- 
appointed or  Hepburn  died. 

Still  "Break  of  Hearts,"  as  you  know  if 
you  saw  it,  was  a  good  picture.  And  Kath- 
arine Hepburn's  performance  in  it  was  one  of 
the  most  brilliant  of  her  career. 
Why  should  the  admittedly  great  actress  who  was  the  sensa- 
tion of  last  year  loom  as  the  outstanding  floppo  of  this?  Why 
should  this  glorious  girl  who  had  them  all  standing  in  the 
aisles  a  few  months  ago  with  her  striking  art  and  her  vivid 
personality,  flash  the  same  thing,  the  very  same  thing,  on 
the  screen  today  and  leave  the  ushers  playing  solitaire  on  the 
empty  seats? 

Why  should  Katie  Hepburn,  who  won  more  new  fervent 
fans  and  worshipping  admirers  than  any  actress  in  a  decade, 
who  leaped  out  of  nowhere  to  rival  Garbo  in  divine  devotion 


s  HEPBURN 
Killing  Her 

Own 
Career? 


The  ring-a-round-a-rosy 
tactics  of  Katharine  may 
result  in  another  famous 
case  of  a  star's  decline 


By  KIRTLEY  BASKETTE 


with  "Morning  Glory,"  prove  to  be  just  that,  in  the  lingo  of 
the  race  tracks — a  "morning  glory" — burning  up  the  turf  at 
the  start  and  wilting  in  the  backstretch? 

Is  something  killing  her  career?  Or  is  she  killing  it  her- 
self?   Do  Hollywood  stars  commit  career  suicide? 

Do  they  hang  themselves  with  their  own  gayly  spun  webs  of 


Her  film,  "Break  of  Hearts,"  with  Charles 
Boyer  was  a  good  picture.  But,  somehow, 
movie-goers  didn't  bother  to  go  and  see  it 

For  a  long  time  Hepburn's  worshipping  pub- 
lic thought  her  caprices  cute.  But  now  many 
think  she  held  her  one-ring  circus  too   long 


eccentricities  —  acts  —  attitudes  —  poses  — 
temperamental  displays?  Are  they  killed 
by  the  very  people  who  most  want  to  pro- 
tect them,  because  those  people  subcon- 
sciously block  their  paths? 

Like  Garbo  at  M-G-M  and  Dietrich  at 
Paramount,  Hepburn  is  the  "prestige"  star 
at  RKO.  A  Hepburn  picture  rates  right  at 
the  front  of  the  program.  Her  pictures 
carry  a  carte  blanche  to  be  best  preparation, 
production,  direction  and  exploitation  that  that  large  organiza- 
tion can  muster.  Every  resource  of  art,  money  and  brains  is  be- 
neath her  to  push  her  up — up.  Yet  plainly  she  is  slipping. 
Figures  tell  few  fibs  at  the  box-office. 

The  public  demands  little  of  its  idols — movie  or  otherwise— 
these  days — except  sincerity.  f  please  turn  to  page  99  ] 

39 


WHAT  WAS  THE  BEST 


Picture  of  1934? 


Vote  for  the  one  you  think 
should  win.    Your  ballot  counts. 

FIFTY  OUTSTANDING  PICTURES 
OF  1934 


Previous  Winners  from    1920 
to  Now 

1920 
"HUMORESOUE" 

1921 

"TOL'ABLE  DAVID" 

1922 

"ROBIN   HOOD" 

1923 

"THE   COVERED   WAGON" 

1924 

"ABRAHAM  LINCOLN" 

1925 

"THE  BIG  PARADE" 

1926 

"BEAU  GESTE" 

1927 
"7TH  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

"ALL  QUIET  ON  THE 

WESTERN   FRONT" 

1931 

"CIMARRON" 

1932 

"SMILIN'    THROUGH" 

1933 

"LITTLE  WOMEN" 

40 


Affairs  of  Cellini,   The 
Age  of  Innocence,  The 
Barretts  of  Wimpole 

Street,  The 
Belle  of  the  Nineties 
British   Agent 


Broadway  Bill 
Bulldog    Drummond 

Strikes  Baclc 
Catherine  the  Great 
Chained 
Cleopatra 
Count  of  Monte  Cristo. 

The 
Death  Takes  a    Holiday 
Evelyn   Prentice 
Flying    Down   to    Rio 
Gallant   Lady 
Gay  Divorcee,  The 
George  White's  Scandals 
Great   Expectations 
Handy   Andy 
Here  Comes  the  Navy 
House  of   Rothschild,  The 
It  Happened  One  Night 
Judge  Priest 
Kid    Millions 
Life  of  Vergie  Winters, 

The 
Little   Miss   Marker 
Lost  Patrol,  The 


Madame    Du    Barry 
Men  in  White 
Merry   Widow,  The 
Mrs.    Wiggs   of   the 

Cabbage  Patch 
Music  in  the  Air 
Nana 

No  Greater  Glory 
Now   and    Forever 

Of  Human  Bondage 

One   Night   of   Love 

Operator    13 
Painted   Veil,  The 

Oueen   Christina 

Sadie    McKee 

She  Loves  Me  Not 

Thin   Man,  The 

Treasure    Island 

Twentieth  Century 

Viva  Villa 

We    Live   Again 

What    Every  Woman 
Knows 

Wild    Cargo 

Wonder   Bar 


LAST  call!  If  your  ballot  isn't  in,  send  it  at  once,  or  you're  going  to  miss  the  band 
wagon!  Votes  have  been  pouring  in,  and  there  are  several  favorite  films  running 
neck  and  neck  for  the  Photoplay  Gold  Medal  Award.  The  vote  that  you — and  you — 
and  you  send  in  can  determine  the  final  result. 

What  was  your  favorite  film  of  1934?  This  is  your  last  chance  to  mail  your  vote  and 
help  that  film  win  the  Gold  Medal. 

The  Gold  Medal  is  the  most  important  award  given  a  motion  picture  during  the 
year.  For,  it  is  the  only  honorary  distinction  that  you,  the  movie-goers  of  the  nation, 
have  an  opportunity  to  bestow  on  a  picture.  For  that  reason,  producers,  directors, 
film  executives — in  fact,  the  whole  movie  world — watch  and  wait  to  see  what  film  you 
are  going  to  choose. 

Look  over  the  list  of  outstanding  pictures,  printed  above.  Your  choice  is  not  limited 
to  these,  however.  Review  in  your  mind  all  the  films  you  have  seen  during  the  past 
year.  Choose  one.  Write  the  name  of  the  film  on  the  ballot  below  or  on  a  post  card 
or  scrap  of  paper.  Do  it  now!  Mail  it  today!  Time  is  short  and  competition  is  getting 
hot!  Every  vote  counts!  Don't  miss  the  opportunity  of  helping  award  the  Photoplay 
Gold   Medal   and  choosing  the  best   picture  of   1934 


PHOTOPLAY  MEDAL  OF 

HONOR 

BALLOT 

EDITOR,  PHOTOPLAY  MAGAZINE 
1926  BROADWAY,  NEW  YORK  CITY 

In    my   opinion   the    picture 
best  motion    picture   product 

named    below 
ion   released  in 

s   the 
1934 

NAME 

OF 

PICTURE 

NAME 

ADDRESS 

<£> 


*% 


str 


h^ 


«*■ 


PHOTOPLAY'S    V 
MEMORY  ALBUM 


edited  by 
FREDERICK  L.  COLLINS 

NEXT  year,    1936,  marks  the  fiftieth  anni- 
versary   of   Edison's   first   experiments 
with  the  motion  picture  and  the  twenty- 
fifth  anniversary  of  the  founding  of  Photoplay 
Magazine. 

In  anticipation  of  these  events,  it  is  fitting  that 
we  should  open  our  album  of  memories  and 
turn  the  pages  which  tell  the  human  story  of 
the  men  and  women  and  boys  and  girls — from 
Thomas  Edison  to  Shirley  Temple — who  have 
helped  to  make  the  motion  picture  a  world  en- 
tertainment and  a  world  force. 

So,  beginning  this  month,  we  present  Photo- 
play's Memory  Album- 


•  •  f 


<LO£2L. 


1 .  It  is  one  thing  to  have  an  idea,  another  to  make 
it  work.  For  making  the  motion  picture  idea  work 
Edison  needed  a  place,  a  studio.  This  was  it,  the 
first  motion  picture  studio,  built  in  the  back  yard 
of  the  Edison  laboratory  at  West  Orange,  New 
Jersey.  It  revolved  with  the  sun.  The  boys  around 
the  laboratory  nicknamed  it  "The  Black  Maria.'' 


2.  The  motion  picture,  after  Edison  perfected 
it,  needed  a  place  where  people  could  see  it. 
Thomas  L.  Talley  provided  that  in  the  rear  of 
his  P^lectric  Theatre  in  Los  Angeles.  There  were 
chairs  and  peepholes  in  the  rear  for  customers 
afraid  to  sit  in  the  darkness  behind  the  partition. 


3. Edison  had  a  prize 
cameraman,  Edwin 
S.  Porter,  who  was 
"nuts"  about  the 
Phoebe  Snow  adver- 
tisements  of  The 
Road  of  Anthracite. 
Becoming  railroad- 
minded,*he  conceived 
the  idea  of  the  story 
picture,  "The  Great 
Train  Robbery." 


5.  In  his  first  knetoscope  experiments,  Edison  used  the  services  of  Carmencita, 
the  music  hall  dancer,  and  thus  introduced  the  vampire  to  the  screen  about 
thirty  years  B.B. — Before  Bara.  Carmencita  was  considered  very  daring. 
The  police  stopped  her  act  at  Koster  and  Bials  for  "showing  too  much  corset." 


4.  Porter's  picture, 
although  only  a  one- 
reeler,  had  both  con- 
tinuity and  suspense. 
It  became  the  sensa- 
tion of  1903.  Audi- 
ences cheered  Marie 
Murray,  the  Phoebe 
Snow  model,  and 
hissed  George 
Barnes,  a  recru;t 
from  Huber's  Mu- 
seum, who  played 
the  bold  desperado. 


6.  Edison's  idea  of  synchroniz- 
ing sight  and  sound  had  to  wait 
many  years  for  public  accept- 
ance; but  that  it  was  substan- 
tially the  same  as  the  present 
talking  picture  is  obvious  from 
this  old  drawing  made  in  1894. 

42 


7.  Early  theater  managers  learned  a  few  tricks,  too. 
This  one  checked  babies  at  the  door  so  movie-minded 
mothers  could  see  the  picture,  "Marriage  or  Death." 


8.  In  1906,  William  Ranous, 
later  Carl  Laemmle's  first  di- 
rector, left  his  stock  company 
to  act  in  Edison's  one-reelers. 


9.  The  Biograph  Company,  directed  by  David 
Wark  (Larry)  Griffith,  produced  the  first  "modern'' 
pictures.  In  this  one  Arthur  Johnson  has  just  saved 
Florence  Lawrence's  honor  from  the  villain's  dast- 
ardly attack.  The  latter,  as  the  years  have  shown, 
was  down  but  not  out.  His  name  was  Mack  Sennett. 


10.  In  1908  Flo  Lawrence  was  as  well  known  to 
picture  audiences  as  Katharine  Hepburn  is  today — 
but  only  as  "The  Biograph  Girl."  Few,  if  any,  of 
the  actors  were  known  by  their  own  names.  Think 
of  referring  to  the  divine  Katie  as  "The  RKO  Girl"! 


14.  It  was  a  great  day  for  pictures — and  for  the 
Pickford  family — when  "Little  Mary,"  as  the  fans 
soon  came  to  know  her,  wandered  into  the  Biograph 
studio  to  play  bit  parts  with  the  great  Johnson. 


1 1 .  Like  Florence  Lawrence  and  Mary 
Pickford,  Blanche  Sweet  was  forced  to 
hide  her  infant  light  under  the  bushel  of  a 
nom  dc  cinema — "The  Biograph  Blonde." 


16.  Up  the  steps  of  the 
old  Biograph  studio  on 
Fast  Fourteenth  Street, 
New  York,  trouped  Grif- 
fith, Pickford,  Sweet, 
Walthal,  Sennett  and 
the  sisters  Gish.  Num- 
ber 1 1 ,  glory's  doorway ! 


12.  Lit  tie  Mary's  favor- 
ite leading  man  in  the 
Biograph  days  was 
James  Kirk  wood.  Owen 
Moore  (the  man  Marion 
Leonard  is  hanging  on 
to  in  this  picture)  after- 
ward became  leading 
man  in  Mary's  real  life. 


15.  All  three  Moores 
—  Matt,  Tom  and 
Owen — sometimes  ap- 
peared in  the  same 
picture  in  support  of 
the  ascendant  Miss 
Lawrence. 


17.  But  Biograph's 
success  was  due  pri- 
marily to  one  man, 
Griffith — reputed  in- 
ventor of  the  flashback 
and  closeup,  master 
director  —  a  young 
man  with  young  ideas. 

43 


18.  One  of  the  first 
stars  to  become 
known  by  name  was 
King  Baggot,  who 
was  a  combination  of 
Valentino  and  the 
tired  business  man. 
He  was  frequently 
paired  with  beautiful 
Marguerite  Snow. 


23.  Wallace  Beery, 
dressed  in  his  part  of 
Sweedie  the  Cham- 
bermaid, wooed  and 
won  Gloria  Swanson, 
extra  girl  on  the  Es- 
sanay  lot  in  Chicago. 


19.  Bebe  Daniels,  entering 
pictures  as  a  child  actress  in 
1908,  was  among  the  first  of  a 
long  line  of  Shirley  Temples. 


20.  Florence  La  Badie  of  the  old  Than- 
houser  Company  was  a  bathing  girl, 
New  Rochelle  style,  long  before  Mack 
Sennett  discovered  the   Pacific  Ocean. 


26.  Siegmund  Lubin  went  so 
far  as  to  install  a  wardrobe 
room  in  his  Philadelphia  studio. 

27.  In  1911,  Francis  X.  Bush- 
man started  eating  'em  alive 
for  Essanay — '"em"  meaning 
the  young  women  picture  fans. 

44 


28.  Wallace  Reid  (top  center)  and 
Earle  Williams  (behind  the  old  lady) 
were  playing  bit  parts  at  Vitagraph. 


29.  Irving  Cummings,  now  a 
prominent]director,  was  some- 
thing nobby  in  leading  men 
back  in  the  gay  days  of  1909. 


31 .  Next  to  Teddy  Roosevelt, 
Maurice  George  Washington 
Costello  was  the  best  known 
man  of  the  first  years  of  the 
century.  Currently  he  is  Jack 
Barrymore's    father  -  in  -  law. 


32.  Flora  Finch 
was  as  long  as 
Bunny  was  wide. 


33.  She  was  Funny 
Bunny's  perfect  foil. 


38.  Alice  Joyce  was  not  only  Mary  Pick- 
ford's  sister-in-law,  but  she  was  considered 
the  most  beautiful  of  the  pioneer  screen  ac- 
tresses.  Look  at  the  early  Flatbush  coiffure! 


39.  Colonel  William  Selig,  in  his 
Chicago  studio,  actually  made 
motion  pictures  by  artificial  light. 
The  movies  were  moving  fast! 


40.  This  little  studio  brought 
fame  and  fortune  to  its  owners. 


45 


Beginning  with  "What  Happened  to  Mary"  and  "The 
Adventures  of  Kathlyn,"  and  sweeping  through  long 
series  of  "happenings"  and  "adventures"  and  "perils" 
and  "mysteries,"  the  motion  picture  of  the  second 
decade  of  the  century  surrendered  whole-heartedly  to 
the  box-office  appeal  of  the  super-thrilling  serial  story. 


41 .  Mary  Fuller  was 
the  famous  Mary  of 
"What  Happened  to 
Mary,"  first  of  the 
famous  movie  serials. 


43.  Kathlyn  Williams  gave 
her  name  to  the  highly  suc- 
cessful wild  animal  series, 
"The  Adventuresof  Kathlyn." 


45.  Miss  White  ap 
peared  in  "  The  Perils 
of  Pauline,"  perhaps 
the  best  known  of  all 
the  weekly  shockers. 

44.  Pearl  White  was 
serial  star  of  stars. 


47.  Shirley  Mason,  Viola  Dana's  kid 
sister,  lent  her  glorious  youthful 
beauty  to  "The  Seven  Deadly  Sins." 


46.  In  "The  Ro- 
mance of  Elaine," 
Miss  White  was  sup- 
ported by  Creighton 
Hale  (standing)  and 
Lionel  Barrymore 
(the  touseled  gentle- 
man   at    the    desk). 


49.  AntonioMoreno, 
whose  legs  were  quite 
as  comely  as  Shir- 
ley Mason's,  starred 
in  "The  Iron  Test." 


48.  Helen  Holmes  spe- 
cialized in  locomotives. 


46 


~S'M 


The  foreign  invasion,  which 
was  to  have  such  an  influence 
on  our  pictures,  began  in  1912. 


^K 


50.  "Cabiria,"  written  by  Gabrielle  d'An- 
nunzio,  aroused  the  first  real  appreciation 
of  the  motion  picture  as  an  art.  It  also 
introduced    the    Genoese    giant    Maciste. 


52.  "Queen  Elizabeth,"  a  four 
reeler  in  which  Sarah  Bernhardt 
and  Lou  Tellegen  played  the 
leading  roles,  gave  Adolph  Zukor, 
the  picture's  importer,  his  revolu- 
tionary "famous  players"  idea. 


53.  The  Gishes   (this  is  Dorothy)    had 
followed   Little   Mary  as  Griffith  stars. 


51.  "Quo  Vadis," 
imported  by  the 
American  magnate, 
George  Kleine,  was 
the  first  great  motion 
picture  spectacle. 


.'■;•  ■       ■'•'  I  :■'  -  Si 


t* 


> 


4 


54.  Both  girls  accom- 
panied the  master  on  his 
great    picture    pilgrimages 


f 


55.  Francis  Boggs  of  the  SeJig  Company  established 
what  is  said  to  be  the  first  studio  in  Los  Angeles. 


57.  The  East-West  hegira  was  on — 
led    by    Lasky,    Goldwyn,     DeMille. 

56.  (Jack)  J.  Warren  Kerrigan,  known 
as  "Jack  of  Hearts,"  was  rivaling  Arthur 
Johnson     as    a    screen     heart-breaker. 


58.      "CALIFORNIA,  HERE  WE  COME!" 

(Next  month,  the  romantic  beginnings  of  a  town 
called  Hollywood.) 


"I  Think  Women 

Are  Awful! 

says 

BETTE  DAVIS 

To   Ruth    Rankin 

The  actress  who  has  played 
the  gamut  of  all  types  of 
her  sex,  gives  her  opinion 
after  intensive  observation 


"I  wouldn't  trust  one  around  two 
corners,"  says  Bette  Davis,  of  her 
sex.  Women  are  so  alike  in  funda- 
mental things,  she  believes,  that 
you  know  exactly  how  they  are  go- 
ing to  act.  "This  must  be  why  they 
instinctively  clash,"  she  adds.  She 
trusts  the  male  more.  Bette,  above, 
and  Bette  again,  left,  with  orches- 
tra leader-husband  Harmon  O.  Nel- 
son   and    a   friend,   Albert   Whitley 


WHAT  does  the  professional  "other  woman"  think 
about  women? 
Bette  Davis  has  played  at  being  every  kind  of  a 
female  you  can  name,  from  the  naive  flapper  to  the  predatory 
manic-depressive  Mildred  in  "Of  Human  Bondage"  and  the 
bad  girl  in  "Bordertown."  It  would  seem  that  a  girl  with  such 
an  extensive  repertoire  of  women  in  her  experience  should  know 
something  about  what  makes  them  tick. 

"Women?"  Bette  inquired  calmly.     "I  think  women  are 
awful!" 

48 


There  was  no  note  of  malice  in  her  voice,  as  if  she  were 
thinking  of  any  particular  woman.  It  was  simply  a  blanket 
opinion,  nothing  to  raise  a  blister  over,  nothing  that  could  be 
avoided.  Just  a  logical  conclusion  reached  after  intensive 
observation. 

"I  wouldn't  trust  one  around  two  corners  Women  are  so 
alike  in  fundamental  things  that  you  know  exactly  how  they 
are  going  to  react.    This  must  be  why  they  instinctively  clash. 

"If  you  get  chummy  and  confide  in  one,  there  is  a  fatalistic 
feeling,    even    while    you    are      [  please  turn  to  page  88  1 


"\  Think  Women 

Are  Swell!" 

says 

UNA  MERKEL 

To   Mary   Hill 


The  "distaff  side"  never 
had  a  more  open-handed, 
logical,  and  fair  compli- 
ment paid  it  by  a  member 


"There  are  just  as  many  honest  and 
forthright  women  as  there  are  men," 
says  the  vivacious  comedienne,  Una 
Merkel,  emphatically.  And  she  finds 
them  just  as  human  in  their  vir- 
tues and  their  feelings  as  men  are. 
Above,  Una;  and  right,  you  see 
Una's  seldom-photographed  hus- 
band, Ronald  Burla,  Una,  talking  to 
Joe  Mann,  of  the  Ambassador, 
then    Tom    Gallery,    Madge    Evans 


■^ 


CAN'T  see  why  any  woman  wouldn't  think  other  women 

were  all  right"  ! 

Don't  you  think  it  takes  a  kind  of  courage  for  Una  Merkel 
to  make  this  emphatic  declaration?  She  plays  so  many  smart, 
sophisticated  little  girl-friends  on  the  screen  that  you  naturally 
expect  her  to  carry  the  attitude  off  the  screen.  And  it  is 
definitely  a  label  of  sophistication  these  days  for  smart  young 
things  to  rise  up  and  declare  how  much  they  dislike  their  own 
sex  ... 

"You  can't  like  everyone,"  Una  pursues,  warming  up  to  her 


subject.  "We  are  all  entitled  to  our  preferences.  But  to  make 
a  flat  generalization  against  one's  sex  is  silly.  There  are  always 
bound  to  be  some  bad  ones — but  on  the  whole,  women  are 
swell! 

"  I  have  many  women  friends,  and  I  have  found  they  can  be 
trusted  just  as  much  as  any  man  can  be  trusted.  If  they 
cannot  keep  secrets — well,  that's  not  their  failing  alone. 

"I  don't  think  we  should  tell  what  we  wish  kept  secret  to 
anyone,  man  or  woman.  It's  trifling  with  human  nature  .  .  . 
If    you    can't    keep    a    secret         [  please  turn  to  page  90  ] 

49 


Fred  Astaire,  Mitzi, 
and  director  Mark 
Sandrich  lean  against 
a  pole  on  the  set  of 
"Top  Hat"  and  look 
well  pleased  with 
themselves.  But  read 
about  Fred  and  wife! 


SWINGING  AROUND 
THE  SOCIAL  CIRCLE 


VERY  DEAR  JOAN: 
Have  you  a  Svengali  tucked  away  in  some  closet?  'Cause 
I'm  Trilby!  Yep,  Sunshine,  I've  been  christened  same 
by  Elissa  Landi.  She  spotted  my  varnished  tootsies  peeking 
through  my  evening  sandals,  and  quicker  than  you  can  say 
Ekaterinenskayavich!  whipped  off  the  booties,  called  the 
assembled  guests  at  Reine  Davies'  birthday  party  at  ye  Cocoa- 
nut  Grove  to  witness  that  they  wuz  neat  and  straight.  I  shall 
enter  them  in  the  next  dog  show! 

Reine,  who  is  Marion  Davies  charming  column-writing  sister, 
just  got  herself  engaged  to  handsome  Paul  Cavanagh.  She 
tossed  her  left  hand  about  where,  on  a  tell-tale  digit,  a  nine- 
carat  diamond  glittered  like  a  sunrise.  And  for  hours  she  kept 
on  the  evening  wrap  that  Marion  had  given  her.  You,  too, 
would  do  the  same  if  it  were  royal  blue  velvet  with  a  mile-long 
train  and  a  shoulder-length  cape  of  the  most  well-fed  silver  fox 
you'd  ever  gotten  the  vapors  over. 

Elissa  didn't  look  so  poorly  either  with  her  "Christmas  tree 
ornaments"  (as  she  so  blithely  calls  them)  of  five  matched 
diamond  bracelets,  one  after  the  other!  Elissa  not  only  has 
bracelets,  she  has  dogs  and  cats  and  horses,  too.  Of  the 
felines,  two  are  her  particular  favorites  .  .  .  Rufus  ('cause 
he  stays  on  the  roof  so  much!)  and  Casanova,  because  he's 
such  a  one  with  the  lady  pussies!  Her  mama,  who  is  a  countess 
(the  actress'  mama!)  was  telling  us  that  that  evening  she  came 
in  to  see  Elissa.  And  the  countess  brought  with  her  a  big 
slab  of  rye  bread  and  liverwurst. 

50 


with  Mitzi 


"Before  dinner,"  said  la  countess,  "one  has  cocktails.  And 
before  cocktails  one  must  have  a  little  something  in  the  tummy. 
So,  Elissa  my  pet,  gobble  this."  "My  pet"  gobbled  obediently, 
but  later  spurned  cocktails  for  canapes  of  more  liverwurst! 
Tell  me,  oh  tell  me,  how  does  she  keep  her  figger? 

Next  day  I  whipped  myself  into  a  bathing  suit  and  drove  out 
to  director  W.  S.  Van  Dyke's  swimming  party  for  kids  which 
he  holds  first  Sunday  of  each  month.  There  were  scrillions  of 
wee  ones  there — Van  being  the  most  childlike  of  all  and  such 
fun  racing  for  prizes  in  the  pool  and  also  on  the  lawn.  My  kid 
brother  and  Mickey  Rooney  got  the  most.  But  with  pride  I 
point  out  that  both  gentlemen  divided  the  spoils  with  the  less 
fortunate  of  the  younger  generation. 

I  sunned  myself  and  listened  to  champion  Frank  Sheilds 
talking  tennis.  Permit  me  to  remark  that  while  he  wields  a 
razamataz  racket,  he  is  a  hunk  of  handsomeness,  also.  I'll  pay 
my  thirty  cents  anytime  when  he  gets  going  on  the  screen. 

Well,  Van  Dyke  being  an  old  friend,  we  rolled  out  in  splendor 
that  evening  to  see  Joan  Crawford's  preview,  "No  More 
Ladies."  Joan  sat  two  seats  away  and  gnawed  her  beautiful 
nails  to  a  frazzle.  She  was  awful  nervous.  I  whispered  to  her 
friend  sitting  between  us,  "Ask  Joan  if  the  collar  of  that  evening 
gown  (in  the  picture)  is  pique."  Joan  leaned  over  and  said, 
"Yes,  starched  pique,  and  it  scratched  like  the  dickens!" 


Mitzi  would  go  into 
the  hat-checking  busi- 
ness if  it's  only  to 
hold  Jack  Benny's 
tile.  Incidentally. 
Mitzi  has  quite  a  line 
on  the "gadget  house" 
that    is    Mr.    Benny's 


Mrs.  Cummings'  bright  daughter  is  still  at  it — just  one 
gay  dance  or  party — or  both,  or  several — after  an- 
other. The  vitality  of  the  girl!  And  what  those  keen 
young  eyes  see,  and  what  those  pink  ears  do  pick  up! 


Apris  le  preview  Van  took  me  to  the  Trocadero.  We  joined 
uncle  L.  B.  Mayer's  party.  Next  table  sat  Marlene  Dietrich, 
very  floaty  in  white  chiffon  that  had  only  one  shoulder  strap, 
and  two  great  chiffon  roses  at  the  neck,  one  black,  the  other 
red.  A  red  hankie  waved  from  her  wrist.  I  launched  a  giggle 
from  under  my  dorsal  fin  when  I  remembered  how  a  friend, 
who  had  a  very  elaborate  home  for  rent,  told  me  that  Missy 
Marlene  appeared  there  one  day  looking  very  exquisite  and 
imperious,  took  one  look  at  the  entrance  hall,  cried,  "Toobeeg!" 
turned  on  her  pretty  heel  and  walked  out.  The  rest  of  the  house 
was  never  even  viewed! 

My  little  dark-eyed  friend,  the  knock-em-over  Raquel  Torres 
gave  a  swimming  party  the  other  day  (And  husband  Steve 
Ames,  just  to  carry  out  the  nautical  scheme,  served  marine 
blue  cocktails).  Benita  Hume,  Virginia  Pine,  Monte  Blue, 
Nancy  Carroll,  Paul  Cavanagh  and  Jack  LaRue  and  Binnie 
Barnes  were  but  a  few  of  the  mob  she  had  about. 

Binnie  kept  skipping  about  with  her  camera  taking  all  sorts 
of  snaps  which  she  sends  back  to  husband  in  England  so  he 
has  a  pictorial  record  of  what  she's  doing.  Binnie  also  sews. 
She  made  all  the  organdie  curtains  in  her  bedroom.  But  she 
won't  allow  anyone  closer  than  two  feet  on  account  of  the 
stitches!  She  also  gardens.  For  a  long  while  she  carefully 
tended  her  one  lone  lemon  tree,  which  had  only  three  skimpy 
lemons  on  it.  Finally,  cause  hubby  couldn't  believe  she  was  in 
Californy  without  a  picture  of  a  fruit  tree,  she  carefully  wired 
on  two  dozen  yellow  beauties,  took  a  picture,  and  sent  that! 


Raquel  piled  her  jet  locks  atop  her  bean  and  went  wading  up 
to  her  chin.  "I'm  a  South  Sea  Islander,"  she  laughed,  and  she 
did  look  exactly  as  she  did  when  she  was  in  "White  Shadows 
of  the  South  Seas."  Only  cuter,  if  that's  possible.  Which 
started  Jack  LaRue  talking  of  old  times.  He's  always  treasured 
the  memory  of  Valentino's  "Blood  and  Sand."  Jack  wants 
terribly  to  do  it  himself.  In  a  letter  to  a  fan  he  asked  what  she 
thought  of  the  idea.  Evidently  she  thought  plenty,  because 
she  rounded  up  four  hundred  other  Boost-Jack-LaRue-ites  and 
they  sent  in  a  heap  of  mail  to  a  fan  magazine  begging  for  it! 

Whoa!  Didn't  you  write  and  beg  for  party  ideas,  huh? 
Fay  Wray  is  your  gal,  then.  She  gave  a  giddy  and  gala  one 
recently  that  you  can  copy  if  you  don't  tell  her  I  told.  Mebbe 
she  got  her  idea  while  sunning  herself,  along  with  luscious 
Miss  Del  Rio  and  Mrs.  Gary  Cooper,  for  the  three  copper-tinted 
females  talk  everything  over  while  daily  sopping  up  Old  Sol. 

The  party  was  for  "Rocky"  Cooper's  twenty-second  birth- 
day. Fay  distributed  kids'  drums  that  everyone  hung  around 
their  necks,  and  balloons,  in  gown-matching  colors,  were  tied 
around  feminine  wrists.  Fay,  who  wore  turquoise  and  white, 
had  one  of  the  former  shade.  Dolores,  in  magenta  and  blue, 
floated  a  big,  shiny  magenta  bubble.  And  there  were  blizzards 
of  confetti.  They  played  a  pip  of  a  game  called  "Likes  and 
Dislikes."  Everyone  writes  down  five  of  these  about  some 
person  in  the  room. 

Then  the  slips  of  paper  are  collected  and  read,  then  everyone 
tries  to  guess  who  it  is.    Jolly!      [please  turn  to  page  102] 

51 


Franchot  is  a  smart 
young  fellow,  a  m  b  " 
tious,  cultivated  tastes, 
a  delightful  sense  of 
humor — a  person  who 
is  well  worth  knowing 


By    MITZI; 
CUMMINGS 


Franchot  Tone— Fortune's  Favorite 

Since   he  was   born — at   Niagara  Falls,  no  less — all  life's 
necessities  have  been  taken  care  of — but  he  isn't  spoiled 


NO  self-respecting  writer  starts  a  story  with  an  apology. 
But  one  is  supposed  to  apologize  for  a  hackneyed  phrase, 
even  though  it  is  apt,  not  very  old,  and  came  from  Mr. 
Franchot  Tone  himself.  "Life,"  said  the  young  man,  with  a 
contented  pull  at  his  pipe,  "is  just  a  bowl  of  cherries." 

And  now  we  shall  elucidate.  Franchot  Tone  has  never  had 
to  suffer.  He  has  never  known  want.  No  one  ever  stood  in  the 
way  of  his  career.  In  other  words,  since  the  day  of  his  birth 
until  now  his  mental,  physical,  and  spiritual  necessities  have 
always  been  taken  care  of  in  fine  fashion.  Ergo:  "  Life  is  just  a 
bowl  of  cherries."  Remarkable  in  this  cruel  old  world  .  .  .  but 
even  more  remarkable  is  that  the  gentleman  who  gobbles  the 
fruit  is  neither  spoiled,  bored,  dull  nor  dissolute.  Franchot 
Tone  is  a  smart  young  fellow  with  lots  of  ambition,  cultivated 
tastes,  a  quiet  and  delightful  sense  of  humor,  and  thoroughly 
normal  reactions.  This  makes  Tone  worth  knowing  even  if 
you'll  find  it's  rather  hard  to  get  very  well  acquainted. 

He  was  born  on  Caruso's  birthday,  February  27,  in,  surpris- 
ingly enough,  Niagara  Falls      And  there  his  family  still  live. 

52 


In  the  same  house.  This  past  Christmas  Franchot  sent  home 
loads  of  gifts  which  the  family  took  movies  of  as  they  were 
unwrapped.  Then  they  sent  back  the  reel  of  film  which 
Franchot  ran  off.  He  supplied  his  own  sound  effects  by  sur- 
prised yelps  of  "Look!  Mother's  moved  the  radio!"  "Hey! 
That's  a  new  lamp  in  the  living  room! "  and  so  on.  Just  a  home 
boy  who  would  do  anything  in  the  world  for  his  family.  (They 
talk  long  distance  every  month.) 

His  mother,  he  says  proudly,  is  a  grand  sport.  To  prove  it, 
he  tells  about  the  time  he  went  to  a  prep  school  to  prepare  for 
Harvard.  But  he  didn't  study  hard,  and  he  did  play  hard,  and 
suddenly  he  found  himself  fired  for  being  a  "subtle  influence 
for  disorder  throughout" the  Fall  term."  ("Swell  phrase  that!" 
said  Franchot  with  his  slow  grin.)  His  only  worry  was  what  his 
mother  might  say.  But  she  didn't  scold,  she  merely  suggested, 
with  a  good-natured  smile  at  the  elegant  phrase  describing  son 
Franchot 's  behavior,  that  he  speak  to  older  brother  Jerry  about 
getting  into  his  college,  Cornell.  Five  months  of  the  college 
year  had  already  gone  by,  but  in      [  please  turn  to  page  78  ] 


FORECAST  FOR  AUTUMN 


BY  TRAVIS   BANTON 

PARAMOUNT    DESIGNER 


FASHION  is  staging  a  return  to  the  era  of 
elegance,  with  emphasis  on  line  and  richness 
of  fabric.  Out  of  the  remote  and  also  the 
immediate  past  have  come  the  sources  of  in- 
spiration— traditional,  classic,  picturesque — 
but  with  adaptations  to  our  modern  needs. 

With  the  return  to  greater  formality,  the 
fashionable  woman  will  give  more  attention  to 
detail  in  assembling  her  wardrobe.     She  will 
i  keep  herself  pretty  much  in  check  during  the 
day,    wearing    simple    conservative    clothes, 
more  loosely  fitted.    Action  clothes  with  plain 
lines  but  good  fabric.    If  limited  in  scope,  she 
will  select  a  basic  color  that  is  becoming  to  her. 
Upon  that  as  a  firm  foundation,  she  will 
build  her  street  and  evening  wardrobe  for 
Fall. 

She  may  choose  what  she  will  in  hats, 
for  hats  are  still  running  wild.    But  the 
new  hats  must  be  worn  with  dash  and 
chic  and  must  always  have  a  definite 
relation  to  the  costume. 
Accessories  will  be 
matched  with  care,  with 
an  eye  to  doing  double 
or  even  triple  duty. 

If  plain  for  the  street 
by  contrast,  evening 
fashions  will  be  glamor- 
ous.    Gorgeous  fabrics,  heavy  with 
gold  and  silver  brocade,  lend  them- 
selves to  the  romantic  inspiration  of 
the    Renaissance.      The    sculptured 
gown  will  almost  stand  alone.    Chif- 
fon,   always    considered    a    summer 
fabric,  will  enter  the  winter  scene.   It 
demonstrates  the  meaning  of  line  and 
movement  in  the  new  clothes. 
"Heavy"  generally  describes  the  new 
fabrics  in  this  season  of  the  draped 
silhouette. 

MORNING 

Color:  What  color  will  be  worn?  Any 
color,  every  color.  The  moment 
color  becomes  too  general,  it  be- 
comesbanal.  Use  the  whole  palette. 
Run  the  gamut  of  the  spectrum 
but  choose  the  color  that  is  be- 
coming to  you. 

Browns   with   a   reddish   cast; 

rich      [  PLEASE  TURN  TO  PAGE  80  ] 


Sketches  by  Travis  Banton  of 
gowns  designed  for  Marlene 
Dietrich,  star  of  "The  Pearl  Neck- 
ace."  Intricate  draping  of  the 
folds  of  heavy  black  crepe  sus- 
tain the  rhythm  and  allure  of 
subtle  line.  The  bouffant  crea- 
tion is  realized  in  gorgeous  fabric, 
silver  plumes  on  crisp  white  faille 


Light  will  just  naturally  center  on 
Jean  Muir  when  she  wears  this  Rene 
Hubert  inspiration  in  "Orchids  to 
You."  Like  a  goddess  of  Greek 
mythology,  Jean  reflects  the  classic 
influence  in  this  hostess  gown  of 
qold  lame,  accented  by  jeweled  belt 


Shimmering  satin  under  soft  lights 
is  the  choice  of  Rosalind  Russell, 
M-G-M  featured  player,  for  evenings 
at  home.  The  deeply  fringed  dolman 
sleeves,  tapering  to  fitted  wrists, 
the  draped  skirt  and  broad  sash, 
all    indicate    the    Fall    fashion    trend 


Moonlight  on  silver  is  dramatically 
interpreted  as  Miss  Russell  makes  her 
entrance  in  an  evening  wrap  of  silver 
lame,  lavishly  trimmed  with  silver  fox. 
Featuring  the  season's  new  back  clos- 
ing, Adrian  has  placed  emphasis  upon 
rich    fabric    and    line    for    his    effects 


White  formality  in  woo!  crepe  is 
again  brought  into  the  evening 
scene  by  this  gown  of  exquisite 
simplicity,  so  flattering  to  the 
classic  beauty  of  Miss  Russell. 
Evening  lengths  are  shorter  but 
trains  go  to  any  length  at  home 


Bette  Davis,  who  will  next  be  seen 
in  the  Warner  production  "Front 
Page  Woman,"  in  a  molded  eve- 
ning frock  of  lustrous  polka-dot- 
ted black  satin.  The  shirred 
bodice,  criss-cross  back  carries  a 
white    accent    in    the    gardenias 


PRE-VIEW 


with  GERTRUDE  MICHAEL 


White  ermine  for  classic  formality  is 
the  luxurious  expression  of  Gertrude 
Michael,  Paramount  player,  as  she 
turns  her  lovely  head  toward  Fall  and 
Winter  festivities.  The  rippled  collar 
and   capelet  effect  are  good   for   Fall 


A  swagger  goatskin  ensemble  is  a 
priceless  addition  to  the  wardrobe  of 
the  girl  returning  to  college.  Smart 
ittle  hat  and  waistcoat  contrast  with 
the  darker  grey  of  the  coat.  Fun  to 
try  a   new  scarf  drape  when   inspired 


I 


Follow  Miss  Michael's  lead  and  choose  a  platinum 
kidskin  with  flattering  moire  finish  for  your  new 
semi-formal  coat.  The  high  mounting  of  the  collar 
and  the  princess  line  are  new,  while  smart  little 
wooden  pegs  hold  broad  reveres  and  belt  to  line. 
Above:    Gertrude's  certificate  of  smartness: — mink 


Buttoned  up  in  tailored  simplic- 
ity, Jean  Parker,  M-G-M  fea- 
tured player,  is  ready  for  a  brief 
rest  in  her  favorite  ivory  satin 
ounging  pajamas.  Unfasten  the 
collar  and  revers  appear.  From 
Bullock's-Wilshire,     Los     Angeles 


Enchanting  little  nightgown,  as 
sleek  as  a  deb's  evening  dress. 
In  rose  satin  and  lace,  it  is 
charmingly  feminine  as  the  1935 
version  of  the  Edwardian  tea- 
gown  over  a  taffeta  slip.  Inez 
Courtney    in    "The    Girl    Friend" 


Schoolgirl  from  the  ribbon  in  her 
hair  to  the  tips  of  her  toes,  Miss 
Courtney  is  surprised  to  learn  thai' 
her  fascinating  little  nightgown 
which  reflects  fashion  in  its  vol- 
uminous sleeves,  may  do  double 
duty    as    a    hostess    gown    intime 


Inez  suggests  a  practical  item  for 
the  college  girl  in  the  crepe  one- 
piece  blouse-petticoat  combina- 
tion which  is  ideal  for  wear  under 
a  sheer  wool  suit.  There's  swank 
in  those  tiny  tucks  and  mannish 
tailoring     of    the     blouse     details 


f 


FASHION 


Sylvia  Sidney,  Paramount  star,  con- 
sented to  be  photographed  while 
she  was  in  New  York  selecting  her 
new  Autumn  hats  from  Lilly  Dache, 
Inc.  She  chose  crisp  organdy  and 
black  velvet  to  wear  at  cock-tai 
time.     Note   bow   at   nape   of  neck 


A  petite  four-cornered  beret 
of  soft  felt  with  its  rolled 
edges  and  finished  with  a 
veiled  trim  is  charming  for 
the  street.  Miss  Sidney  plans 
to  wear  it  with  one  of  the 
new     Fall     dressmaker     suits 


Only  half  a  hat,  but  filled 
to  the  brim  with  tremendous 
chic,  this  little  hat  of  a  burnt 
toast  color,  with  the  flatter- 
ing swirl  of  the  veil,  will  com- 
panion Sylvia  at  many  a 
smart   Hollywood    restaurant 


Jauntily  perched  over  her  right  eye-brow,  is  this  tiny  hat  of 
antelope  felt.  Sylvia  is  certain  that  it  is  just  the  hat  to  top  the 
velvet  suit  which   she  will   select.    Ostrich   is   "elegant"   fashion 


FOR  FALL 


Miss  Claudia  Morgan  wear- 
ing a  frock  of  cellophane 
crepe.  The  draped  bodice 
detail  is  definitely  Fall 
fashion,  as  is  the  silver  fox- 
trimmed  scarf  with  back 
fastening.  Above:  The 
same  frock  with  the  capelet 
scarf  worn  with  dash  over 
one  shoulder.  Note  the 
high  cut-out  neckline.  From 
Franklin  Simon,   N.  Y.  City 


- 

Also  tops  in  the  glamour  girl  class 
is  Claudette  Colbert.  With  her 
lovely  heart-shaped  face,  a  quiet 
charm  and  subtle  humor,  she 
has  a  rare  magnetism  which  all 
women  covet  and  no  man  can 
resist.  Different  from  Joan — but 
just    as    fascinatingly    glamorous 


Irving  Berlin  admits  he  can't  keep  his  eyes  on  the  piano 
keys  when  playing  for  Ginger  Rogers  and  Fred  Astaire  to 
dance.  The  famous  songwriter  is  rehearsing  with  the  pair 
for  a  scene  in  the  RKO-Radio  musical,  "Top  Hat." 
Berlin    has    written    some    grand    tunes    for    the    film 


THE  MAN  WHO  PLAYS 


// 


THE  INFORMER 


There  has  never  been  an  ad- 
venture yarn  written  more  ex- 
citing than  the  true  life  story 
of  "tough11  Victor  McLaglen 

BY  WALTER    RAMSEY 


VICTOR  McLAGLEN  stands  six-foot-three  in  his  boots, 
boasts  a  flattened  nose  and  near-cauliflower  ear,  weighs 
two  hundred  and  twenty-five  pounds  stripped  and  has 
trouble  making  what  is  left  of  his  frizzy  hair  cover  his  enormous 
head. 

For  years,  his  name  has  been  synonymous  with  hard-boiled 
babies,  "Sez  You"  longshoremen  and  tough  guys  in  general. 
His  meager  publicity  has  revealed  a  colorful,  man's-man 


Ugly,  brave,  sentimental,  loyal,  adven- 
turous rover — he  is  the  hero  of  the  hour 
n  Hollywood  today.  Left,  McLaglen  in- 
terrupts lunch  with  Harry  Burns  to  flash 
a    smile    in    the    cameraman's    direction 


background:    born   in    England — lived   most    of 
youth  in  South  Africa — soldiered  in  the  Boer  War — 
went  through  an  Australian  gold  rush,  a  bit  of  ruby 
mining  in  Ceylon — boxed  and  wrestled,  professionally, 
over  half  the  globe  and  fought,  unprofessionally,  over  the 
rest — and  came  at  last,    surprisingly,  to  acting  and  Holly- 
wood. 

These  few  facts  are  mentioned  briefly  because  they  compose 
all  that  the  majority  of  people,  either  in  or  out  of  Hollywood, 
know  about  this  man  who  is  now  the  outstanding  candidate 
for  the  Academy  Award  for  the  finest  acting  performance  of 
1935! 

Truly  a  name  to  be  reckoned  with  at  the  box-office,  he  has 
remained  outside  the  glamour  circle  of  Hollywood,  a  neglected 
celebrity  until,  with  his  great  performance  in  "The  Informer" 
he  jolted  the  critics  of  two  continents  into  saying:  "His  is  the 
most  important  performance  [please  turn  to  page  93] 

65 


THE     NATIONAL    GUIDE    TO      MOTION      PICTURES 


Th 


^    LOVE  ME  FOREVER— Columbia 


SINGING  as  gloriously  as  she  did  in  "  One  Night  of  Love," 
and  looking  just  as  radiantly  beautiful,  Grace  Moore 
again  soars  to  screen  glory. 

The  story  of  the  film  is  run-of-the-mill,  with  the  inevitable 
triangle  composed  of:  Grace  Moore,  an  impoverished  society 
girl  with  musical  ambitions;  Leo  Carrillo,  a  music-loving 
gambler  who  falls  in  love  with  her  and  her  voice  and  sacri- 
fices all  in  order  to  launch  her  into  Grand  Opera  and  win 
her;  Robert  Allen,  wealthy  playboy  whom  Miss  Moore 
promises  to  marry. 

But  you  won't  even  notice  the  triteness  of  the  story,  so 
perfect  is  the  singing,  the  music,  direction,  photography  and 
the  supporting  cast.  Acting  honors  go  to  Leo  Carrillo  for  his 
magnificent  performance  as  the  gambler. 


* 


ACCENT  ON  YOUTH— Paramount 


OUR  nomination  for  the  most  delightful  comedy- 
romance  of  the  month  is  "Accent  on  Youth." 

Herbert  Marshall  is  a  playwright  in  his  late  forties,  de- 
votedly but  unknowingly  loved  by  his  young  twenties 
secretary,  Sylvia  Sidney. 

Marshall  casts  her  in  a  play  of  his  in  which  she  makes  a 
hit  and  meets  Phillip  Reed,  a  young  millionaire  actor. 
Marshall  realized  simultaneously  that  both  he  and  Reed 
are  in  love  with  Sylvia,  but  turns  her  over  to  Phillip  because 
of  his  belief  that  youth  must  call  to  youth.  He  even  writes 
the  love  speeches  with  which  Phillip  woos  and  wins  Sylvia. 

Sylvia  departs  on  her  honeymoon  with  the  most  un- 
expected and  hilarious  results.  The  three  principals  are 
quite  perfect.    Don't  miss  this  one. 

66 


ow 


Shad 
Staqe 

A  Review  of  the   New   Pictures 


^    BECKY  SHARP— Pioneer-RKO  Release 

VIVID,  colorful,  beautiful — literally  and  figuratively—  is 
this  first  all  new  Technicolor  feature-length  picture. 
Symphonies  in  startling  shades,  gorgeous  screen  paintings, 
in  scene  after  scene,  supply  the  magnificent  main  attraction, 
of  course.  But  even  they  are  rivalled  by  the  sparkling  per- 
formance of  Miriam  Hopkins  as  the  conniving  flirt  and  lady 
of  fortune  who  crashed  the  court  circle  of  England  in  the 
Napoleonic  era  and  lived  by  her  woman's  wiles  alone. 

An  excellent  comedy  drama  has  been  drawn  from  Thack- 
eray's character  in  "Vanity  Fair." 

You  must  see  it  for  the  brilliant  new  colorings,  for  the 
full  and  artistic  story  presentation  and  the  fine  acting  of 
Nigel  Bruce,  Cedric  Hardwicke,  Alan  Mowbray,  and  every 
other  member  of  an  ace  cast  responding  to  Rouben  Ma- 
moulian's  period-perfect  direction. 

The  endless  stimulation  of  color  may  tire  your  eyes  at 
first.  You  may  be  drawn  to  a  gold  button  or  a  blue  ribbon 
instead  of  a  vital  expression.  But  the  actors  will  seem 
warmer  and  fresher  and  more  alive. 

And  the  lavish  color-contrasted  backgrounds  (a  bow  to 
artist  Robert  Edmond  Jones)  are  something  you'll  long 
remember. 

"Becky  Sharp"  is  a  new  experience  you  should  have;  a 
delightful  thrill  vou  should  enjoy,  and  a  grand  picture  you 
must  see. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


THE  BEST  PICTURES  OF  THE  MONTH 


BECKY  SHARP 

IN  OLD  KENTUCKY 

LOVE  ME  FOREVER 


THE  39  STEPS 


ACCENT  ON  YOUTH 

PAGE  MISS  GLORY 

SHE 


THE  BEST  PERFORMANCES  OF  THE  MONTH 

Miriam  Hopkins  in  "Becky  Sharp" 

Grace  Moore  in  "Love  Me  Forever" 

Leo  Carrillo  in  "Love  Me  Forever" 

Will  Rogers  in  "In  Old  Kentucky" 

Charles  Sellon  in  "In  Old  Kentucky" 

Greta  Garbo  in  "Anna  Karenina" 

Herbert  Marshall  in  "Accent  on  Youth" 

Marion  Davies  in  "Page  Miss  Glory" 

Robert  Donat  in  "The  39  Steps" 

Claude  Rains  in  "The  Clairvoyant" 

Alice  Brady  in  "Lady  Tubbs" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page  111 


ft    IN  OLD  KENTUCKY— Fox 


MANY  an  "old  southern  custom"  including  a  feud,  is 
brought  out  in  this  latest  Will  Rogers  picture,  which  is 
a  laugh  from  beginning  to  end. 

Will,  as  Stave  Tapley,  trainer  of  Pole  Shattuck's  fine 
horses,  joins  the  one-horse  stable  of  old  Ezra  Martingale 
(Charles  Sellon),  Shattuck's  sworn  enemy  who  is  always  out 
gunning  for  him  or  anyone  else  who  comes  within  range  of 
his  ancient  shotgun,  a  constant  running  gag  that  keeps  you 
laughing  through  the  picture. 

Rivalry  on  the  race-track  and  rivalry  between  Martin- 
gale's daughter,  Nancy  (Dorothy  Wilson)  and  Shattuck's 
daughter,  Arlene  (Louise  Henry),  both  charming,  over 
Russell  Hardie,  Shattuck's  imported  specialist  in  "animal 
husbandry,"  makes  plenty  of  action  and  a  background  for 
many  a  good  gag. 

One  of  the  best  gags  is  that  of  the  "rain  maker,"  Pluvious 
J-  Aspinwall  (little  Etienne  Girardot)  who  saves  the  day, 
making  it  possible  for  the  right  horse  to  win  the  race. 

Will  Rogers  is  his  lovable  homely  self,  trying  to  fix  up 
everything  for  everybody,  all  of  whom  put  in  well  sustained 
performances. 

And  Bill  Robinson,  the  colored  dancer,  does  his  stuff  as 
only  he  can  do  it. 

It's  a  film  for  every  type  of  movie-goer,  well  balanced  in 
humor  and  action,  with  fast  moving  and  modern  dialogue. 


ft    PAGE  MISS  GLORY— Warners 


MARION  DAVIES  at  her  best— and  you  know  how- 
good  that  is!  She  romps  through  half  the  picture  as  a 
homely  little  chambermaid,  then  blossoms  out  as  Dawn 
Glory,  the  fictitious  lady  with  whom  Pat  O'Brien  has  won 
a  beauty  contest  through  means  of  an  assembled  photo- 
graph. 

Pat  is  a  promoter  par  excellence.  Frank  McHugh  is  his 
assistant — and  Dick  Powell  is  the  handsome  aviator  who 
warbles  one  ditty,  and  gets  the  girl. 

There  is  funny  dialogue  and  situations,  and  practically 
everyone  on  the  Warner  lot  is  in  the  picture. 

Some  of  the  gags  are  rather  antique,  but  anyway,  you 
laugh  loud  and  hard.  Patsy  Kelly  and  Dick  Powell  share 
acting  honors  with  Marion.    Barton   MacLane  is  wasted. 


ft    SHE— RKO-Radio 


HERE  is  a  spectacle  of  magnificent  proportions  with  the 
decadent  effluvium  of  the  tomb  period.  Randolph  Scott, 
Nigel  Bruce  and  Helen  Mack  go  beyond  the  Arctic  to  find 
"the  flame  of  life."  After  colossal  adventure,  they  en- 
counter "She,"  Queen  of  the  strange  and  lavish  domain. 
"She"  has  lived  five  hundred  years,  and  Helen  Gahagan 
plays  exquisitely  the  woman  to  whom  someone  should  have 
said,  "Be  your  age." 

"She"  yearns  for  Randy  Scott,  reincarnation  of  her  old 
lover,  whom  she  had  killed,  embalmed  beautifully,  and  kept 
around  the  palace.  There  are  human  sacrifices,  a  gorgeous 
"Dance  of  Death,"  and  a  macabre  atmosphere  throughout. 
Helen  Mack  does  much  with  little.  Entire  supporting  cast 
is  excellently  convincing. 

67 


SELECT     YOUR      PICTURES     AND     YOU     WON'T 


The  39 

Steps — 

GB  Production 


FRONT  PAGE 

WOMAN— 

Warners 


ADVENTURE,  romance,  and  mystery,  effectively  com- 
bined, make  this  one  of  the  most  entertaining  spy  pictures 
you've  ever  seen.  Robert  Donat,  falsely  accused  of  murder, 
must  uncover  a  treacherous  spy  ring  in  order  to  save  himself. 
By  mistake,  Madeleine  Carroll  is  forced  to  accompany  him  on 
his  perilous  journey.     Grand  acting,  good  comedy,  suspense. 


NOT  since  "Blessed  Event,"  has  there  been  such  a  crisp, 
crackling  newspaper  drama.  It's  a  seesaw  battle  between 
crack  reporter  George  Brent  and  sob  sister  Bette  Davis  as 
they  unravel  a  murder  case,  to  prove  or  disprove  that  "women 
are  bum  reporters"  and  make  better  housewives.  Both  seem 
to  win.    Rapid  fire  humor  is  helped  by  Roscoe  Karns'  comedv. 


MEN  WITH- 
OUT NAMES 
— Paramount 


BROADWAY 

GONDOLIER 

— Warners 


THIS  suffers  by  comparison  with  other  G-Men  films,  but 
considered  alone,  it  is  good  entertainment.  Fred  Mac- 
Murray  sleuths,  assisted  by  that  grand  Lynne  Overman. 
Madge  Evans  and  David  Holt  offer  complications  and  good 
performances.  Leslie  Fenton  heads  the  dirtiest  bunch  of 
crooks  you  ever  saw.    Excellent  supporting  cast. 


LAUGHTER  and  sweet  music — what  more  do  you  want?  A 
pleasantly  preposterous  story  with  Dick  Powell  in  the  role 
of  a  cabbie  who  gondolas  his  way  to  radio  fame.  The  tunes  are 
rich,  plentiful  and  well  handled  by  Dick.  While  Joan  Blondell, 
Louise  Fazenda,  Adolphe  Menjou  and  Grant  Mitchell  team  up 
for  chesty  chuckles.    Enjoyable  all  the  way. 


CHARLIE 
CHAN 

IN  EGYPT 
—Fox 


HARD  ROCK 

HARRIGAN 

—Fox 


WARNER  OLAND,  as  the  Chinese  philosopher-detective, 
goes  to  the  tombs  of  the  Pharaohs  this  time,  to  encounter 
murder  and  unravel  the  mysteries.  Grand  atmosphere  and 
unique  settings  plus  some  hilarious  comedy  with  Stepin  Fetchit 
put  this  one  way  up  top  in  the  Charlie  Chan  series.  Oland 
is  A-l.     Pat  Patterson  and  Thomas  Beck  carry  the  romance. 

68 


A  PLEASANT  little  custom  among  hard  rock  tunnel  drillers, 
it  seems,  is  to  try  to  beat  up  your  boss  and  win  his  job. 
This  is  the  theme  for  a  virile,  pleasantly  humorous  drama  with 
George  O'Brien  and  Fred  Kohler  shaking  fists  over  a  job  and 
a  girl,  Irene  Hervey.  It's  a  cracking  good  he-man  picture  all 
the  way,  clear  to  the  happy  ending. 


HAVE     TO      COMPLAIN       ABOUT     THE      BAD     ONES 


SANDERS  OF 
THE  RIVER— 
London  Films- 
United  Artists 


fig. 

SMI* 

-       •     •        is2*             '-      * 

P  /.  *£* 

ANNA 
KARENINA- 
M-G-M 


LOTS  of  excitement  in  this  film  story  of  a  British  Com- 
missioner (Leslie  Banks),  who,  aided  by  the  cunning  of  a 
native  tribesman  (Paul  Robeson),  undertakes  to  tame  the 
warring,  cannibalistic  tribes  of  the  African  interior.  You'll 
find  it  worthwhile  entertainment  for  Robeson's  singing,  Banks' 
excellent  acting,  and  its  portrayal  of  the  African  natives 


THIS  is  really  a  weak  and  dull  picture,  yet  the  persuasive 
genius  of  Garbo  raises  it  into  the  class  of  art.  What  should 
be  moving  seems  dated,  though  the  production  is  magnificent 
and  Garbo,  exquisitely  photographed,  has  more  fire  than  in  her 
last  several  pictures.  Freddie  Bartholomew  is  delightful  as 
her  son.     But  Fredric  March  seems  verv  stuffy  as  her  lover. 


THE  KEEPER 
OF  THE  BEES 
— Monogram 


STRANDED- 
Warners 


THIS  familiar  Gene  Stratton  Porter  story  has  been  translated 
into  a  most  satisfactory  film.  Neil  Hamilton  as  the  ex- 
soldier  who  takes  a  new  lease  on  life  amid  the  beehives,  gives 
a  fine  convincing  performance.  The  involved  plot  is  admirably 
worked  out.  Betty  Furness,  Edith  Fellowes,  Hobart  Bosworth, 
plus  a  good  supporting  cast.    For  all  the  family. 


KAY  FRANCIS,  beautifully  gowned,  is  a  social  service  worker 
who  falls  in  love  with  George  Brent,  he-man  engineer,  but 
refuses  to  marry  him  because  he  is  antagonistic  to  her  work 
and  its  ideals.  After  a  long  struggle — part  of  which  bores  you, 
part  of  which  entertains  you — the  romance  ends  happily.  Per- 
formances o.k.     Direction  good.     But  story  is  unconvincing 


THE 
CLAIR- 
VOYANT- 
SB  Production 


THE  OLD 
CURIOSITY 

SHOP— 
B.I.P.-Alliance 


ASUSPENSEFUL  drama  with  Claude  Rains  excellent  as  a 
fake  fortune  teller  who  discovers  he  has  real  clairvoyant 
Powers  when  near  Jane  Baxter,  who  acts  as  a  psychic  medium. 
When  his  wife,  Fay  Wray,  becomes  jealous  of  Miss  Baxter, 
and  at  the  same  time  Rains'  forecasting  is  blamed  for  a  mine 
disaster,  trouble  begins.   A-l  performances.   An  absorbing  film. 


THIS  is  a  faithful  screen  translation  of  the  Dickens'  novel 
with  every  character  so  true  you  feel  it  had  just  stepped  out 
of  the  book.  Hay  Petrie,  of  English  stage  fame,  gives  a  mag- 
nificent portrayal  of  the  grotesque,  villainous  Quilp.  You'll 
find  the  tragic  story  of  Little  Nell  and  her  Grandfather  worth- 
while screen  entertainment.  [  please  turn  to  page  100  I 


69 


A  RomanceThat  Is 
StrongerThan  Death 


The  late  Florenz  Ziegfeld  with 
Patricia,  when  she  was  a  little 
tot.  King  of  a  gilded,  glamor- 
ous, theatrical  world,  Flo's 
greatest  pride  was  his  child, 
his    wife,    their    beautiful    home 


When  Billie  Burke  married  Flo, 
she  was  the  favorite  actress  of 
two  continents,  he  the  world's 
most  powerful  producer.  Yet  at 
forty,  she  was  left,  penniless, 
their    fortunes    made    and    lost 


W! 


rE  try  to  keep  Flo  alive,  Patricia  and  I,"  Billie  Burke 
said  in  the  gay,  childish  voice  that,  twenty  years 
ago,  two  continents  adored.  "We  talk  about  him  a 
great  deal.  I  think  women  who  never  mention  husbands  or 
lovers  who  have  died  miss  so  much  comfort,  don't  you?  Now  I 
love  to  speak  of  Flo — it  makes  him  seem  so  near  us.  And  of 
course  he  must  be.    There's  no  other  explanation  of  this — " 

70 


She  looked  about  the  charming  drawing  room,  all  primrose 
and  gold  in  the  tossing  sunlight  and  shadows  of  the  windy 
Spring  afternoon.  Brass  cupids  warmed  their  hands  at  a  fire. 
Lamps  of  rose  quartz  and  crystal  stood  on  marquetry  tables. 
Tiny  needlework  pillows  snuggled  in  the  puffy  arms  of  pale 
damask  chairs.  It  was  the  room  of  a  lovely  woman  who  does 
not  need  to  worry  about  the  stupid  details  of  money-making. 


,day  —  two  years  after  he  left  her — Flo  Ziegfeld 
is,  again  giving  security  and  comfort  to  Billie  Burke. 
'  eir  great  love,  which  amazed  Broadway  for  eigh- 
teen years,  has  not  been  broken  by  Flo's  tragic  death 


By  DOROTHY  CALHOUN 


Back  in  the  days  when  no  shadow 
of  death  or  disaster  marred 
their  happiness.  Billie  (cen- 
ter) and  Ziegfeld,  out  on  the 
links  for  a  game  of  golf  with 
their      friend,      Maxine      Elliott 


When  Billie  was  the  happiest 
woman  on  earth:  mother  of  a 
lovely  child,  wife  of  an  adoring 
husband.  Today  it  is  around  the 
grown-up  Patricia  that  Billie's 
dreams     of    the    future     center 


Yet  Florcnz  Ziegfeld,  the  greatest  of  all  musical  comedy  pro- 
ducers, left  Billie  Burke  to  face  the  world  at  forty  without  a  penny 
of  the  many  fortunes  he  made  and  lost  and  made  again  during  his 
amazing  career. 

"He  is  still  taking  care  of  us,"  smiled  the  woman  who  had 
been  Ziegfeld's  wife  for  eighteen  years,  his  widow  for  three. 
"Perhaps  you've  heard  that  Metro  has  bought  the  picture  I 


helped  write  about  his  life,  and  they  are  planning  to  revive  his 
famous  Follies  for  the  screen,  too.  That  will  mean — not  wealth 
for  Patricia  and  me  but  at  least  comfort,  security.  And  he's 
giving  it  to  us  today  after  being  gone  three  years.  That's  the 
beautiful  part  of  it.  He  always  wanted  us  to  have  everything. 
I  think  he  must  have  known  how  frightened  I've  been  some- 
times in  the  nights  since  he  left  me."  [  please  turn  to  page-91  ] 


71 


Binnie  Barnes  starts  her 
bedtime  preparations  with 
a  pre-facial.  Soap  and 
water  with  a  complexion 
brush  to  stimulate  circu- 
lation   and    awaken    pores 


J_ 


With  skin  aglow,  Binnie  next 
applies  a  cTeansing  cream 
which  penetrates  deep  into  the 
pores,  floats  out  hidden  im- 
purities and  completes  the  first 
operation  in  the  quest  for  skin 
cleanliness   and   true    loveliness 


Sun  and  wind  are  inclined  to 
work  havoc  with  the  natural 
oils  of  the  skin.  So  Binnie  next 
strokes  in  a  good  tissue  cream, 
her  finger  tips  lightly  and 
rhythmically  patting  the  soft- 
ening   emollient    into    her    skin 


TEN  MINUTES 


SUMMER  is  on  the  wane.  You  have  danced  blithely 
through  a  vigorous  Summer  of  active  sports  at  the  beach 
or  in  the  mountains.  You  are  fairly  bursting  with  general 
good  health  and  spirits,  ready  for  a  strenuous  round  of  early 
Autumn  activities.    Splendid.    Now  we  can  get  down  to  cases. 

First  of  all,  you'll  be  thinking  about  your  wardrobe.  I  warn 
you  that  evening  clothes  are  bewitching,  classic,  romantic,  but 
in  all  or  any  one  of  their  varied  moods,  they  are  utterly  and 
wholly  feminine. 

So,  what  about  your  skin?  Have  you  followed  the  expert 
advice  of  reliable  cosmetic  authorities  and  wisely  protected 
your  complexion  from  too  intense  sunlight,  or  has  Old  Sol 
browned  you  to  a  turn?  Sun-tan  looks  stunning  with  beach  and 
sports  clothes,  but  a  cafe  au  lait  complexion  topping  the  softly 
draped  folds  of  a  Grecian  evening  gown  seems  to  strike  a  false 
note.  And  remember,  too,  that  soft  candle-light  illumination 
has  a  tendency  to  make  a  too-tanned  skin  look  muddy. 

The  time  has  come  to  do  something  about  it,  particularly  if 
you  don't  wish  to  spend  the  early  Autumn  weeks  in  beauty 


salons,  lubricating  and  refining  your  skin  to  fitly  companion 
your  new  clothes.  Don't  wait  until  you  get  back  to  town. 
Get  your  beauty  reconditioning  in  early.  Start  now  to  devote 
a  few  minutes  before  bedtime  to  a  softening  and  nourishing 
treatment  and  you  will  be  surprised  how  charmingly  your  com- 
plexion will  adjust  itself  to  the  new  fashions. 

Binnie  Barnes  really  made  that  suggestion.  Binnie  is  the  de- 
lightful English  girl  who  played  Kalherine  Howard  to  Charles 
Laughton's  Henry  the  Eighth,  in  the  screen  play  of  that  name. 
Like  most  girls  from  misty-moisty  England,  Binnie  has  an 
exquisitely  translucent  skin.  Removed  from  its  normal 
habitat  to  a  dry  climate,  that  particular  skin  texture  is  apt 
to  line  very  easily.  And  burn.  But  Binnie  takes  the  necessary 
precautions  to  prevent  anything  so  devastating  from  happening. 

For  ten  minutes  every  night  she  performs  her  beauty  ritual, 
an  extremely  simple  one  designed  for  busy  people.  Binnie  is  an 
out-of-doors  girl  who  acknowledges  a  fondness  for  a  thorough 
preliminary  cleansing  with  a  mild  soap  and  tepid  water.  The 
complexion  brush  which  she  seems  to  enjoy  is  a  new  find.    She 


PHOTOPLAY'S      HOLLYWOOD      BEAUTY      SHOP 


72 


Though  generally  neglected, 
eyes  should  be  cleansed  at 
least  once  a  day.  With  the 
aid  of  eye-drops  or  a  pure  eye 
lotion,  Binnie's  eyes  are  left 
cool  and  rested  after  exposure, 
and     glowing    with    radiance 


And  so  to  bed.  Fresh  as 
the  dew,  Binnie  is  now 
ready  to  retire.  Only  ten 
minutes  a  day  brings 
years  of  reward.  Good 
night,    and    sweet   dreams 


innie  knows  that  lustrous 
brows  and  eyelashes  are  the 
only  proper  setting  for  expres- 
sive eyes.  So  the  last  step  in 
her  beauty  ritual  is  to  apply  a 
well-known  lash  grower.  Presto, 
well-trained  brows,  long   lashes 


TO  BEDTIME 


confessed  that  she  used  to  scrub  her  skin  to  a  ruddy  glow  with  a 
regular  nail-brush  until  she  found  the  little  round  brush  with 
its  long  bristles.  She  always  keeps  two  or  three  near  her  bath, 
one  a  gaily-backed  egg-shaped  brush,  form-fitted  to  the  hand. 
Brushing  briskly  stimulates  circulation,  awakening  sluggish 
pores  to  a  sense  of  duty. 

Occasionally,  some  women  prefer  to  use  a  cleansing  cream 
before  the  soap  and  water  treatment,  but  not  Binnie,  for  she  has 
a  tendency  toward  a  slightly  dry  rather  than  oily  skin.  For  the 
latter,  first  cleanse  thoroughly  with  a  pure,  quickly  melting 
cream,  remove  the  dust  and  grime  with  tissue  or  towel  and 
follow  with  the  soap  and  water  bath. 

The  skin  that  has  been  over-exposed  to  sun  and  wind  needs 
softening  and  nourishing.  In  the  third  step  toward  bedtime, 
Binnie  shows  how  she  uses  the  cushions  of  her  fingers  to  gently, 
but  firmly  make  her  skin  take  nourishment. 

Betty  Grable  of  RKO-Radio  Pictures,  has  just  reminded  us 
that  beautiful  eyes  must  have  a  harmonious  setting.  Use  a 
special  oil  or  paste,  either  of  which  is  marvelous  in  smoothing 


away  tiny  lines  around  the  eyes  which  are  caused  by  exposure. 
Pat  lightly  around  the  eyes  and  leave  on  overnight. 

If  you  value  your  eyes,  keep  them  healthy.  Care  for  them 
just  as  conscientiously  as  you  do  your  teeth.  Binnie  relieves 
eye-strain  by  washing  away  impurities  with  a  standard  eye- 
lotion. 

The  very  last  step  is  the  care  of  the  brows  and  lashes  and 
hew  they  reward  your  attention.  Good  lash  creams  and  oint- 
ments are  available  at  most  department  and  drug  stores.  Or 
you  may  choose  a  sweet  oil  or  even  white  vaseline.  Massage 
the  cream  or  oil  into  your  lashes  or  use  a  brush  as  Binnie  does. 
The  result  will  be  the  same, — lustrous  and  luxuriant  lashes.  At 
the  same  time,  brush  your  brows  straight  up,  then  shape  them. 
Good  training  means  well-disciplined  brows. 

Now,  ready  to  retire,  Binnie  stretches  to  relax  taut  muscles, 
stretches  like  a  cat,  if  you  have  ever  watched  one.  Every 
muscle  comes  into  play,  with  special  attention  to  those  back  and 
shoulder  ones.  If  possible,  do  your  stretching  before  an  open 
window  where  you  may  inhale  deeply  at  the  same  time. 


CONDUCTED       BY       CAROLYN      VAN      WYCK 


73 


THE  EYES  HAVE  IT 


YOUR  eyes  are  the  most  exciting  thing  about  you.  They 
express  your  every  mood.  Be  happy,  be  joyous,  be  inter- 
ested in  all  the  fascinating  things  on  this  little  planet  and 
your  eyes  will  mirror  your  spirit- 
Eyes  have  something  just  as  precious  as  the  sense  of  sight. 
They  are  lighted  by  an  inner  radiance.  When  you  open  the 
door  to  discontent,  out  goes  the  light  as  though  a  veil  were 
drawn.  Your  eyes  become  drab,  for  you  are  no  longer  inter- 
ested nor  interesting.  Turn  on  that  light,  for  in  your  eyes 
dwell  your  youth,  your  charm,  your  magnetism — your  "come 
hither." 

Motion  picture  stars  know  the  value  of  expressive  eyes.  They 

74 


also  know  that  even  eyes  of  natural  beauty  may  be  enhanced 
with  the  aid  of  subtly  applied  cosmetics.  The  art  of  clever 
make-up  is  in  achieving  the  illusion  of  naturalness. 

Dolores  Casey  who  herself  has  glorious  eyes  follows  a  par- 
ticular make-up  routine  which  she  gives  to  you,  step  by  step. 
She  uses  a  brown  eye-shadow,  blended  lightly,  ever  so  deli- 
cately, from  eyelash  to  brow.  With  the  new  metal  lame  evening 
gowns  she  may  use  a  metal  eye-shadow.  With  eyebrow  pencil 
she  follows  the  natural  curve  of  the  brow,  extending  the  line  a 
trifle.  Where  the  eyelash  meets  the  lower  lid  she  draws  a  fine 
line  which  creates  a  faint  shadow.    Then  the  magic  mascara. 

There's  sparkle  in  the  new  clothes.    Put  sparkle  in  your  eyes. 


Dolores  Casey,  Paramount 
player,  presents  eyes  in  the 
four  stages  of  their  glorifica- 
tion. Upper  left,  she  deftly 
blends  her  eye-shadow;  lower 
left,  eyebrow  pencil  shapes  the 
brows;  upper  right,  fine  line 
drawn  where  lash  meets  eye- 
lid; lower  right,  tear-proof  mas- 
cara applied  sparingly;  center, 
Dolores'  expressive  eyes  ask 
your    approval    of    her    artistry 


There  they  are,  tightly  fitted 
little  miracle  mitts  that  not  only 
lubricate  the  nails  and  cuticle, 
but  also  shape  the  fingers  at 
the  same  time.  Sally  seems 
very  pleased  with  her  discovery 


I  Other  Tips  on  Page  82) 


73 


Adrian  Answers  20  Questions  on  Garbo 

[  CONTINUED  FROM  PAGE  37  ] 


know  that  a  crowd  will  gather  to  look  at  an 
elephant  walk  up  a  gang  plank  as  readily  as  it 
will  to  see  a  movie  star.  If  you  happen  not  to 
like  being  stared  at,  photographed  and  being 
talked  to  in  front  of  hundreds  of  people,  you 
would  probably  try  to  avoid  the  discomfort,  if 
you  possibly  could. 

Unfortunately  for  Garbo,  she  is  rarely  able 
to  make  an  exit  or  an  entrance  into  any  country 
inconspicuously,  because  of  passports,  etc.  If 
she  were  able  to  do  so,  I'm  sure  her  goings  and 
comings  would  be  a  joy  to  her  instead  of  a 
horror.  It  isn't  because  she  has  any  desire  to 
ignore  "her  public."  She  prefers  them  to  be 
interested  in  her  on  the  screen,  rather  than  in 
her  personal  life. 

THIS,  perhaps,  is  a  very  extraordinary  qual- 
'  ity  for  a  celebrity  to  have.  Most  of  them 
take  to  adoring  crowds  like  a  duck  does  to 
water.  But  because  one  comes  along  and 
severs  herself  from  the  crowd,  is  no  reason  why 
it  should  irritate  so  many  people. 

Q. — Since  large  numbers  of  people  are  bored 
with  this  mysterious  propaganda  of  Garbo's, 
why  does  she  allow  it  to  go  on,  and  does  she 
approve  of  it? 

A. — Once  again  it  is  not  mysterious  propa- 
ganda, any  more  than  a  person  would  be  con- 
sidered mysterious  if  he  had  a  desire  to  travel 
from  one  city  to  another  without  reporters 
and  a  battery  of  cameras  following  him.  The 
fact  that  she  desires  to  live  a  private  life  of 
her  own  has  made  "mysterious  propaganda." 
She  herself  is  the  last  person  in  the  world  to 
approve  of  it  or  desire  it. 

Q. — Why  does  Garbo   want   to   be   alone? 

A. — For  the  same  reason,  probably,  that 
thousands  of  other  people  in  the  world  want  to 
be  alone.  It  is  her  personal  desire.  You  know 
anyone  who  keeps  away  from  the  tendency  of 
group  thinking  is  usually  misunderstood,  dis- 
liked, mistrusted  or  considered  odd.  Surely  if 
she  finds  she  cannot  have  the  privacy  and  the 
pleasure  of  being  unnoticed  in  public  that  the 
majority  of  us  have,  she  has  a  perfect  right  to 
have  that,  wherever  else  she  can  find  it. 

Q. — What  is  Garbo  like  socially? 

A. — She's  shy,  at  times  full  of  a  great  deal  of 
fun,  loves  to  listen  to  stories,  but  she  has  no 
curiosity  about  the  private  lives  of  celebrities. 
She  prefers  to  judge  them  entirely  by  their 
performance  or  the  thing  they  are  giving  to  the 
world.  If  a  man  paints  a  great  picture,  she  is 
not  at  all  interested  whether  he's  been  married 
four  times  and  why. 

Q. — What  does  Garbo's  private  wardrobe 
consist  of? 

A. — Her  wardrobe  consists  of  tailored  suits, 
various  top  coats  of  the  sport  variety,  sweaters, 
slacks,  berets,  sport  hats,  stocking  caps  (with 
visors  that  fit  over  them)  and  sports  shoes.  I 
don't  think  she  has  an  evening  gown  and  if  she 
has  I'm  sure  she  has  never  worn  it.  She  also 
has  several  fur  coats. 

Q. — Why  have  you  given  her  so  many  odd 
hats  to  wear  and  does  she  like  them? 

A. — Garbo  isn't  very  fond  of  the  fashionable 
hat  of  the  moment.  Nor  is  she  fond  of  the 
fashionable  hairdress.  As  she  does  not  wear 
her  hair  in  a  way  that  suits  the  current  hats 
and  is  very  fond  of  personal-looking  ones  they 
are  apt  to  appear  rather  unusual  to  the  eyes 
accustomed  to  the  prevailing  mode.  The  com- 
bination of  individualistic  hat  and  hair  arrange- 


ment often  gives  Garbo  a  rather  extraordinary 
style  effect,  which,  in  itself,  is  not  really  ex- 
traordinary. 

I  have  noticed  that  these  very  hats  usually 
become  fashion   "Fords"   eventually. 

Q. — As  you  know,  there  are  many  untrue 
and  ridiculous  stories  printed  about  Garbo, 
written  by  people  who  have  never  seen  her. 
Do  you  think  she  resents  these  stories? 

A. — Naturally  there  are  certain  stories  which 
are  so  far-fetched,  particularly  those  of  im- 
aginary feuds,  that  any  one  would  be  upset.  I 
don't  think  she  pays  a  great  deal  of  attention 
to  the  others. 

Q. — Do  you  think  that  many  of  Garbo's 
reactions  are  selfish  ones? 

A. — I  think  a  great  many  of  them  are.  But 
I  think  they  are  her  own  business! 

Q. — Does  Garbo  have  a  sense  of  humor? 

A. — Yes,  I  think  she  has  a  terrific  sense  of 
humor.  Most  of  it  is  of  a  very  piquant  sort 
that  has  a  kind  of  whimsical  quality.  When 
she  happens  to  be  in  the  mood,  she  chats  at 
great  length  about  her  observations,  life  and 
what  she  feels  about  it.  I  remember  being 
particularly  amused  one  day,  after  having 
shown  her  a  sketch  and  taken  a  great  deal  of 
pains  to  explain  why  I  had  designed  it  for  a 
certain  scene — the  colors,  materials  and  vari- 
ous other  reasons  for  its  being  used.  During 
all  this  time  she  had  remained  completely 
silent  but  interested. 

After  I  thought  I  had  convinced  her,  she 
just  said,  "Yes."  And  then  with  a  look  of 
surprise,  she  said,  "GARBO  TALKS!"  and 
laughed  gaily. 

Q. — Of  all  the  pictures  you  have  dressed 
Garbo  for,  which  clothes  interested  her  the 
most? 

A. — The  clothes  in  "Romance,"  "Queen 
Christina"  and  "Anna  Karenina."  I  think 
the  latter  interested  her  most  of  all. 

Q. — Several  times  you  have  been  seen  out 
shopping  with  Garbo.  What  is  she  like  on 
these  excursions? 

A. — She's  terribly  interested  in  old  brocades, 
old  Spanish  wood  carvings,  etc.  She  loves  a 
little  Spanish  street  in  Los  Angeles  called 
Olvera  Street,  probably  because  it  has  some  of 
the  old  world  atmosphere.  She  adores  ridicu- 
lous, silly  little  toys  such  as  painted  pigs  and 
stuffed  rabbits.  She  likes  to  shop  but  takes  a 
long  time  to  make  up  her  mind  about  her  pur- 
chases and  is  willing  to  shop  a  great  deal  for 
one  object. 

Q. — Why  did  Garbo  allow  you  to  photograph 
her  in  one  of  her  "Anna  Karenina"  dresses 
when  she  lives  in  perpetual  fear  of  the  candid 
cameraman? 

A. — She  knew  I  was  very  pleased  with  a 
certain  organdy  dress  and  I  had  said  to  her 
jokingly,  "If  you  weren't  Garbo,  I  should  be 
down  on  the  set  with  my  camera,  making  a 
record  of  this  dress." 

She  very  charmingly  answered,  "Get  your 
little  camera." 

Q. — Is  Garbo  really  a  beautiful  woman? 

A. — She  is  a  very  beautiful  woman,  particu- 
larly in  a  sensitive,  rather  spiritual  way.  I 
think  her  eyes  are  extraordinary  and  her  eye- 
lashes are  extremely  long.  And  I  might  add — 
real.  She  has  a  beautiful  body,  slender  and 
athletic.  The  myth  about  her  large  feet 
should  be  completely  shattered.  Probably  this 
has  arisen  because  of  the  fact  that  she  wears  a 


comfortable  sports  shoe  most  of  the  time,  be- 
cause she  does  a  great  deal  of  walking.  She  is 
usually  completely  sunburned,  rarely  ever 
comes  into  fittings  with  her  hair  combed,  never 
wears  makeup  except  a  dark  line  at  the  edge- 
of  each  eyelid.  She  has  lovely  teeth,  an  easy 
walk,  which  last  she  probably  has  gotten  from 
walking  a  great  deal.  She  can  jump  out  and 
into  a  car  faster  than  anyone  I  have  ever  seen 
in  my  life — probably  because  she  has  done  this 
a  great  deal  also. 

Q. — In  comparison  with  other  women  you 
have  worked  with,  is  Garbo  so  extraordinarily 
different? 

Do  you  feel  she  is  a  person  apart  or  is  she 
another  one  of  the  charming  women  you  have 
to  dress? 

A. — She  is  decidedly  a  woman  apart,  because 
she  is  actually  so  simple  and  has  not  one  ounce 
of  affectation.  She  is  at  no  moment  the 
actress  and  never  gives  me  the  illusion  of  being 
one  until  she  is  on  the  set  before  the  lights, 
actually  in  the  part.  The  minute  that  she 
leaves  the  set  she's  a  very  little  girl,  completely 
out  of  her  atmosphere.  Because  she  so  con- 
sistently lives  her  life  the  way  she  wants  to, 
regardless  of  criticism  or  the  suggestions  of  her 
friends,  she  cannot  help  but  be  different — 
because  she  is.  Not  anything  mysterious  or 
full  of  hokum,  but  a  terrific  individualist,  who 
ruthlessly  defends  her  own  code  of  living,  by 
ignoring  outside  contact.  This  may  or  may 
not  be  good  for  her.  That  again  is  a  matter  of 
conjecture. 

Certainly  she  doesn't  alter  from  its  path 
and  goes  her  own  way,  regardless. 

Q. — Do  you  think  Garbo  would  act  the  way 
she  does,  if  she  were  not  a  movie  star? 

A. — I  think  she  would.  Probably  not  quite 
as  easily,  because  she  has  the  power  to  do  as 
she  wishes  in  a  much  more  high-handed  man- 
ner than  she  could  if  she  were  in  a  less-impor- 
tant position  in  life. 

But  aren't  there  a  lot  of  us  who  would  live 
differently  if  we  could  afford  to  disregard  out- 
side opinion  and  found  that  we  could  succeed 
in  doing  it. 

It's  like  the  little  boy  who  said,  "when  I 
grow  up,  I'm  going  to  eat  all  the  candy  I 
want,"  and  kept  his  word.  Garbo,  probably 
from  a  child,  yearned  for  as  much  solitude  as 
she  wanted.  And  she  has  succeeded  in  having 
it  against  the  great  odds  of  human  nature 
which  surround  her  and  fight  her  at  every 
turn. 

Q. — How  much  does  friendship  mean  to 
Garbo? 

A. — I've  often  wondered.  Sometimes  I  think 
because  she  lives  so  remotely  that  she  appears 
not  to  need  it  as  much  as  most  people  do.  I 
think,  however,  that  she  can  be  a  great  friend, 
provided  that  the  friend  can  adjust  himself 
or  herself  to  Garbo's  particular  viewpoint  on 
life. 

Q. — Will  Garbo  think  you  have  talked  too 
much  about  her  after  you  have  answered  these 
twenty  questions? 

A. — I  have  no  idea  whether  she  will  or  not. 
But  I  feel  confident  that  by  answering  some  of 
the  many  questions  which  are  continually 
asked  me,  I  can  better  explain  that  she  is  a 
human  being  with  her  own  right  to  live  her  life 
in  her  own  way — regardless  of  whether  it 
happens  to  suit  James  Jones  or  Mary  Smith. 
That's  all  that  really  matters. 


76 


Sylvia  Sidney,  packing  her  picnic  kit  for  a  day  at  the  beach,  seems  undecided  for  how  many  guests  to 
prepare.    But  there  seems  no  cause  for  worry,  Sylvia,  when  those  containers  are  filled  with  salads  et  al. 


Lunch 


eon  a    rresco 


f 


Lunching  and  dining  out-of-doors  becomes  an 
art  when  Sylvia  Sidney  is  the  charming  hostess 


IN  Hollywood,  New  York  or  Nassau,  Sylvia  Sidney's  beach 
picnics  are  famous.  At  the  first  hint  of  recess  from  the 
studio  she  is  off  and  away  to  gather  up  her  picnic  basket  for 
a  day  at  the  beach.  Beg  pardon,  "basket"  is  not  the  word  to 
describe  anything  so  de  luxe  as  Sylvia's  picnic  hamper. 

Some  like  their  food  hot  and  some  like  it  cold.  Everyone  is 
sure  to  find  good  old-fashioned  baked  beans,  spaghetti  or  a 
crisp  salad  in  the  three  containers  with  their  well-fitting  lids, 
or  for  those  who  like  to  grill  their  own,  there  are  plenty  of 
hot-dogs  and  hamburger  steaks. 

Two  large  thermos  bottles  contain  the  drinkables,  soup, 
coffee,  lemonade  or  cocktails.       The  red  and  silver  service  is 


complete  for  six,  with  unbreakable  cups,  plates,  knives,  forks 
and  spoons. 

Miss  Sidney  knows  that  swimming  engenders  hearty  appe- 
tites, so  she  plans  her  menus  accordingly.    Here  is  one  of  them: 


Bouillon  Madrilene 


Deviled  eggs 

Grilled  hamburger  steaks 

Flat  rolls 


Bread  and  butter  and 
Lettuce  sandwiches 
Cup-cakes 


Sometimes  the  menu  will  comprise  a  large  mixed  salad,  rolls, 
ginger-bread  and  iced  tea. 

77 


Franchot  Tone — Fortunes  Favorite 


CONTINUED  FROM  PAGE  52 


three  weeks,  Franchot  crammed  and  boned 
enough  knowledge  to  pass  the  examinations 
with  really  flying  colors.  It  doesn't  matter 
that  the  day  after  he  forgot  everything  he  had 
learned,  for  three  years  later  when  he  graduated 
he  was  a  Phi  Beta  Kappa. 

He  tried  every  form  of  sports,  but  he  just 
wasn't  any  good  at  them  so  he  decided  to  give 
them  up  and  concentrate  on  his  real  love  .  .  . 
his  childhood  love,  acting.  He  became  Presi- 
dent of  the  Dramatic  Club. 

He  doesn't  go  in  for  any  form  of  sports  to- 
day, either,  but  recently  he  started  taking 
singing  lessons,  and  so  conscientiously  does  he 
practice  that  his  mi-mi-mi's  have  developed 
enormously  powerful  muscles  in  his  chest,  neck 
and  arms!  Next  to  swimming,  he  avers,  there 
is  no  finer  exercise  than  the  tra-la-la.  Is  he 
going  to  use  his  voice  in  pictures?  "  If  I  don't," 
smiled  Franchot,  "I'm  wasting  an  awful  lot  of 
money!" 

/^^\UT  of  college  he  joined  a  stock  company  in 
^-'Buffalo.  He  eventually  played  with  Kath- 
arine Cornell,  Sylvia  Sidney,  Lenore  Ulric  and 
Jane  Cowl.  It  was  with  the  young  Theater 
Group  (not  to  be  confused  with  the  distin- 
guished Theater  Guild),  that  Franchot  feels  he 
really  learned  about  acting.  All  the  members 
were  earnest,  ambitious  and  young.  They  were 
also  poor,  so  that  when  our  Mr.  Tone  scored  a 
big  personal  success  in  "  Success  Story"  and  was 
signed  to  come  out  and  make  movies  for 
M-G-M,  he  sped  West  in  a  hurry  to  get  money 
with  which  to  swell  the  lean  coffers  of  the 
struggling  young  Group. 

He  never  went  back.  Almost  three  years  ago 
that  was,  but  Franchot  didn't  count  on  two 
things  that  he  would  make  himself  sufficiently 
interesting  to  movie-goers  so  that  M-G-M 
offered  him  a  five  year  contract,  or  that  he 
would  fall  in  love  with  Joan  Crawford. 

The  first  reason  Mr.  Tone  can't  understand 
very  well,  for  he  has  little  respect  for  the 
"stuffed  shirt"  roles  which  the  studio  insists  he 
play.  (With  the  exception  of  Paramount's 
"Lives  of  a  Bengal  Lancer."  This  is  Tone's 
masterpiece  so  far.  The  real  stuff  came  out  in 
the  boy  then.)  It  mystifies  him  why  he  is  cast 
in  weak,  social-register  roles  when  he  never  did 


anything  of  that  sort  on  the  stage  from  where 
M-G-M  signed  him. 

As  to  the  second  reason,  love,  it  is  easy  to 
understand  why  Group  Theaters  or  even  an 
invitation  to  dine  at  Buckingham  Palace 
couldn't  drag  him  away  from  that. 

He  hasn't  seen  much  of  California  although 
Joan,  who  never  had  a  real  home  before  this, 
doesn't  like  to  leave  it.  Once  Franchot  said  to 
her,  "Darling,  you're  not  working  now,  why 
don't  you  take  a  trip  to  the  Grand  Canyon  or 
somewhere?"  She  replied,  "I've  got  a  Grand 
Canyon  right  in  my  own  back  yard."  So,  as 
said,  Franchot  hasn't  seen  much  of  California. 
Note:     but  he  has  seen  a  lot  of  her  back  yard! 

He  loves  music.  Rather,  he  idolizes  it.  He 
has  a  superb  collection  of  operas,  and  a  pro- 
found knowledge  of  the  history  of  each  and  of 
its  composer.  When  a  musical  mood  seizes 
him,  and  there's  never  any  time  element  on 
things  like  that,  he  listens  and  listens  and 
listens!  He  has  a  fine  machine  that  plays  a 
great  many  records  in  rotation,  and  sometimes 
the  boy  gets  so  entranced,  he  sits  on  the  floor, 
right  next  to  the  machine,  and  practically 
sticks  his  head  inside  the  sounding  board.  If 
the  room  is  filled  with  people,  he  doesn't  realize 
it.    He  just  isn't  there.     Nor  does  he  care. 

Tone  is  no  Pollyanna,  but  he  is  a  fair  and 
honest  critic.  He  will  deliver;  when  asked, 
opinions  on  the  screen  performances  of  his 
friends;  and  if  these  opinions  do  not  meet  with 
the  approval  of  those  friends,  they  have  the 
satisfaction,  at  least,  of  knowing  they  are 
genuine  reactions.  In  other  words,  those  who 
want  the  truth  from  this  forthright  gentleman 
get  it,  palatable  or  not. 

A  LSO,  he's  a  sticker-upper  for  the  under  dog. 
'  ^Not  long  ago,  one  of  his  closest  friends  re- 
lates, Tone  was  in  a  room  with  a  group  who  were 
doing  a  bit  of  fancy  tongue  butchery  over  the 
character  of  one  then  absent.  Tone,  as  the 
friend  happened  to  know,  did  not  like  the  per- 
son under  discussion;  but  this  did  not  prevent 
him  from  rising  slowly  to  his  feet  and  with  a 
few  quiet,  but  rapier-like  remarks,  defending 
the  absent  one.  And  yet,  says  the  friend,  Tone 
would  not  hesitate  for  a  second  to  give  his  real 
opinion  to  that  person  ...  to  his  face. 


He  likes  good  books.  Especially  those  on  the 
theater,  of  which  he  has  an  enviable  library. 
"South  Wind,"  by  Norman  Douglas,  happens 
to  be  his  favorite  reading  because  "it  has 
everything." 

If  he  were  furnishing  a  house,  and  if  he  lived 
in  New  York,  he  would  go  to  Macy's  depart- 
ment store  and  buy  Early  American.  That  is, 
if  he  had  to  furnish  a  place.  He  never  used  to 
bother  very  much.  Just  a  bed  and  a  roof 
suited  him  .  .  .  and  he  changed  the  geography 
of  both  when  he  got  tired  of  the  address.  Now 
he  has  a  funny  little  house,  very  habitable  and 
attractive,  that  Joan  helped  decorate.  Fran- 
chot is  highly  pleased  with  it.  He's  probably 
going  to  stay  there. 

TOR  one  of  such  a  reserved  disposition  he's  a 
'  contradiction.  He  doesn't  like  to  be  alone. 
His  own  company,  he  avers,  bores  him.  But 
he  doesn't  like  a  lot  of  people  either.  Just  a 
few  who  are  real  friends.  Intelligent  folk  who 
are  interested  in  and  can  discuss  any  topic. 
After  all,  any  gent  who's  won  a  Phi  Beta  Kappa 
key  is  no  numbskull.  But  to  be  a  really  nice 
guy  you've  got  to  have  other  gifts  as  well. 
Dancing,  for  example.  Franchot  loves  it,  if 
he's  not  too  tired  and  if  the  girl  is  Joan.  And 
he's  got  to  look  presentable.  Mr.  Tone, 
although  he's  so  lazy  he'd  rather  grow  a  beard 
(and  look  surprisingly  saint-like)  than  shave, 
has  some  nifty  suits.  Hollywood  tailors  turn 
out  his  picture  clothes.  London  experts  make 
his  more  conservative  private  wardrobe. 

He  hasn't  any  specific  plans  for  the  future. 
The  future,  he  reminds  you,  has  always  taken 
care  of  itself.  Nobly.  The  stage,  later,  would 
be  first-rate,  though.  Particularly  with  the 
now  successful  and  beloved  Group  Theater.  A 
trip  to  Russia  would  be  fine.  And  .  .  .  well 
everything  is  interesting  to  him.  He  likes  life. 
The  other  day  I  stepped  into  the  Turf  and 
Field  bar  in  the  Ambassador  Hotel.  Colored 
pictures  and  caricatures  of  famous  stars  adorn 
the  walls.  Witticisms  are  scribbled  all  over. 
Right  smack  on  the  main  wall  I  spied  this  one: 

"Sing  a  song  of  drinking, 

Thirsty  to  the  bone  .  .  . 

Four-and-twenty  greetings 

And  all  from  Franchot  Tone." 


June  Knight  and  Robert  Taylor,  plus  a  mirror,  give  you  the  four  principal  positions  in  the  latest  dance 
creation  of  Dave  Gould — of  "Continental"  and  "Carioca"  fame — "Broadway  Rhythm."  You'll  see  June  and  Bob 
glide  through  this  intriguing  dance  more  fully  in  M-G-M's  forthcoming  musical  extravaganza,  "Broadway 
Melody  of  1936."  In  addition  to  Miss  Knight  and  Taylor,  the  cast  includes  a  galaxy  of  screen,  stage  and 
radio    stars    headed    by    Jack    Benny.     It    sounds    exciting,    something   for   the    terpsichorean-inclined    to    see 


78 


THE  ANSWER  MAN 


IT'S  the  same  gaiety  and  charm  which  be- 
witched you  in  "Paris  in  Spring"  that  "sold" 
Mary  Ellis  to  the  movie  colony.  Out  there 
they  called  her  "the  darling  of  the  foreign 
legion  in  Hollywood."  No  foreign  star  ever  en- 
joyed more  whole-hearted  popularity  in  the 
American  film  center  than  Mary. 

Mary  objects  to  being  called  a  "foreign 
star."  She  was  born  in  New  York,  and  she 
shocks  Londoners  by  eating  hamburgers  and 
corn  on  the  cob,  American  fashion.  Also,  she 
sang  for  three  years  in  the  Metropolitan  Opera 
in  New  York  before  she  ever  made  a  name  for 
herse'f  on  the  London  stage. 

She  deserted  the  operatic  stage  and  high- 
brow drama  ten  years  ago  when  she  inspired 
Rudolph  Friml  to  write  his  famous  musical 
comedy,  "Rose  Marie."  Mary  was  the  original 
Rose  Marie.  In  the  role  she  made  a  phenomenal 
success  both  in  New  York  and  London.  It 
was  then,  in  1924,  that  Hollywood  first  offered 
her  a  contract.  She  refused.  Thought  she 
wouldn't  like  working  before  the  cameras  and 
without  an  audience. 

Now  she  admits  she  was  wrong.  Loves  pic- 
ture work  and  says  her  biggest  thrill  came 
when,  finishing  a  scene  for  "Paris  in  Spring" 
one  day,  those  working  on  the  set  with  her 
applauded  enthusiastically.  She  considers  a 
prop-man's  okay  more  important  than  the 
praise  of  a  prince. 

Her  contract  with  Paramount  calls  for  her 
services  six  months  out  of  the  year.  The  other 
six  she  goes  to  London  to  do  a  play.  In  England 
she  lives  on  a  little  farm  near  Sussex.  Her 
favorite  pet  is  a  Welsh  pony  she  rescued  from 
the  mines  and  named  Taffy.  Taffy  pulls  her 
to  market  in  a  dog-cart.  He's  fond  of  his  mis- 
tress, but  whenever  she  approaches  him  with 
slacks  on  he  kicks  her — right  in  the  slacks. 

Mary  Ellis  has  been  married  three  times, 
but  is  free  now.  Her  third  husband  was  Basil 
Sidney,  whom  she  played  opposite  for  seven 
years. 

She's  one  of  the  few  actresses  who  tells  her 
right  age.  She  celebrated  her  thirty-sixth  birth- 
day in  June.  But  she  looks  twenty-one — even 
without  a  particle  of  make-up  on. 

She's  enjoyed  fame  and  success  in  opera, 
drama,  musical  comedy.  Now  watch  her  sky- 
rocket to  the  top  on  the  screen! 

Thelma  Grande,  Jamestown,  N.  D. — Joe 
Morrison  was  born  in  Grand  Rapids,  Michigan, 
November  19,  1908.  Morrison  is  his  real  name. 
Proof:  His  mother  was  Augusta  Herrmann 
Morrison   his  father  Fred  Morrison 

Eleanor  Morgan,  Princeton,  N.  J. — 
William  Powell  has  been  twice  married  and 
twice  divorced.  His  first  wife  was  Eileen  Wil- 
son, mother  of  Bill,  Jr.  Carole  Lombard  was 
his  second  wife.  Powell  was  born  July  29,  1892. 

Marjorie  Wyatt,  Richmond,  Calif. — Your 
letter  to  Cal  York  has  been  handed  me  for 
answer,  since  we  don't  publish  letters  in  the 
gossip  column. 

Gertrude  Lawrence  is  famous  on  the  legit- 
imate stage,  both  in  New  York  and  London. 


Star  of  opera,  drama  and  musical 
comedy  both  here  and  abroad, 
Mary  Ellis  is  now  going  places  on 
the  screen.  You  saw  her  in  "Paris 
in  Spring."    Just  now,  she's  abroad 


She  is  an  English  actress,  born  in  London  on 
the  Fourth  of  July,  1898.  Among  the  hit  plays 
in  which  she  was  starred  are:  "Babes  in  the 
Woods,"  "TheMiracle,"  "Fifinella,"  "London 
Calling,"  "Chariot's  Revue,"  "Candlelight," 
and  many  other  successes.  She  was  married  to 
Francis  Gordon-Howley,  and  had  one  child,  a 
girl  who  is  now  about  fourteen  years  old. 
She  entered  pictures  in  1929,  making  "The 


Gay  Lady"  for  Paramount.  Since  then  she  has 
made  several  foreign  films,  but  has  devoted 
most  of  her  time  to  the  stage 

No,  Miss  Lawrence  is  not  married  to  Doug 
Fairbanks,  Jr.  They  recently  made  a  film  to- 
gether for  British  International  Pictures 
"Mimi."  And  there  have  been  rumors  of  ro- 
mance about  the  couple  ever  since  Doug,  Jr. 
went  to  England. 

Fay  Jane  Goolsby,  Canton,  N.  C. — Janet 
Gaynor  was  born  in  Philadelphia,  Pa.,  on  the 
sixth  of  October,  1906.  She  has  auburn  hair 
and  brown  eyes.  Weighs  96  pounds  and  is 
exactly  5  feet  tall.  Charles  Farrell  was  born 
in  Onset,  Mass.,  on  August  9th,  1902.  He  is 
6  feet  2,  and  weighs  170  pounds.  Charlie's  hair 
and  eyes  are  brown. 

E.  G.,  Canton,  N.  C— Claudette  Colbert 
was  born  in  Paris,  France.  She  is  5  feet  4 
weighs  107.  New  York  City  was  Gene  Ray- 
mond's birthplace.  He  is  5  feet  10  and  weighs 
157  pounds.  Mary  Carlisle  was  born  in  Bos- 
ton. She  is  5  feet  1,  weighs  exactly  100  pounds. 
Joan  Blondell  is  another  New  Yorker.  Her 
height  is  5  feet  4,  weight  118.  Mae  West  hails 
from  Brooklyn,  New  York.  She  is  5  feet  5  and 
weighs  120  pounds. 

Annie  V.  Knight,  Canton,  N.  C. — Looks 
as  if  this  is  the  special  Canton  edition!  Okay, 
Canton!  Evelyn  Venable  was  born  in  Cin- 
cinnati, Ohio.  She  is  5  feet  6)4.  inches  tall 
Douglas  Montgomery  is  a  son  of  the  Golden 
West,  born  in  Los  Angeles.  His  height  is  6 
feet.  Clark  Gable's  birthplace  is  Cadiz,  Ohio, 
where  they  are  still  trying  to  make  a  preacher 
out  of  him.    Clark  is  an  even  6  feet  tall. 

J.  D.  W.,  Portland,  Oregon. — Yes,  the 
little  girl  who  "stole  the  show"  in  "George 
White's  Scandals"  was  Eleanor  Powell,  queen 
of  tap  dancers.  She  has  blue  eyes  and  chestnut 
hair.  Eleanor  was  born  in  Springfield,  Mass. 
And  her  next  film  is  "Broadway  Melody." 
Watch  the  October  issue  for  more  information 
about  her — and  maybe  a  picture. 

Norma  Clark,  Kansas  City,  Mo.— Your 
questions  about  Henry  Wadsworth  were  all 
answered  on  this  page  in  our  August  issue. 
Mind  looking  up  your  last  month's  copy, 
Norma?   Thanks. 

Miss  B.  Wright,  Chicago,  III.— Calm 
yourself,  lady.  Your  favorite  is  not  married. 
Phillip  Reed  has  never  forsaken  the  state  of 
single  blessedness,  and  we  haven't  even  heard 
a  romantic  rumor  about  him  recently.  Phillip's 
real  name  is  Milton  LeRoy.  He's  a  graduate  of 
Cornell  University.  His  first  film  was  "College 
Coach,"  made  in  1933. 

E.  V.,  Nashville,  Tenn—  Robert  Taylor's 
real  name  is  S.  Arlington  Brugh.  He  was  born 
in  Filley,  Nebraska.  He  is  6  feet  Y2  inch  tall 
and  weighs  165  pounds.  Has  brown  hair,  blue 
eyes.  His  last  film  was  "Murder  in  the  Fleet." 
(Story  about  him  in  this  issue — ed.) 

79 


80 


PHOTOPLAY   MAGAZINE  FOR  SEPTEMBER,    1935 


gjftCWtCe,  comes  to 
the  girl  who  guards  against  COSMETIC  SKIN 


SOFT,  SMOOTH  SKIN  wins  romance— tender 
moments  no  woman  ever  forgets!  So  what 
a  shame  it  is  when  good  looks  are  spoiled  by 
unattractive  Cosmetic  Skin. 

It's  so  unnecessary  for  any  woman  to  risk 
this  modern  complexion  trouble — with  its 
enlarged  pores,  tiny  blemishes,  blackheads, 
perhaps. 

Cosmetics  Harmless  if  removed  this  way 

Lux  Toilet  Soap  is  made  to  remove  cosmetics 
thoroughly.  Its  ACTIVE  lather  guards  against 
dangerous  pore  clogging  because  it  cleans  so 


deeply — gently  carries  away  every  vestige  of 
hidden  dust,  dirt,  stale  cosmetics. 

You  can  use  cosmetics  all  you  wish  if  you 
remove  them  this  safe,  gentle  way.  Before  you 
put  on  fresh  make-up  during  the  day — ALWAYS 
before  you  go  to  bed  at  night — use  Lux  Toilet 
Soap. 

Remember,  this  is  the  fine,  white  soap  9  out 
of  10  screen  stars  have  used  for  years.  Begin 
today  to  use  it!  It  will  protect  your  skin — 
give  it  that  smooth,  cared-for  look  that's  so 
appealing. 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


81 


Claudelte  Colbert 

STAR  OF  PARAMOUNT'S  "THE  BRIDE  COMES  HOME" 


Use  Cosmetics?  Yes,  indeed! 
But  I  always  use  Lux 
Toilet  Soap  to  cj uard 
against" Cosmetic  Skin 


JEWELS  IN 
YOUR  HAIR 


The  time  has  come  to  think  about 
shedding  your  Summer  tan,  con- 
ditioning your  hair  and  nails  for 
autumn  nights.  "Candlelight  Com- 
plexions," "A  Heavenly  Halo," 
and  "The  Perfect  Home  Manicure" 
are  yours  for  a  stamped,  self-ad- 
dressed envelope.  Write  Carolyn 
Van  Wyck,  Photoplay  Magazine, 
1926     Broadway,     New    York    City 


Ann  Sothern  in  "After  the  Dance" 
portrays  the  influence  of  the  Ren- 
aissance upon  hair.  Try  weaving 
a  strand  of  pearls  through  your 
coiffure  or  posing  a  garland  of 
flowers  as  you  would  a  diadem.  A 
halo  braid  or  crown  curls  may  give 
you  a   new  personality  for  evening 


Kitty  Carlisle's  smoothly 
sculptured  coiffure  plays  u;i 
her  perfect  "widow's  peak." 
Try  placing  your  puffs  at  va- 
ried angles,  horizontally  or 
vertically,  to  broaden  or 
lengthen  your  face  as  desired 


Natural  charm  is  the  keynote 
of  Loretta  Young's  youthful 
hairdress.  Freshly  brushed, 
with  not  too  much  curl,  her 
hair  is  excellent  in  style  and 
length  for  the  young  girl  who 
may  wish  to  mask  a  long  neck 


82 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,    1935 

MIRIAM  HOPKINS 

Starring   in    Pioneer's   New 
Technicolor  Picture 

"BECKY  SHARP" 

Max  Factor's  Make-Up 
Used  Exclusively 


83 


Reveals  Her 
Beauty  Secret 

MIRIAM  HOPKINS  and  Janet  Ross  met 
in  Hollywood  for  the  first  time  since 
their  school  days  together.  Only  a  few  years 
had  passed,  but  what  a  change  it  had  made 
in  the  two  girls!  Miriam  Hopkins  was  love- 
lier than  ever,  charming,  poised.  Janet  was 
dull-looking,  self-conscious,  awkward. 

"Please  tell  me,"  asked  Janet,  "is  there 
anything  an  average  girl  like  me  can  do  to 
be  more  attractive?" 

Of  course  there  was!  The  first  step  to 
beauty  was  to  obtain  expert  advice,  so  Miriam 
Hopkins  took  Janet  to  Max  Factor,  the  Hol- 
lywood genius  of  make-up.  To  her  delight  and 
amazement,  Janet  learned  that  the  secret  of 
beauty  which  had  dramatized  the  loveliness 
of  Miriam  Hopkins  could  be  used  by  anyone. 

"Color  harmony  make-up  will  reveal  the 
beauty  in  your  face  just  as  it  does  with 
screen  stars,"  Max  Factor  told  Janet.  "You 
shall  see  for  yourself  what  powder,  rouge  and 
lipstick  in  your  color  harmony  shade  will  do." 

With  the  instinct  of  a  true  artist,  Max 
Factor  selected  and  applied  the  colors  that 
would  bring  out  in  the  dull  little  face  before 
him,  the  priceless  and  elusive  thing  called 
beauty.  Rachelle  powder  to  enliven  the  skin 
and  give  it  satin-smoothness,  Blondeen  rouge 
to  give  alluring  lifelike  color  to  the  cheeks, 
Vermilion  lipstick  to  accent  the  youthful 
tone  of  the  lips.  Color  harmony  powder, 
rouge,  lipstick  .  .  .  the  living  portrait  was 
finished... and  another  woman  experienced 
the  joy  of  seeing  for  the  first  time,  beauty  in 
her  own  face! 

Would  you  like  to  see  what  an  amazing 
change  color  harmony  make-up  will  bring 
about  in  your  face?  If  you  are  a  blonde, 
brunette,  brownette  or  redhead,  there  is  a 
color  harmony  make-up  that  will  transform 
you  into  a  radiant  new  being... Max  Factor's 
Powder,  one  dollar;  Max  Factor's  Rouge, 
fifty  cents;  Max  Factor's  Super-Indelible 
Lipstick,  one  dollar.  At  all  leading   stores. 


ecof/tei 


oxmAi 


Won 


ould  you  like  Max  Factor  to  give  you  a 
personal  make-up  analysis,  and  send  you 
a  sample  of  your  color  harmony  make-up? 
Would  you  like  an  illustrated  booklet  on 
"The  New  Art  of  Society  Make-Up?"  Mail 
the  coupon  and  all  these  will  be  sent  to  you. 


J  a  net   v^vaa 

Tells  Her  Own  Story  About 

COLOR  HARMONY  MAKE-UP 

"MAX  FACTOR'S  POWDER  brought 
out  unexpected  beauty  in  my  face  through 
the  magic  of  its  color  harmony  shades. 
I  find  it  clings  for  hours,  and  makes  my 
skin  appear  satin-smooth  even  in  a  close-up. 

"MAX  FACTOR'S  ROUGE  is  creamy- 
smooth,  and  blends  so  perfectly  that  the 
lovely  tones  appear  to  be  my  own  coloring. 
It  keeps  its  true  color  in  any  light  because 
the  color  harmony  shades  are  light-tested. 

"MAX  FACTOR'S  SUPER-INDELIBLE 
LIPSTICK  is  moisture-proof,  so  I  apply 
it  to  the  inner  as  well  as  the  outer  surface 
of  the  lips  giving  them  an  even,  harmon- 
ized color  that  is  really  lasting." 


ax  lacior  *  ttoIlijwoo 


j 


SOCIETY  MAKE-UP— Face  Powder,  Rouge.  Lipstickin  Color  Harmony 


©  1935  by  Max  Factor  &  Co. 


:  Mail  for  POWDER,  ROUGE  AND  LIPSTICK 

IN    Y0UH 

COLOR  HARMONY 

• 
* 

J  MAX  F  \<   n  IK.  \la«  h,  lor'<  Make  Up  Studm,  Hollywood: 

COMPLEXIONS 

EYES       1             HAIR 

• 

*  alio   Lipstick   Color  Sampler,    four   'had**.     1  cnrhur   \tn  crnts   for   posugf 
J  ami   handing.     \U<.  send  m.-  mv  Color   Harmon*    Makr  1  r.  Chart  and  48-p,lp- 

#  Illustrated  In  si  rue  Lion  book,  "The  New  Art  of  Society  Make-Up". .  .  FRF "F 
J                                                                                                                     1  -9-98 
-   X'AMF 

v,.xL.Bht — a 

fi.r a 

C«.my D 

Medium D 

Ruddy D 

Sallow D 

Freckled D 

Ol.ve D 

Blue D              BLONDE 

GrjK D      Light__0    D»rk._D 

Green  _  _  D         BROWNETTE 

h»«i — d   Light,. a  D»rk..a 

Brown —  D           BRUNETTE 

J 

*  STHFFT 

LASHEStCtte'il      "  REDHEAD 
Light D     Light. _D  Dirk..D 

• 

• 

Fashion  Forecasts  for  Autumn 


CONTINUED  FROM  PAGE  53 


greens  with  yellow  cast  emerging  into  blue 
tones  in  late  autumn;  new  rust  tones;  wine 
shades,  deep  and  rich.  Black,  of  course, 
but  not  much.  Tweed  mixtures. 
Fabrics:  Woolens  with  nubby  surfaces  will 
lead  for  street  wear  with  classic  serge  and 
Poiret  twills  for  suits  swinging  back  into 
the  fabric  picture.  Sheer  woolens  for 
frocks  with  their  related  coats  in  color  and 
fabric  of  heavier  construction.  Homespuns 
and  jerseys  with  a  long  hairy  finish.     Vel- 


Nobody  knew  her!  Jean  Muir  put 
on  a  play  at  a  small  theater.  And 
when  her  character  woman  fell  ill, 
Jean  donned   make-up  for  the  role 

veteens.  Smooth  looking  two-toned  tweeds 
in  all-over  geometric  pattern. 
Silhouette:  Very  trim,  sleek  and  slightly  more 
flare  than  last  season.  Lengths  will  be  from 
twelve  to  thirteen  and  one-half  inches  from 
the  floor.  Coats  either  princess  with 
molded  waistline  or  swagger,  two-thirds  or 
three-quarter  lengths,  giving  the  impressiQn 
of  bulk.  Capes  in  all  lengths.  The  cape 
suit  with  waistcoat  receiving  favorable 
comment.  Cape  effects  through  clever 
sleeve  manipulation.  Bulk  is  definitely 
smart  when  it  occurs  in  the  right  garments. 
Fall  coats  show  soft  drapey  "bulkiness"  at 
the  top.  Collars  high,  wide  and  rippled. 
"Back  to  college,"  suits  of  the  three  piece 
variety  with  short  jackets  buttoned  up  to  a 
high  point  and  boxy  top  coats  the  choice. 
Knee-length  suits  for  high  fashion.  In 
skirts,  action  is  the  keynote,  fluidity  of 
movement.  Flared  more  than  last  season, 
but  a  straight  flare  achieved  through  six  to 
eight  gores  from  hip-line  or  waist-line. 

SPORTS 

Keep  to  tradition  and  the  masculine  view- 
point for  sportswear.    A  classic  sports  founda- 


tion is  a  tweed  suit  or  a  well-cut  skirt  of  tweed, 
a  plain  soft  woolen  sweater,  light  weight 
woolen  stockings  or  half  stockings  over  lisle. 
Amusing  variations  may  be  achieved  by  a  col- 
orful kerchief,  scarves  and  gloves.  Felt  hats 
must  be  plain  but  chic.  The  Englishwoman 
buys  her  accessories  of  this  nature  in  a  man's 
store.  She  even  buys  her  sweaters  there 
Clever  accessories  make  an  amusing  whole, 
when  the  assembled  effect  is  casual. 

AFTERNOON 

Fabrics:  Soft  and  supple  rather  than  harsh 
textures  are  supreme  in  a  season  when  the 
draped  technique  reigns.  Changeable 
weaves,  cloky  crepes,  satins,  cellophane 
crepes  and  velvets.  Sheer  woolens  that 
look  like  silk  and  silks  that  resemble 
woolens. 

Silhouette:  Wider  and  fuller  is  the  watch-word. 
The  belted  silhouette  is  coming  back 
stronger  than  ever.  Fashion  interest  is  at 
the  front  either  through  straight  fullness  of 
the  skirt  from  belt-line  to  hem  or  through 
bodice  subtlety.  Dressmaker  detail  in 
shirring  and  faggoting  is  important.  The 
"buttoned-up-the-back"  style  appears  even 
in  coats.  Sleeve  fullness  mounted  high,  be- 
comes tight  at  the  wrist  or  really  volumi- 
nous. Open  neck-lines  will  receive  increased 
endorsement  as  the  season  advances.  The 
shirt-maker  dress  for  the  cocktail  hour  con- 
tinues in  importance  with  the  new  formal 
suit  of  stiff  velvet. 

Hats:  Suit  yourself  and  your  costume,  but 
wear  your  hat  with  dash.  Nips,  tucks  and 
clever  seamings  stamp  the  new  felts.  Im- 
aginative shapes  should  be  chosen  with  dis- 
cretion and  only  when  you  may  possess 
many  hats  can  you  afford  to  be  whimsical. 
Berets,  large  and  small,  in  velvets,  ante- 
lope-suede and  felt.  Turbans  show  the 
Florentine  inspiration.  Reboux's  "half 
hat"  with  cuff  brim  and  very  little  back 
except  a  bow,  may  be  worn  for  both  formal 
and  informal  occasions.  Velvet  with 
ostrich  indicates  the  return  of  elegance  in 
fashion.  Veils  add  a  decorative  note  to 
many  hats.  '-- 

Jewelry:  Select  ornaments  with  an  eye  toward 
the  costume  they  will  adorn.  Clips, 
brooches  and  buckles  are  important  in  a 
season  when  drapery  must  be  anchored. 
Bracelets  of  gold  and  silver  larger  than  ever. 
Adapted  from  the  Renaissance,  pearls,  ever 
in  demand,  are  even  woven  through  the 
coiffure.  If  you  are  the  proud  possessor  of 
real  jewels,  your  wardrobe  should  be  built 
around  them.  Marlene  Dietrich  has 
magnificent  jewels  and  every  costume  for 
her  personal  wardrobe  is  built  around  them. 

EVENING 

Colors:  Here  again  color  is  flexible  and  un- 
limited. But  the  light  in  which  colors  will 
be  worn  must  be  considered.  Subtle  colors 
are  lost  under  subdued  lighting.  White  and 
black  are  clear  and  perfect  for  evening 
formality.  Navy  blue  in  a  rich  fabric.  In 
velvets,  the  Renaissance  jewel-tones,  vibrant 
blues,  Raphael  reds  and  Veronese  greens. 

Fabrics:  Inspiring  in  their  rich  patterns  are  the 
heavy  brocades,  stiff  with  gilt  threads,  in 
large  design.  Gold  ostrich  plumes  on  a 
stiff  brittle  taffeta,  the  fabric  from  which 


the  bouffant  creation  which  Marlene  Diet- 
rich will  wear  in  "The  Pearl  Necklace,"  was 
executed.  Gold  and  silver  lames  in  woven 
combination  with  pastel  colors.  Velvets 
with  cellophane  weaves. 

Silhouette:  Evening  clothes  will  clear  the  floor, 
with  uneven  hem-lines,  with  curved  cut-up- 
in-front  hem-lines,  with  points  and  scallops 
around  the  floor  The  train  is  to  be  de- 
plored on  the  dance-floor.  It  had  to  be  held 
up  awkwardly  and  revealed  the  worst  line 
of  the  leg.  The  primary  duty  of  a  dance 
dress  is  to  look  well  while  dancing.  Go  the 
limit  with  trains  and  frills  but  wear  them 
at  home. 

Wraps:  Evening  wraps  will  belong  to  the  dress 
they  are  worn  over;  or  the  woman  who  must 
limit  her  wardrobe  will  have  one  or  two 
wraps  she  can  wear  over  everything.  A 
good  wrap  is  one  that  covers  the  dress 
entirely  and  makes  a  complete  costume  in 
itself.  It  does  not  matter  what  is  worn 
under  a  wrap  of  this  description,  since  the 
dress  is  not  seen  until  the  wrap  is  removed. 
You  can  plan  your  wardrobe  to  wear  with 
one  wrap. 

For  instance,  Claudette  Colbert  was 
going  to  New  York  recently  and  did  not 
wish  to  carry  a  lot  of  baggage.  I  designed 
her  an  evening  wardrobe  to  wear  with  one 
wrap  of  dark  sapphire  blue  velvet. 

There  was  a  gown  of  sapphire  blue  lame, 
a  white  chiffon  with  a  blue  velvet  sash  and 
slippers.  Then  a  gown  of  French  blue  with 
slippers  the  same  color,  which  harmonized 
beautifully  with  the  wrap.  The  idea  is  to 
plan  your  campaign  in  advance  and  not  be 
carried  away  by  some  dress  that  has  no 
relation  to  the  ensemble 


Bill  Robinson,  king  of  tap  dancers, 
and  his  wife  were  glad  to  get  home! 
They'll  stay  in  New  York  until  work 
starts   on    Bill's    next    RKO    picture 


84 


PHOTOPLAY   MAGAZINE   FOR  SEPTEMBER,    I93S 


85 


The  snapshots  you'll  want  Tomorrow 
you  must  take  Today 

What  can  bring  back  the  mood  and  meaning 
of  a  precious  hour  —  like  snapshots?  First  aid 
to  romance  —  how  well  they  tell  "the  old,  old 
story."  Don't  take  chances  with  these  pictures 
that  mean  so  much  —  your  camera  is  more 
capable,  surer  in  performance,  when  loaded 
with  Kodak  Verichrome  Film.  You  get  people's 
real  expressions,  their  naturalness.  Your  snaps 
turn  out.  Always  use  Verichrome  . . .  Eastman 
Kodak  Company,  Rochester,  N.  Y. 


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Guessing  Right  for  Stardom 


|  CONTINUED  FROM  PAGE  25  ! 


play  the  lead  in  this  staccato  story  of  the 
Federal  drive  on  gangsters.  They  called  Mr. 
Robinson  in,  and  the  conversation  went  some- 
thing like  this: 

"  Eddie,  we've  got  a  great  part  for  you.  We 
have  a  picture  that  is  going  to  make  more 
money  than  any  in  years.  It's  a  honey  It 
will  make  you  more  famous  than  you've  ever 
been.    We  picked  it  for  you,  etc." 

But  Mr.  Robinson  shook  his  head  sadly. 
"No,"  he  said,  "I  couldn't  consider  it.  The 
public  doesn't  want  to  see  me  in  any  more 
gangster  roles  or  gangster  pictures.  I  shall 
have  to  do  something  else." 

"  But  you  won't  be  a  gangster.  You'll  be  a 
Federal  man,"  they  protested. 

"No,  no,  no,"  said  Mr.  Robinson,  and 
nothing  they  could  say  would  budge  him. 

And  so  Jimmy  Cagney,  whose  contract 
didn't  permit  him  to  turn  down  the  job,  was 
assigned  to  "G-Men."  At  this  writing,  the 
picture  has  grossed  six  hundred  thousand 
dollars  and  is  expected  to  top  a  gross  of  a  mil- 
lion and  a  half  at  least. 

/""AGNEY,  who  had  been  sliding  along  at 
^-Warners  in  a  series  of  unimportant  roles, 
gained  a  new  lease  on  his  screen  life  as  a  result. 
And  so  has  Robert  Armstrong  who  played  the 
part  Jack  Holt  firmly  declined.  "  G-Men"  has 
been  what  the  genties  of  the  picture  industry 
call  a  wow.  Mr.  Robinson  is  about  to  make 
"Barbary  Coast"  for  Sam  Goldwyn,  and  while, 
of  course,  this  may  do  him  equally  as  much 
good  as  "G-Men,"  I  have  a  strong  hunch  that 
Eddie  is  regretful  of  his  adamant  attitude. 

There's  the  case  of  "It  Happened  One 
Night."  How  many  million  dollars  that  little 
program  number  has  poured  into  the  coffers  of 
Columbia  only  Harry  Cohn  knows,  but  it  has 
played  fourteen  thousand  theaters  in  this 
country  and  five  thousand  in  foreign  parts. 
One  small  theater  in  Hollywood,  the  Marcal, 
has  booked  it  six  different  times,  and  a  theater 
in  Seattle  played  it  fourteen  weeks  straight. 

Claudette  Colbert  was  the  only  one  of  the 
cast  who  wanted  to  play  her  part,  but  then 
Claudette  is  that  rare  exception,  an  actress 
who  so  far  has  proved  she  can  pick  stories.  She 
sees  the  thing  in  its  entirety  rather  than  as  a 
script  with  big  individual  scenes  which  give  her 
a  chance  to  emote.  Clark  Gable  fought  like  a 
steer  about  making  it.  He  even  sulked  and 
stormed  and  balked  after  he  had  actually 
started  to  work.  Finally,  Capra  took  him 
aside  and  said,  "Come  on,  Clark,  be  a  sport. 
You're  here.  Let's  see  what  we  can  do  with 
it."  What  they  did  was  to  do  more  for  Clark 
as  an  actor  than  any  picture  since  he  started 
his  career! 

Incidentally,  the  story  of  "  It  Happened  One 
Night"  was  pretty  well  kicked  around  before  it 
was  even  made.  It  originally  belonged  to 
Metro  and  was  bought  for  Robert  Mont- 
gomery. Metro  traded  it  down  the  river  with 
(  lark  Gable  to  boot  in  exchange  for  the 
services  of  Director  Frank  Capra  to  direct 
"Soviet"  ("Soviet,"  after  much  preparatory 
work,  was  never  made). 

And  while  we're  on  the  subject  of  Claudette 
Colbert  and  her  rare  script  judgment,  let  me 
cite  you  the  case  of  "Imitation  of  Life."  She 
took  that  against  everyone's  advice,  and  cer- 
tainly her  role  sounded  anything  but  attractive. 
People  warned  her  against  it,  but  Claudette 

86 


seeing  the  script  as  a  whole,  thought  it  would 
make  a  fine  picture  and  thereby  do  her  good. 
She  told  me  before  she  started,  "People  say  I 
am  wrong,  but  I  know  I  am  right." 

Warren  William,  who  also  benefited  by 
"Imitation  of  Life,"  stood  up  on  his  two  hind 
feet  and  yelled  to  the  skies  that  he  would  posi- 
tively not  play  in  such  a  thing.  The  argument 
went  on  for  days.  Warren  cursed  and  shouted 
and  banged  the  desk  and  inquired  of  anyone 
who  would  listen  why  he  should  do  that  sort  of 
a  part  when  he  really  belonged  in  romantic 
swashbuckling  roles,  a  Captain  Blood  or  some- 
thing akin?  He  finally  played  the  role,  and  it 
was  the  best  thing  he's  ever  done. 

If  Mr.  Gable  and  Mr.  William  always  exer- 
cised their  own  "horse  sense"  about  stories. 


"Broadway  Joe"  is  the  name,  and 
Joe  E.  Brown  has  a  snappy  outfit 
for  the  role.  Bet  he'il  start  a 
fad   for  shoe-string    neck-ties 

where  do  you  think  they  would  be  now?  I 
tell  you  they  just  can't  see  themselves  in  an 
objective  light. 

I  am  told  that  producers  get  red  in  the  face, 
foam  at  the  mouth,  and  their  hair  stands  on 
end  when  they  run  up  against  one  of  those  con- 
tracts which  gives  the  actor  or  actress  the  right 
to  choose  their  own  stories.  Gradually,  these 
contracts  are  going  out  of  existence,  but  one  of 
the  last  belongs  to  Ann  Harding.  It  was  Ann, 
my  good  readers,  who  declined  "Of  Human 
Bondage"  which  Bette  Davis  took.  Ruth 
Chatterton  also  had  a  crack  at  this.  Perhaps 
both  Ann  and  Ruth  were  right,  but  I  doubt  it. 
A  good  actress  can  take  such  a  role  and  prac- 
tically do  as  she  chooses  with  it.  Think  of  the 
ride  to  glory  either  one  instead  of  Bette  Davis 
might  have  taken. 

K  10  horse  sense,  most  of  them,  did  I  say? 
'  ^  Joan  Crawford  fought  like  a  fool  not  to  play 
in  "Forsaking  All  Others."  She  gave  as  her 
excuse  that  she,  Joan,  a  star,  should  not  play 


with  two  leading  men,  Gable  and  Mont- 
gomery, dividing  up  the  honors.  I  sat  in  the 
office  of  M.  C.  Levee,  the  agent,  and  heard  him 
positively  order  her  to  play  in  the  film.  As  you 
may  remember,  it  was  not  only  a  fine  success, 
but  on  the  strength  of  it,  Joan  signed  a  new 
million-dollar  contract  with  Metro-Goldwyn- 
Mayer. 

She  will  never  again  have  to  worry  about 
money  as  long  as  she  lives. 

Let  your  imagination  play  on  this  subject  for 
just  a  minute.  Suppose  Joan  had  succeeded  in 
her  balking.  Suppose  she  had  refused  to  make 
"Forsaking  All  Others."  Maybe  she  would 
have  played  in  a  dismal  flop.  Perhaps  M-G-M 
might  not  have  renewed  her  contract,  and 
Miss  Crawford,  a  veritable  queen  for  so  long, 
would  have  found  pride  standing  in  her  way 
from  signing  something  not  terrifically  lucra- 
tive. She  might  have  fussed  around  for  a  year 
or  so,  or  she  might  have  produced  her  own 
pictures.  It's  been  done  before  by  just  as  in- 
telligent people  as  Joan,  and  where  would  she 
have  been,  at  least  in  a  business  way? 

All  the  trouble  with  Ruth  Chatterton,  who 
however,  still  has  her  bankroll,  began  when  she 
achieved  her  iron-clad  contract  with  Warners 
which  permitted  her  to  choose  her  own  stories. 
If  you  remember,  Warners  and  Paramount  had 
a  long  drawn-out  battle  as  to  who  would  gain 
her  services.  Warners  won,  because  Para- 
mount couldn't  swallow  the  paragraph  which 
permitted  Ruth  to  approve  or  reject  stories. 
There  never  was  a  series  of  worse  stories  than 
those  turned  out  by  Miss  Chatterton  for 
Warners.  She  was  still  the  same  actress  but 
didn't  have  the  right  vehicles.  Ruth  has 
started  work  after  a  two-years'  absence,  and  I, 
for  one,  sincerely  hope  that  Harry  Cohn,  who 
is  a  much  more  astute  picker,  handles  the 
story  end  exclusively  from  now  on. 

I  ET  me  recite  you  the  dramatic  case  of  Leila 
*— Hyams  versus  Maureen  O'Sullivan.  Leila  had 
her  choice  between  "  Freaks,"  to  be  directed  by 
Tod  Browning,  or  "Tarzan,"  a  story  about  an 
ape  man.  Leila  took  "Freaks,"  probably  one 
of  the  worst  pictures  in  history  and  which  did 
not  do  any  one  connected  with  it  the  slightest 
particle  of  good.  Meanwhile,  the  studio 
hunted  around  and  found  a  pretty  little  gir! 
named  O'Sullivan  to  play  opposite  Johnny 
Weissmuller.  In  order  to  get  her,  they  gave  her 
a  contract.  Well,  Miss  O'Sullivan  did  right 
well  as  Tarzan's  mate,  and  in  the  next  few- 
months  while  M-G-M  was  finding  various 
parts  for  her,  she  went  quietly  about  her  knit- 
ting. She  studied,  she  watched,  she  learned, 
she  developed,  until  now  she  is  a  potential  star. 
But  where  is  Leila  Hyams? 

One  might  ask,  also,  where  is  George  Ban 
croft,  since  our  "  Elmer  and  Elsie"  of  last  year? 
Whether  he  had  anything  to  do  with  choosing 
that  ill-fated  comedy,  I  don't  know,  but  I  do 
know  an  amusing  yarn  of  how  he  was  coerced 
into  playing  "Wolf  of  Wall  Street,"  which  was 
one  of  the  first  good  talkies  and  which  did 
Bancroft  much  good.  He  walked  out  of  the 
picture  after  a  day's  shooting,  claiming  he  was 
being  ruined.  The  publicity  department  pre- 
pared a  story  to  the  effect  that  Wallie  Beery, 
whom  Bancroft  feared  and  hated  as  a  rival,  had 
been  given  the  role.  They  released  it  only  in 
the  Santa  Monica  papers  which  they  knew  Mr. 
Bancroft  read.    The  very  next  morning  he  was 


PHOTOPLAY   MAGAZINE   FOR  SEPTEMBER,    1935 


87 


back  at  work!  He  never  did  know  the  hoax 
perpetrated  to  get  him  to  be  good. 

There  never  was  a  more  belligerent  young 
man  than  Franchot  Tone  when  he  arrived  at 
Paramount  to  play  in  "Lives  of  a  Bengal 
Lancer."  He  hated  what  he  called  the  im- 
perialistic story,  he  didn't  like  the  idea  of  his 
being  loaned,  and  he  was  thoroughly  objection- 
able. "Lives  of  a  Bengal  Lancer"  turned  out 
to  be  one  of  the  finest  pictures  of  his  entire 
career. 

Loretta  Young  had  cat  fits  when  they  men- 
tioned "House  of  Rothschild."  As  you  know, 
it  gave  her  a  beautiful  opportunity.  Janet 
Gaynor  didn't  want  to  play  in  "State  Fair" 
because  it  was  an  all-star  cast,  but  she  gave  her 
best  performance  since  "Seventh  Heaven." 
George  Brent  had  a  chance  at  "Oil  for  the 
Lamps  of  China"  but  declined  with  courtesy, 
and  Pat  O'Brien  took  it.  It's  a  swell  picture 
and  has  done  Pat  a  lot  of  good.  It  would  have 
helped  Brent. 

Charles  Laughton  regarded  Mr.  Micawber 
which  W.  C.  Fields  played  in  "David  Copper- 
field"  as  entirely  unsuited  to  his  personality. 
Maybe  he  was  right,  but  he  also  didn't  want 
to  play  Nero  in  "The  Sign  of  the  Cross,"  and 
he  was  simply  elegant  in  that. 

Richard  Arlen  left  Paramount  a  year  ago 
because  he  was  dissatisfied  with  his  roles. 
"Let  me  pick  a  few  and  I'll  show  'em,"  he  told 
his  friends.  Well,  Dick  picked  "Helldorado," 
and  there  wasn't  anything  Paramount  gave 
him  which  was  much  worse.  Dick  is  about 
ready  to  go  back  to  a  studio  and  let  the  pro- 
ducers do  the  story  choosing. 

^\N  the  other  hand,  occasionally,  like  our 
^-'shining  example,  Claudette,  the  actor  IS 
right.  Joel  McCrea  walked  out  of  the  Dietrich 
picture,  "The  Devil  Is  A  Woman,"  when  he 
needed  the  part  badly,  and  a  little  later  went 
into  "Private  Worlds"  which  did  him  a  tre- 
mendous amount  of  good. 

Francis  Lederer  was  supposed  to  appear  in 
"Break  of  Hearts"  with  Katharine  Hepburn, 
but  he  stalked  out  after  two  days  shooting. 
Mr.  Lederer  was  right. 

Jean  Harlow  fought  very  hard  for  "Red 
Headed  Woman." 

Nobody  could  see  her  as  a  comedienne  except 
Paul  Bern,  but  she  fought  and  fought  and 
fought  until  she  got  the  part.  It  was  one  of 
the  best  things  she's  done. 

Everyone  said  when  George  Raft  stubbornly 
refused  to  play  in  the  "Story  of  Temple 
Drake"  that  Jack  LaRue  who  took  his  place, 
would  be  our  next  great  film  hero. 

"  The  Story  of  Temple  Drake  "was  so  bad  Jack 
LaRue  himself  has  never  really  recovered 
from  it. 

One  of  the  funniest  examples  of  an  actress 
choosing  a  bad  story  belongs  to  Constance 
Bennett.  Constance  insisted  upon  doing 
"Rockabye"  which  landed  on  its  ear  with  a 
great  thud,  and  the  reason  why  she  insisted 
doing  it  was  because  it  was  Gloria  Swanson's 
pet  story. 

Connie  went  to  great  lengths  to  snatch 
the  film  away  from  Gloria.  She  inveigled 
Radio  into  buying  it  from  Swanson,  who 
needed  money  badly  at  the  time,  without 
telling  for  whom  it  was  purchased.  Then, 
when  her  studio,  after  its  purchase,  hesitated 
about  making  it,  Connie  stamped  her  foot  and 
said  they  had  to  or  she  wouldn't  play  any 
more.  "Rockabye"  was  an  awful  turkey,  which 
Gloria  must  have  enjoyed  seeing. 

I  am  wondering?  How  long  will  it  be  before 
Shirley  Temple  exercises  her  actress  prerog- 
atives and  insists  upon  choosing  her  own 
stories? 


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Think  Women  Are  Awful'   says  Bette  Davis 


CONTINUED  FROM  PAGE  48 


pouring  out  your  confidences,  that  she  is  going 
to  get  mad  at  you  some  day  and  broadcast  all. 
So,  of  course,  you  don't  tell  all.  You  are 
better  off  to  confide  in  a  man,  if  you  feel  one 
of  those  unavoidable  confidential  spasms 
coming  on. 

"Of  course,  if  you  are  a  woman,  you  must 
confide  in  someone  because  women  haven't 
any  reticence,  anyway.  I  don't  say  there  are 
no  exceptions,  but  the  exceptions  are  so  rare 
they  ought  to  be  museum-pieces. 

"In  my' whole  life  I  have  had  two  women 
friends  I  could  trust — and  one  of  them  is  my 
mother.  I  have  always  had  men  for  friends. 
I  prefer  men.  But  when  you  do,  it  gives  the 
girls  a  Roman  holiday.  They  are  sure  of  the 
worst." 

THESE  opinions  from  Bette,  if  you  know  her, 
'  are  not  at  all  surprising.  If  a  stranger  had 
walked  up  to  the  ivy-covered  front  porch  of 
the  old-fashioned  home  (yes  ma'm,  just  like 
out  of  a  song,  and  very  nice,  too)  and  listened 
to  the  little  blonde  who  looked  like  a  sorority 
sister,  he  might  have  been  quite  startled. 
Bette  is  what  they  used  to  call  "old  for  her 
years,"  but  she  can't  reveal  what  her  exact 
years  are  because  it's  against  the  rules.  It 
gives  her  a  pain.  One  of  the  silliest  things 
about  women,  she  thinks,  is  their  agonized 
fear  of  admitting  their  right  age. 

"If  a  woman  is  fifty  and  looks  forty,  isn't 
that  just  so  much  to  her  credit?" 

She  can't  tell  her  own  age,  which  is  probably 
much  less  than  you  are  thinking  after  this 
build-up,  because  she  is  an  actress  and  the  age 
of  an  actress  always  has  a  vague,  nebulous  and 
speculative  quality.  It  is  a  commercial  asset 
to  keep  it  secret — part  of  the  glay-mour.  I 
would  guess  her  at  twenty-five,  and  heaven 
help  me  if  that's  too  much.  Her  mind  is  rated 
about  fifty. 

"I  have  always  liked  older  women,"  she 
went  on,  folding  up  in  the  big  porch  chair. 
"My  mother's  friends.  For  one  reason,  I 
started  to  work  younger  than  the  girls  I  went 
to  school  with.  When  I  went  back  home  on  a 
vacation,  they  seemed  hopelessly  adolescent. 
They  gave  bridge  parties  and  all  talked  at 
once — 'he  said  to  me'  and  'so  I  wore  my  pink 
chiffon  and  he  said,'  etc.  Why  do  such 
women  play  bridge,  anyway?  They  couldn't 
possibly  concentrate  on  it. 

"Well,  I  got  the  idea  then  that  women  were 
just  loo  terrible.    Hollywood  hasn't  changed  it. 

"And  women's  clubs — the  idea  of  women 
organized  is  appalling.  I  wouldn't  know  what 
to  do  at  a  woman's  club.  The  sexes  were 
ordained  by  nature  to  mingle  for  entertain- 
ment purposes.  Women  assembled  without 
the  steadying  influence  of  the  male  never  listen 
to  what  each  other  is  saying,  so  what  is  the 
object  of  the  whole  thing? 

"Of  course,  in  the  1  heatrical  business  you 
never  have  time  to  know  anyone  or  really  to 
make  friends.  It  takes  time.  And  women 
have  always  suspectt  d  me  because  I  have  too 
many  men  friends.  The  men  I  know  confide 
in  me,  they  tell  rr,e  about  their  romance- 
troubles,  their  ambitions,  the  great  novel  they 
are  going  to  write  tome  day,  the  music  they 
want  to  compose.  I  am  a  swell  audience, 
they  say. 

"There  is  a  strong  clash  between  two  women 
in  the  same  profession   whether  they  admit  it 

88 


or  not.  They  talk  about  each  other  more  and 
worse  than  any  other  women.  With  the  only 
difference  that  they  are  a  little  more  clever 
and  subtle  and  deadly  about  it. 

"If  you  happen  to  be  the  kind  of  a  girl  men 
like,  you  are  damned  forever.  Especially  in 
the  picture  business.  There  are  not  enough 
men  to  go  around,  and  every  one  is  needed. 
Ham,  my  husband,  is  the  only  man  I  have  ever 
loved  in  my  life.  He  is  the  only  one  I  have 
ever  wanted.  But  the  women  suspect  me  just 
the  same. 

"Out  here  the  women  scare  me  to  death. 
They  spend  their  lives  worrying  about  how 
they  look — wondering  if  they  have  managed 
to  look  sexy  enough  without  looking  too  sexy. 
They  can't  make  up  their  minds  about  any- 
thing, except  that  a  man  with  money  is  better 
than  a  man  with  no  money — but  any  man  is 
better  than  none.  They  lose  track  of  them- 
selves and  they  are  constantly  looking  for 
reassurance.  They  mingle  a  lot  of  famous 
names  in  their  conversation,  and  that  helps 
reassure  them  that  they  are  really  important. 

"  I  don't  go  any  place  out  here  because  I 
come  back  home  completely  depressed,  won- 
dering who  is  right,  anyway.  It  almost 
strangles  every  idea  you  ever  had,  there  are  so 
many  against  you.  Of  course  there  are  un- 
doubtedly many,  many  swell  women  I  haven't 
met. 

"When  you  first  come  out  here  and  listen  to 
bunches  of  women  in  dressing-rooms  at  night- 
clubs and  parties,  it  seems  that  the  two  most 
important  things  in  life  are  your  servants  and 
where  you  buy  your  clothes.  'Oh,  this  is  a 
little  thing  I  picked  up  at  Hattie  Carnegie's' 
.  .  .  'My  dear,  I  have  the  most  mahvelous  new 
butler.  He  was  formerly  with  the  Earl  of 
Such-a-Much.  But  the  chauffeur  and  the 
second-maid,  I  actually  think  they  .  .  .' 
/  can't  refrain  from  thinking  that  possibly  the 
servants  are  the  most  interesting  persons 
these  women  know!  Also,  I  received  the  im- 
pression that  servants  in  groups  were  rather 
new  to  most  of  them. 

IT  is  a  difficult  place  to  keep  your  equi- 
librium. If  you  can  hold  your  mind  free  and 
clear,  keep  the  same  ideas  you  arrived  with, 
hold  onto  your  background — you're  SOME- 
THING !  If  it  weren't  for  the  women,  I 
think  Hollywood  might  be  a  pretty  decent 
place  to  live.  They  are  the  ones  who  set  up 
all  the  artificial  values. 

"Women  have  no  sense  of  loyalty  at  all.  Of 
course,  being  a  girl  on  the  stage,  an  actress,  is 
against  you  anywhere.  I  had  the  most  brilliant 
exhibition  of  this  fact  when  Ham  and  I  were 
in  the  East,  a  while  ago. 

"We  were  invited  to  the  Inauguration  Ball. 
Well,  it's  the  sort  of  party  you  certainly  don't 
get  a  chance  to  see  very  often  in  your  life, 
and  never  in  Hollywood.  I  was  all  set  up  and 
very  excited  about  it. 

"Well,  I  give  you  my  word,  when  I  walked 
in  the  atmosphere  in  that  place  was  simply 
fantastic!  The  women's  expressions  said 
'  I'm  sure  she's  tainted.'  They  were,  without  a 
doubt,  the  rudest  women  I  have  ever  seen. 
They  were  typically  the  ones  who  think  of 
nothing  but  getting  husbands,  and  getting 
them  with  the  least  possible  effort. 

"The  men  were  marvelous.  They  sensed 
the  antagonism  of  their  wives  and  clustered 


around  me  in  a  body  to  make  up  for  it.  They 
were  simply  so  grand  I  could  have  broken  down 
and  cried.    But  here  is  the  pay-off: 

"Franklin  D.  Roosevelt,  Junior,  was  intro- 
duced. I  was  terribly  thrilled,  of  course, 
extended  my  hand  to  him — and  the  shoulder 
straps  of  my  dress  broke! 

"On  cue !  As  if  I  had  timed  it  !  These 
straps  giving  way  resulted  in  probably  the 
most  ghastly  situation  in  my  entire  life.  I 
grabbed  the  dress  instantly,  and  the  men 
saved  the  situation.  They  did  the  only 
obvious  thing  to  ease  my  dying  embarrass- 
ment— they  roared  with  laughter! 

"But  the  women — the  women  could  have 
killed  me.  Did  one  of  them  come  to  my  rescue 
with  a  pin,  or  offer  the  faintest  moral  support? 
They  did  not.  They  let  me  see  it  through 
without  a  flicker  of  assistance.  They  think  to 
this  day  I  planned  it,  I  know  they  do.  I  am 
an  actress,  and  actresses  are  not  to  be  trusted. 
If  you  think  I  was  properly  snubbed  at  the 
beginning  of  that  evening,  you  should  have 
seen  the  finish!  They  were  marvelous,  those 
women,  in  their  distrust.  They  were  majestic, 
they  were  outraged  womanhood  organized  in 
a  body  against  this  incredible  snip  who  let 
her  dress  fall  down  ! 

"Every  man  there,  almost,  danced  with  me. 
I  had  a  grand  time." 

Bette  had  to  take  time  out  while  we  both 
shrieked  at  the  picture  of  that  appalling 
disaster.  She  can  appreciate  the  humor  of  it 
now.  Enough  time  has  elapsed  to  take  off 
the  edge,  but  she  anchors  her  shoulder  straps 
with  safety  pins  and  adhesive  tape  before  she 
goes  out.  She  will  never  trust  a  dressmaker 
again. 

"Friendship,"  Bette  remarked,  "is  as  rare 
as  love.  There  is  almost  no  woman  who  can 
except  position  and  possessions  when  she 
chooses  a  friend.  That  is  more  true  in  Holly- 
wood than  any  place  else  in  the  world.  The 
woman  who  has  the  real  confidence  of  a  star 
may  be  her  secretary  or  her  hairdresser — but 
you  will  never  catch  her  at  the  Trocadero 
with  one  of  them. 

"They  can't  trust  each  other  the  way  men 
do.  I  think  women  envy  the  companionship 
of  men  who  are  equals,  more  than  anything 
else  about  men. 

"THE  famous  star,  the  beauty,  has  so  little 
'  confidence  in  her  charm  that  she  chooses  for 
her  best  'friend,'  the  girl  to  pal  around  with, 
a  dowdy,  fat,  or  insignificant  nonentity  who 
is  perfectly  safe,  who  presents  no  competition, 
beside  whom  the  beauty  will  shine.  The  pal 
is  invariably  a  social  equal  if  not  in  the  same 
financial  class.  But  the  beauty  avoids  sub- 
mitting herself  to  a  close  comparison  And 
even  then  she  has  moments  of  doubt  if  ever 
she  is  brought  to  a  realization  that  men  want 
something  more  entertaining  than  a  beautiful 
anatomy. 

"In  'Bondage,'  the  two  women  who  really 
loved  Leslie  Howard  hated  Mildred  and 
Mildred  hated  them,  seen  or  unseen.  Probably 
the  most  authentic  hate  in  every  woman's  life 
is  for  the  girl  her  sweetheart  or  husband  once 
loved.  They  can't  grasp  the  fundamental  fact 
that  NOW  is  what  matters. 

"  My  mother  and  father  were  divorced  when 
I  was  very  young,  and  it  made  me  inordinately 
inquisitive    about    marriage.     Why    couldn't 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,    1935 


89 


people  stay  married?  I  have  studied  married 
people  since  then  with  the  most  frank  and 
brutal  curiosity. 

"I  think  the  one  thing  that  gets  men  dis- 
gusted first  is  the  poor  sportsmanship  of  their 
wives.  Women  are  desperately  afraid  to  have 
some  man  catch  them  with  their  hair  down — 
not  necessarily  their  husbands,  either.  Every 
young  man  who  is  serious  about  a  girl  should 
go  on  a  camping  trip  with  her,  and  see  how 
she  stands  up  under  it. 

"When  I  used  to  find  myself  growing  ro- 
mantic about  a  lad,  I  would  let  him  catch  me 
looking  gosh-awful.  It's  when  I  am  a  bad 
sport  about  anything  that  Ham  simply  can't 
stand  me. 

"He  is  too  utterly  disgusted. 

"Crabbing  about  things  that  can't  be 
avoided — woman's  besetting  sin. 

"Being  an  actress  is  a  petty  career.  She  has 
to  develop  an  ego,  especially  in  this  acting 
business,  she  couldn't  get  along  a  step  without 
it.  And  I  love  the  thing  I  am  doing.  Some- 
times I  wish  I  were  a  little  girl  back  in  a  mill- 
town  with  a  beau  who  had  fifty  cents  a  week 
to  spend  on  the  movies.  The  ideal  life  for  a 
woman  is  to  marry  some  man  when  she  is 
seventeen,  have  lots  of  kids,  and  never  start 
analyzing  men. 

"These  career  women  meet  their  Waterloo 
when  they  can't  go  home  and  drop  it  and  be 
the  little  woman.  The  ideal  situation  is  to 
have  a  guy  who  can  squelch  the  ego  right  out 
of  you.  I  have  one  in  my  husband  who  is  a 
past  master  at  the  art.  Men  have  told  us 
where  to  get  off  for  so  many  generations — but 
they  can't  any  more,  logically.  But  at  least 
let  them  think  they  can,  and  let  it  keep  your 
balance. 

"There  is  no  creature  so  monstrous  as  the 
egotistical  woman  who  can't  keep  her  brilli- 
ance to  herself. 

KAOST  women  are  natural  born  hypo- 
'  V  'chondriacs,  they  want  to  be  pitied  by  men 
for  all  they  have  to  go  through.  I  do  it  myself 
sometimes.  If  I  can't  be  pitied,  I  get  nasty. 
So  Ham  just  walks  out  and  leaves  me  alone, 
which  is  the  best  way  I  can  think  of  for  dealing 
with  an  unreasonable  woman.  I  think  the 
woman  who  gets  the  most  out  of  life  and  makes 
her  marriage  last  is  the  one  who  makes  a  cult 
of  health,  in  a  quiet  way,  and  not  an  issue  of 
every  pain.  That  soothing  masculine  'poor- 
darling-  what  -can  -I  -get  -for -you?'  is  very 
tempting,  but  dangerous  to  play  too  often. 

"A  perfect  example  of  the  Hollywood- 
woman-actress  combination  is  the  one  who 
came  into  a  San  Francisco  night-club  where 
Ham  was  playing,  not  long  ago.  She  ran  up 
to  me  exclaiming,  'Oh,  my  deah,  what  ah  you 
doing  up  heah?'  I  nodded  proudly  over  at 
the  orchestra  where  Ham  was  busy  at  the 
piano,  and  said,  'Ham,  my  husband.  He 
works  here.'  She  gave  me  a  look  of  mingled 
pity  and  amazement.  She  might  as  well  have 
said  'Imagine  that  poor  girl  married  to  a 
man  who  works  in  the  orchestra.'  She  fled.  I 
sat  down  and  howled  with  mirth.  She  was 
the  Hollywood  Attitude,  in  person. 

"It  is  always  a  sad  but  amusing  sight  to 
the  cynics  to  see  the  Hollywood  girls  as  soon 
as  they  lose  their  contracts.  They  start  look- 
ing violently  for  husbands.  Anything  for 
security,  they  find  out  at  last.  Another  out- 
cropping of  the  ego.  When  they  have  the  job 
they  scorn  the  very  men  they  chase  after  they 
lose  it.  This  business  is  amazing  in  the  way 
it  magnifies  and  intensifies  the  worst  traits  in 
women.  But  I  guess  they  are  pretty  much 
alike,  all  over  the  world.  And  I  think  they're 
awful!" 


* 


/ 


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// 


Think  Women  Are  Swell!"  says  Una  Merke 


CONTINUED  FROM  PAGE  49 


yourself  when  it  means  so  much  to  you — why 
expect  others  to?" 

Una  disposed  of  two  telephone  calls  with  the 
ease  and  grace  of  an  old  hand,  keeping  every- 
body concerned  in  a  good  humor — including 
ye  interviewer.  Una  is  not  one  who  reserves 
all  her  charm  and  gracious  manner  for  the  lads. 

"You  shouldn't  put  such  a  strain  on  friend- 
ship, anyway.  Why  burden  others  with  your 
affairs  when  they  have  so  many  of  their  own 
problems  and  personal  griefs?  The  less  you 
expect  from  your  friends,  the  more  they  are 
able  to  give. 

"Then  the  gossip  angle  .  .  .  Women  are  the 
congenital  gossipers,  gossip  is  a  word  of 
feminine  gender,  you  might  say.  But  why? 
Who  writes  the  most  celebrated  gossip  col- 
umns? Men  !  !  It  isn't  only  the  fault  of 
women  that  small  local  gossip  in  any  town  is 
passed  along.    The  men  love  it! 

"Why  do  people  everywhere  dash  for  the 
gossip  column  every  morning?  To  get  the 
latest,  the  inside,  news.  And  why?  Because 
gossip  is  the  commodity  there  is  least  of — and 
because  it's  about  people — a  subject  of  our  most 
intense  lifelong  interest.  Don't  tell  me  women 
do  all  the  gossiping.  Every  body  gossips,  if 
they  are  human." 

INA  has  some  interesting  comparisons  to 
^-^  make  between  men  and  women.  She  uses  the 
words  of  Katherine  Mansfield,  who  describes 
men  and  women  as  two  sides  of  a  coin.  They 
are  but  one  half  of  the  same  thing  .  .  .  "Some 
men  have  the  quality  of  gentleness  which  is 
usually  regarded  as  a  feminine  characteristic — 
some  women  possess  fortitude.  And  so  on 
down  the  line.  Both  share  the  same  faults. 
You  cannot  generalize  with  specious  state- 
ments, such  as  too  many  writers  do  .  .  .  Man 
is  all  one  thing,  woman  is  all  another.  There 
are  just  as  many  honest  and  forthright  women 
as  there  are  men  !" 

(Take  time  out  till  the  hurrahs  are  over.) 

As  for  jealousy  in  women — especially  pro- 
fessional women — our  current  cause-champion 
gave  the  bright  chintz  cushion  beside  her  a 
thumping  and  went  into  the  jealousy  phase 
with  a  right  good  will. 

"In  all  my  professional  career,  I  cannot 
think  of  one  instance — not  one — when  I  did 
not  find  friendliness  and  even  helpfulness,  on 
the  part  of  women,  stars,  whom  I  have 
supported. 

"The  first  night  I  ever  set  foot  on  a  stage  I 
was  struck  with  the  generosity  of  the  women 
in  the  cast.  Charlotte  Walker,  the  star  of  the 
play,  took  me  back  to  her  dressing  room  and 
personally  put  on  my  entire  make-up. 

"When  I  played  in  'Coquette'  in  New  York 
with  Helen  Hayes,  she  was  wonderful.  My 
role  was  a  fine  one — but  any  star  could  have 
damaged  it.  Helen  gave  me  every  chance,  en- 
couraged me — and  she  was  more  pleased  when 
I  made  good  than  I  could  possibly  have  been. 
And  she  has  remained  that  way. 

"Of  course,  there  is  some  pettiness.  But 
when  you  stop  to  consider  all  the  opportunities 
for  meanness  in  the  theatrical  business,  you 
will  find  there  is  very  little,  in  comparison." 

"There  is  that  time-honored  cliche  that 
women  in  the  same  profession  are  afraid  to 
have  women  friends — particularly  friends  on 
an  equal  footing  of  beauty,  money  and  position 
— (Una  smiled  at  that  one). 

90 


"Bringing  my  personal  experience  to  bear 
again,  I  have  no  fear  of  Madge  Evans,  Helen 
Hayes,  Eleanor  Powell,  Anna  May  Wong  and 
the  others  who  are  my  friends.  There  has 
never  been  jealousy  or  distrust  among  us.  If  I 
didn't  see  any  one  of  these  women  for  five 
years,  I  know  when  we  met  we  would  resume 
our  friendship  right  where  we  left  off.  And 
aside  from  my  own  case,  what  about  all  the 
other  friendships  among  famous  and  beautiful 
women? 

"There  are  Helen  Hayes  and  Ruth  Chatter- 
ton.  Both  talented,  both  have  terrific  drawing 
power  on  the  stage — and  both  respect  each 
other  and  have  the  greatest  admiration  for  the 
other's  talent. 

"When  Helen  arrived  on  the  coast  to  make 
her  first  picture,  Ruth,  who  had  been  in  films 
for  some  time,  went  out  of  her  way  to  teach 
Helen  all  she  had  learned  by  experience  about 
make-up  and  camera  technique. 

"Dolores  Rel  Rio  and  Virginia  Bruce,  both 
talented  and  glamorous,  are  close  friends. 
And  then  Joan  Crawford  and  Jean  Dixon, 
Helen  Hayes  and  Ruth  Gordon — and  many 
others. 

"Certainly  you  can't  overlook  the  great 
friendship  of  Frances  Marion  and  Marie 
Dressier.  How  Frances,  believing  in  Marie, 
plugged  and  tried  to  establish  her — finally 
writing  a  story  around  her. 

"And  yet  you  hear  all  the  time  that  pro- 
fessional women  are  afraid  to  have  any  women 
friends  except  the  plain  little  hairdresser  or 
secretary.    Bunk." 

Una  paused,  wondering  if  she  had  covered 
the  "jealousy"  subject  entirely.  "Here's 
another  way  to  look  at  it,"  she  resumed. 
"There  is  more  jealousy  among  the  parents  of 
actors  than  among  actors  themselves!  But  it 
isn't  malicious.  Two  mothers  will  think  their 
sons  or  daughters  are  better,  as  a  matter  of 
maternal  pride.  It's  in  the  same  spirit,  really, 
as  two  fathers  whose  sons  are  on  opposite  sides 
in  a  football  game.  They  have  to  go  out  and 
root  for  their  own,  don't  they? 

"Women  seldom  maliciously  'cut'  another 
woman.  If  women  don't  like  other  women, 
there  is  generally  a  reason! 

"Men  are  more  likely  to  judge  a  woman  by 
her  women  friends.  And  they  are  less  inclined 
to  trust  a  woman  who  has  none." 

A  S  for  the  predatory  femme  looking  for  a 
'      rich  husband,  Una  says  this: 

"I  can't  believe  women  look  for  men  with 
money  in  this  day  of  disappearing  bank  ac- 
counts. If  they  did,  there  would  be  a  lot  of 
manless  women,  I'm  afraid.  During  this  de- 
pression, women  have  been  called  upon  to  bear 
a  tremendous  burden.  They  have  seen  their 
men  face  idleness  and  not  only  have  they  kept 
their  belief  in  them — they  have  increased  their 
faith,  encouraged,  and  kept  their  men  be- 
lieving in  themselves.   They've  been  sporting! 

"And  another  thing — women  do  not  concen- 
trate on  dressing  up,  not  these  days.  The 
trend  of  the  times  calls  for  sports  clothes.  A 
plain  sports  dress,  felt  hat  and  accessories. 
You  can't  accuse  them  of  dressing  up  in  those 
things  .  .  .  But  why  on  earth  shouldn't  a 
woman  endeavor  to  be  attractive  at  all  times? 
Isn't  it  more  pleasant  to  look  at  something 
lovely  than  at  something  ugly?  I  think  it's  a 
duty  to  look  as  nice  as  possible. 


"Every  generation  has  its  so-called  'wild 
youth,'  but  even  the  girls  of  today  have 
shuffled  off  many  of  the  silly  foibles  of  the  past 
generation. 

"I  think,  when  they  marry,  they  do  not 
bother  to  be  jealous  of  their  husband's  old 
sweethearts  any  more.  They  realize  every 
kind  of  love  comes  at  the  right  time.  So  why 
worry  when  it  is  past  and  gone?  If  you  love 
a  man  enough  to  marry  him,  and  he  you,  that 
sort  of  proves  he  didn't  want  anyone  else. 

"My  husband's  former  fiancee  is  frequently 
a  welcome  guest  at  our  house.  I  still  corre- 
spond with  some  of  my  former  beaux,  now 
married,  and  their  wives  certainly  don't  seem 
to  object. 

"Women  are  not  the  only  sympathy-hunt- 
ers, my  word!  Where  did  that  ever  start?  You 
can't  beat  a  man  for  wanting  comfort  when  he 
has  a  pain. 

"We  spend  so  much  time  playing  we  are 
grown  up  that  it's  a  relief  to  seek  elemental 
comfort  just  as  we  did  when  children. 

"As  for  being  complainers — I  think  if 
women  get  in  a  jam,  nine  times  out  of  ten 
they  will  wait  longer  to  ask  for  help  than  most 
men!  I  know  I  would  have  to  be  in  a  lot  of 
trouble  before  I  bothered  anyone. 

"It  is  rather  absurd  to  mention  in  their 
defense  that  women  are  the  child-bearers  .  .  . 
but  it  is  rather  marvelous  that  they  regard  it 
as  a  privilege  and  not  a  burden. 

"CO  many  people  have  a  horror  of  groups  of 
^  women.  Personally,  I  do  not  care  for  large 
groups  or  organizations.  For  one  reason,  I 
find  so  much  pleasure  in  my  own  home.  My 
husband  and  father  do  not  care  for  clubs  for 
the  same  reason.  Still,  if  you  enjoy  your  club, 
that's  your  own  business.  Many  of  these 
clubs  do  much  work  for  the  good  of  humanity. 

"Women  possess  a  fundamental  goodness. 
Who  doesn't  remember  with  a  soft  spot  in  the 
heart,  the  neighbor-to-neighbor  friendliness  of 
women?  My  mother  still  writes  to  a  neighbor 
to  whom  she  was  never  introduced.  Years  ago, 
when  my  grandfather  died,  that  neighbor  pre- 
pared all  our  meals.  That  was  in  a  small  town, 
and  not  so  many  walls  separated  us  as  in  a 
large  city.  Just  the  same,  if  you  call  for  aid, 
no  matter  where,  a  hand  will  stretch  out  to 
help — usually  a  feminine  hand,  at  that. 

"This  idea  of  women  constantly  knifing 
each  other  is  silly.  At  the  studio  the  make-up 
women,  hairdressers,  wardrobe  ladies  adopt 
us  as  if  we  were  their  own.  It  is  remarkable, 
their  unselfish  attitude.  Their  work  is  tedious, 
their  salaries  small.  But  there  is  no  bitterness 
— only  genuine  desire  to  help. 

"Women  columnists  have  many  opportuni- 
ties to  hurt  US)  yet  they  are  the  ones  who  give 
us  the  greatest  boosts. 

"I've  been  around  more  men  than  women — 
by  circumstance,  not  choice.  Not  to  appear  a 
Pollyanna,  I  mean  it  when  I  say  I'm  tre- 
mendously fond  of  both.  W7hen  it  comes  to 
faults,  I  think  the  final  decision  rates  an  even 
toss-up. 

"The  most  bitter  complaint  against  some 
women  seems  to  be  '  they  are  man-crazy.' 

"Heavens,  you  can't  blame  a  woman  for 
seeking  her  natural  companion,  a  man.  It's 
a  rule  that  dates  back  to  Adam  and  Eve! 

"But  I  believe  if  all  her  friends  are  men  and 
women  do  not  like  her — there's  a  reason!" 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER.   1935 


91 


A  Romance  That  Is  Stronger  Than  Death 


The  first  thing  that  Billie  Burke  does  every 
morning  of  her  life  is  to  take  yesterday's 
flowers  out  of  the  silver  vases  on  either  side  of 
Florenz  Ziegfeld's  picture  on  her  bedside  table 
and  fill  them  with  fresh  blossoms.  Every  room 
in  her  home  has  a  photograph  of  the  man  she 
married  when  she  was  the  toast  of  London  and 
New  York;  the  one  on  the  mantel  over  the  leap- 
ing fire  and  the  bright  brass  cupids  show  him 
seated  at  his  desk,  smiling.  "  Such  a  nice  ex- 
pression, I  think,"  Billie  said.  "He  was  a  very 
handsome  man,  you  know,  and  so  in  love  with 
life.  Such  men  don't  really  die  as  long  as  there 
are  women  who  keep  them  alive  in  their 
hearts!" 

CHE  carries  an  enlarged  snapshot  of  him,  tall, 
^with  the  jaunty  carriage  of  head  and  shoulders 
Broadway  knew,  from  one  studio  dressing 
table  to  the  next,  and  always  there  are  fresh 
flowers,  fragrant  because  he  adored  perfumes 
and  exotic  scents,  brilliant  because  color  was  a 
passion  with  the  man.  In  Hollywood,  where 
life  breaks  so  many  romances  on  the  sharp, 
glittering  edges  of  success,  it  is  strange  to  find 
one  love  which  death  itself  has  not  ended. 

"I've  just  come  from  Forest  Lawn  now," 
Billie  said,  as  though  excusing  her  black  dress 
(even  black  looks  somehow  frivolous  and  gay 
on  little  Billie  Burke).  "Most  people  don't 
seem  to  know  that  Flo  is  buried  out  here.  They 
feel  back  East  that  he  should  be  in  New  York, 
near  the  Broadway  he  did  so  much  to  glorify, 


[  CONTINUED  FROM  PAGE  71  | 

but  I  couldn't  let  him  go  so  far  away  from  me. 
Baby  and  I  go  over  to — to  be  with  him  every 
week,  and  on  special  days  like  today.  This 
was  his  birthday — Flo  was  a  great  man  for 
keeping  anniversaries.  No  matter  where  he 
was,  if  we  were  not  together  on  birthdays  or 
New  Year's  or  wedding  anniversaries  there'd 
be  hampers  of  flowers  and  candy  and  presents 
and  a  long  distance  telephone  call.  I  never 
knew  until  I  married  him  what  an  art  could  be 
made  of  just  living." 

Her  hands  fluttered  to  her  throat  with  a 
billieburkish  gesture  which  matinee  girls  a 
generation  ago  were  copying.  The  broad,  old- 
fashioned  wedding  band  on  the  fourth  finger 
has  never  been  cut  down  to  modern  thinness 
and  decorated  with  orange  blossoms. 

"He  made  a  ceremony  just  of  coming  home 
at  night,"  she  smiled.  "His  arms  were  always 
filled  with  something — magazines,  or  samples 
of  gorgeous  fabrics  to  try  on  the  chairs.  Flo 
Ziegfeld  was  tremendously  proud  of  our  home. 
I  think  it  was  something  that  he  had  never 
expected  to  have,  a  house,  and  a  wife  to  meet 
him  at  the  door,  and  a  child — the  simple, 
ordinary  things  most  men  have.  He  was  used 
to  such  a  different  world,  gilded  hotels  and 
luxurious  steamships,  and  the  theater.  In  that 
world  he  was  a  king.  You  have  no  idea  of  the 
power  that  man  had!  He  had  only  to  put  out 
his  hand  and  everything  came  to  him.  But  he 
was  never  quite  sure  of  me.  I  saw  to  that  and 
it  was  this  that  saved  us,  twice — when  our 


marriage  came  very  close  to  shipwreck.  I 
didn't  blame  him.  He  was  always  surrounded 
with  the  most  beautiful  women  in  the  world, 
and  these  two  were  sumptuous,  gorgeous 
creatures  (I  was  always  so  small  myself).  But 
I  said  to  him,  '  Cards  on  the  table  now,  Flo. 
Which  do  you  want  most?  You'll  have  to 
choose,  you  know,'  and  he  chose  Patricia  and 
me. 

"He  would  have  buried  me  in  jewels  if  I  had 
let  him.  He  loved  seeing  me  at  the  head  of  his 
table  entertaining  his  friends.  That  was  why  I 
left  the  stage,  really,  because  he  so  passion- 
ately wanted  to  take  care  of  me.  He  thought" 
— mischief  quivered  in  her  voice — "he  thought 
that  I  was  as  helpless  as  I  looked,  and  /  wanted 
him  to  think  so,  though  I  had  been  supporting 
myself  and  my  mother  for  nine  years  before  I 
met  him!  When  toward  the  last  of  his  life  he 
put  everything  he  could  scrape  together  into 
building  his  own  theater  and  we  found  our- 
selves suddenly  almost  penniless,  I  think  it 
really  shortened  his  days  because  I  took  a  part 
in  'The  Vinegar  Tree'  to  help  out.  When  I 
spoke  to  him  about  it  he  said,  'Oh  damn  it, 
Billie,  I  suppose  you'd  better,'  but  there  were 
tears  in  his  eyes.  He  was  broken-hearted  to 
see  me  working  again  and  to  feel  somehow  he 
had  failed  us." 

CHE  might  have  married  great  wealth,  a 
^splendid  title,  high  social  position,  this  au- 
burn-haired, tiny  darling  of  the  stage  in  the 


Johnnie  GOES 


*  PLACES/ 


Tennis  Tournaments 
at  Forest  Hills 


Americas  Finest 
15  Cent  Cigarette 


cm ^  PHILIP  MORRIS 


days  of  Gibson  Girls  and  long  white  automobile 
veils  and  Rector's.  Before  movie  stars  were 
dreamed  of  Billie  Burke  was  mobbed  by 
hysterical  crowds  wherever  she  went.  Dresses 
and  hats  and  hair  arrangements,  chocolates 
and  roses,  desserts  and  drinks  were  named 
after  her.  The  drawing  rooms  of  Mayfair  and 
Fifth  Avenue  were  open  to  her.  It  was  no 
ordinary  career  she  sacrificed  for  love. 

PITTING  curled  like  a  schoolgirl  (it  seems 
^absurd  to  say  "twenty-five  years  ago"  in  con- 
nection with  Billie  Burke)  she  spoke  of  her 
meeting  with  the  man  who  was  eighteen  years 
her  senior  and  already  famous  as  the  discoverer 
and  promoter  of  so  much  feminine  beauty. 
She  had  never  happened  to  see  the  fabled 
Florenz  Ziegfeld,  and  she  had  danced  with  him 
for  ten  minutes  before  someone  hailed  him  by 
name. 

"My  heart  leaped  with  sheer  fright,"  she 
laughed.  "He  had  such  a  reputation  as  a 
reckless  gambler  and  a  Great  Lover.  I  thought. 


ness.  "A  hundred  times  during  the  afternoon 
I  cried,  '  I  can't  do  it!  I  won't  do  it!  Find  Flo 
and  tell  him  I've  changed  my  mind.'  But  he 
wasn't  to  be  found  anywhere,  though  my  mes- 
sengers went  to  every  haunt  of  his  with  dis- 
tracted notes. 

"  When  I  came  out  of  the  stage  door  after 
the  matinee  there  he  was  waiting  with  a  car, 
and  of  course  all  my  resolutions  went  flying. 
He  just  grinned  down  at  me,  'I  knew  you'd  be 
trying  to  find  me  to  jilt  me,  Billie,'  he  said,  'so 
I've  been  hiding  out  all  day.'  " 

And  so  the  two,  the  most  powerful  producer 
of  girl  shows  and  the  favorite  actress  of  two 
great  cities,  stole  away  down  Broadway  with 
its  glitter  of  mazdas  just  blazing  on.  From  the 
deck  of  the  ferry-boat  they  looked  back  at  the 
city  they  both  had  conquered,  and  I  hope  that 
The  Great  Ziegfeld  and  the  famous  Billie 
Burke  held  hands  like  eloping  youngsters  while 
the  blind  beggar  with  the  wheezy  accordion 
who  always  travels  on  ferry-boats  played 
"many  a  heart  is  ac//-ing,  if  you  could  read  them 


Will  Colman  forsake  his  moustache  forever?  Here  he  is,  ready  to  be- 
gin work  in  "A  Tale  of  Two  Cities," — and  no  moustache!  With  Ronald 
is  Jack  Conway,  who  will  direct  the  screen  version  of  Dickens'  classic 


'Oh — it's  that  dreadful  man!'  I  was  engrossed 
in  my  career — nobody  was  ever  so  ambitious  as 
I  was!  I  didn't  want  to  fall  in  love.  I  didn't 
want  to  marry.  But  I  knew  as  we  danced  that 
I  was  in  danger  for  the  first  time. 

"Two  and  a  half  months  I  held  out.  But 
even  my  mother  favored  Flo.  When  he  said 
finally,  'All  right,  Billie,  if  you  won't  marry  me 
I  am  going  abroad,'  I  knew  that  I  would  lose 
him  if  I  sent  him  away.  I  couldn't  risk  that! 
And  so  between  my  matinee  and  evening  per- 
formance we  slipped  across  on  the  ferry  to 
Hoboken  and  were  married.  We  were  going  to 
keep  it  a  great  secret  for  years  and  years 
Walter  Winchell  was  in  vaudeville  then,  but 
my  chauffeur  told  his  barber  and  it  was  out  in 
twenty-four  hours.  Ami  the  house  was  filled 
with  flowers  from  my  other  beaus  when  the 
papers  carried  our  pictures  bordered  with 
hearts  and  Cupids  the  way  they  did  in  those' 
days.  Oh,  that  wedding  of  mine!"  She  glanced 
at  the  picture  on  the  mantel  with  sweet  arch- 


all;  many  the  hopes  that  have  i'a«-ished, 
a.i-ler  the  ball." 

It  was  not  marriage  as  Ziegfeld  would  have 
staged  it,  with  the  bride  stepping  out  of  a  giant 
orange  blossom  and  fifty  gorgeous  bridesmaids 
carrying  her  silver  veil  while  electric  moons  and 
stars  wheeled  and  glittered  overhead  and  girls 
as  Cupids  swung  out  over  the  audience  scatter- 
ing rose  petals.  But  the  parsonage  parlor  with 
religious  prints  hanging  on  chocolate  striped 
wall-paper  held  a  greater  glory  than  even  the 
Great  Ziegfeld  had  ever  devised  for  his  stage. 

DILLIF  Burke's  eyes,  no  less  blue  now  than 
^then,  seemed  to  be  looking  at  that  far  away 
scene.  "I  knew  as  we  stood  there,  that  I  was 
saying  good-bye  to  the  stage.  No  actress  ever 
loved  it  more — the  breathless  moment  before 
the  curtain  goes  up,  the  blur  of  faces  beyond 
the  footlights,  the  theater  smells,  and  the  ap- 
plause. Of  course,  I  tried  to  hold  on  to  them. 
I  finished  my  season  on  Broadway  and  even 


went  on  tour  with  the  play.  Then  they  sent 
for  me  to  come  to  Hollywood  and  make  a 
picture!  Twenty  years  ago  we  made  "Jerry" 
in  a  Scottish  village  set  built  along  the  edge  of 
the  shore  in  Santa  Monica.  The  scenic  church 
still  stood  there  up  to  a  few^  months  ago.  They 
made  me  a  wonderful  offer  to  stay  but — 
well,  Flo  was  just  opening  the  Ziegfeld  Roof 
and  there  were  gorgeous  women  in  the  show. 
I  thought,  'No,  it  isn't  safe!  If  you  want  to 
keep  him  go  home.'  So  I  went.  And  then  I 
lost  my  first  baby,  and  soon  after  Patricia  came 
along  and  so  I  gave  it  up.  And  I  was  just  Mrs. 
Flo  Ziegfeld,  parentheses  Billie  Burke,  for  six- 
teen years. 

"Flo  loved  to  go  to  Palm  Beach,  and  to  the 
Riviera,  and  everywhere  he  went  he  wanted  to 
take  me.  But  there  was  one  trip  I  did  not  go 
on  with  him.  Once  he  came  home  deadly 
white,  and  showed  me  a  cablegram  he  had  re- 
ceived from  Paris.  It  told  him  that  a  woman 
was  dying,  a  musical  comedy  star  with  whom 
he  had  had  a  famous  romance  thirty  years 
before.  I  said,  'You  must  go  to  her,  Flo.  At 
once!'  I  watched  his  ship  sail  down  the  bay 
and  then  I  went  home  and  cried.  It  was  not 
myself  I  was  crying  for  but  for  the  poor  woman 
who  had  lost  Flo  in  her  youth  and  loved  him 
all  these  years.  She  was  an  old  woman,  but  I 
could  never  think  of  age  in  connection  with 
Florenz  Ziegfeld.  I  am  sure  it  never  occurred 
to  him  that  he  would  ever  die  and  leave  the 
beauty  he  worshipped,  the  exquisite  texture  of 
his  satins  and  velvets,  the  scent  of  his  per- 
fumes, the  sight  of  lovely  women." 

And  the  things  that  he  valued  most  of  all, 
she  might  have  added — his  daughter  with  her 
mother's  glorious  auburn  hair  and  his  own  car- 
riage, and  his  wife,  terror  stricken  to  find  her- 
self alone  and  almost  penniless  after  being 
cherished  and  protected  as  few  women  ever 
are. 

THEIR  home,  set  in  an  estate  of  forty  acres  up 
'  the  Hudson,  has  been  closed  ever  since  Zieg- 
feld's  death.  "I  should  have  sold  it,"  Billie 
mused,  "but  I've  never  had  the  courage  to  set 
foot  in  it  since.  I've  had  only  one  presentiment 
in  my  whole  life,  and  that  was  the  sick  wave  of 
horror  that  swept  over  me  when  I  came  home 
from  making  'The  Bill  of  Divorcement'  three 
years  ago  and  crossed  the  threshhold  into  that 
house.  I  didn't  know  then  that  Flo  was  sick 
but  I  felt  Unit  there  was  something  terribly  wrong 
somewhere.  And  that  night  when  the  Will 
Rogers'  and  we  went  to  the  opening  of  Flo's 
new  show  and  I  reached  out  a  hand  in  the  dark- 
ness of  the  box  and  laid  it  on  his  and  felt  the 
dreadful  hurry-hurry  of  his  heartbeat  I  knew 
what  that  terror  was." 

"I  had  to  get  back  to  Hollywood  to  make 
retakes,  and  I  couldn't  leave  him.  I  was  wild 
with  fright.  I  persuaded  him  to  come  back 
with  me.  We  called  it  a  vacation  trip  because 
he  wouldn't  admit  then  or  ever  that  he  was 
sick.  And  there  in  the  little  house  down  by  the 
sea,  which  I  rented  by  the  fortnight  because  I 
wasn't  sure  of  having  any  money  for  the  rent 
beyond  that,  he  died  suddenly." 

She  looked  around  the  beautiful  room  with  a 
kind  of  wonder.  "  I  am  so  grateful,"  said  Billie 
Burke,  "that  the  movies  wanted  me." 

At  plays  and  parties  Billie  Burke's  escort  is 
always  the  same,  these  days — a  director  at  one 
of  the  bigger  studios.  Will  she  marry  again, 
Hollywood  wonders?  She  looked  at  the  pic- 
tured face  on  the  mantel  between  vases  of 
yellow  primroses  and  jonquils.  The  stirring 
shadows  from  the  fire  gave  it  a  look  of  radiant 
life. 

"I'm  afraid,"  whispered  Billie  Burke,  "that 
lie  spoiled  other  men  for  me.  .  .  ." 


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93 


The  Man  Who  Plays 
"The  Informer" 

[  CONTINUED  FROM  PAGE  65  ] 


Hollywood  has  ever  given  the  acting  pro- 
fession!" 

Whether  or  not  the  critics  have  scared  away 
the  Public  by  labeling  this  fine  and  exciting 
picture  "ART" — whether  it  goes  down  in 
box-office  history  as  the  finest  film  in  years  or 
lays  a  neat  egg  as  genius-gone-to-waste,  the 
irrevocable  fact  remains  that  Victor  McLaglen 
emerges  the  man  of  the  Hollywood  Hour  from 
his  portrayal  of  the  stupid  Goliath  in  the  title 
role! 

He  is  not  amused,  annoyed  or  even  flattered 
at  this  turn  of  events  that  brings  reporters  and 
color-writers  clamoring  to  his  door  for  opinions 
on  everything  from  "the  future  of  the  movies" 
to  the  question  of  "Do  women  prefer  the 
brute-man  type?"  Nor  is  he  impressed  with 
the  shouting  campaign  that  has  already  begun 
to  crown  him  with  the  mythical  honors  of  The 
Academy  Award.  Though  Hollywood  seems 
to  have  forgotten  it,  he  has  been  up  for  the 
Award  before;  his  exceptional  performance  in 
"The  Lost  Patrol."  And  if  they  had  had 
Academy  Awards  back  in  the  days  of  "What 
Price  Glory"  he  would  no  doubt  have  won  it 
with  his  Captain  Flagg.  When  new  writers 
say:  "Hail  McLaglen"  and  assume  the  attitude 
that  he  has  "become"  a  great  actor,  he  merely 
says: 

"There  is  no  sustained  glory  in  Hollywood! 
All  of  us  are  as  good  as  our  last  preview — no 
worse,  no  better." 

His  voice,  his  bearing,  his  entire  off-screen 
manner  is  a  jolt  if  one  hasn't  met  him — and 
I  hadn't,  until  that  day  we  arranged  our 
appointment  at  the  Club  House  of  his  recently 
formed  California  Light  Horse.  Prepared  only 
for  a  personification  of  his  screen  lustiness,  I 
was  flabbergasted  at  the  mental  culture  of  the 
man.  His  speech  has  the  same  smooth  culti- 
vation of  Colman's  or  Marshall's.  His  diction 
is  flawless.  No  matter  what  the  background, 
club  room  or  screen  barracks,  he  is  physically 
enormous,  but  removed  from  camera  range  he 
is  no  clumsy  lummox!  Every  pound  of  his 
two  hundred  and  twenty-five  is  perfectly 
proportioned  on  his  physique. 

I IE  sat,  now,  in  a  huge  leather  chair,  his  boots 

stretched  as  far  as  his  legs  could  reach  them. 
The  collar  of  his  white  polo  shirt  was  unopened. 
He  insisted,  with  a  patient-but-encouraging 
expression  on  his  face,  that  he  didn't  talk  well 
for  publication.  "My  private  life  is  a  taboo 
subject,"  he  explained,  "for  the  simple  reason 
that  my  family  are  non-professionals  and,  as 
such,  are  entitled  to  the  dignity  of  privacy." 
(He  lives  with  the  very  charming  Mrs. 
McLaglen  and  his  two  children  on  a  ranch 
estate  in  Flintridge.)  "The  bare  facts  of  my 
life  have  been  written  a  couple  of  times,  at 
least,  and  I've  been  warned  by  more  than  one 
publicity  department  that  my  ideas  on  acting 
and  work  make  dull  reading.  I  find  it  difficult 
to  talk  readily  to  anyone  but  an  old  friend — 
so  I  doubt  if  you'll  get  anything  out  of  me." 

He  was  right.  I  got  little  from  McLaglen 
himself. 

As  a  matter  of  fact,  the  interview  would 
have  been  rather  futile  business  had  it  not 
been  for  some  real  help  from  a  number  of  Vic's 
hard-riding  pals  of  The  Light  Horse  Troop  who 
constantly  went  to  bat  for  him  whilst  he  was 


'foot-W 


h  AFFECT    YOUR 
PERSONALITY? 


\J(  what  avail  the  most  careful  coiffure, 
skillful  facial,  or  correct  ensemble,  if,  after 
all,  you  don't  feel  the  part?  And  whether 
you  know  it  or  not,  you  are  very  liable  to 
look  the  way  your  feet  feel:  —  tired  all  over, 
because  your  feet  are  tired.  Simply  a  case  of 
"foot- fag"  keeping  you  below  par  —  robbing 
you  of  vitality  needed  to  make  your  person- 
ality bloom  with  well-being.  You  (and  the 
world,  too)  will  wear  a  brighter  face  when 
you  walk  in  the  Charmed  Circle  of  properly 
fitted  Vitality  shoes.  They  are  made  to 
make  your  foot  feel  at  home  —  and  styled 
to  make  you  feel  in  the  forefront  of  fashion. 
May  we  urge  you  to  prove  their  Smartness, 
Pit,  Vitality  and  Economy? 

VITALITY  SHOE  COMPANY  <  ST.  LOUIS 

Division  of  International  Shoe  Co. 


SOMEWHAT  HIGHER 
IN  CANADA 


rf/te  Charmed 'urc/e 


ofV\lM\TY<S/?oej 


O  Your  whole  personality  is  revealed  at 
its  best  by  a  radiant,  vivacious  face  and 
an  erect,  poised  figure;  but  tired  feet  can 
mar  the  effect  of  both.  Step  into  the 
Charmed  Circle  of  Vitality  Shoes  and  you 
walk  with  vitality,  free  from  "foot  -fag"  ■ 


VITALITY 

•sJvo&s 


SIZES     2     TO     11 


WIDTHS      AAAAA     TO      EEE 


out  of  the  room  on  one  of  his  many,  restless 
pilgrimages  to  his  private  office  or  the  stables. 
All  of  the  boys  who  helped  me  with  information 
were  the  hard-bitten  type  of  ready-fisted 
gentlemen  of  the  old  school  and  each  time 
they  made  note  of  a  flattering  piece  of  data 
on  McLaglen's  personality  or  life,  they  begged 
that  it  be  kept  secret  from  Vic  that  they  had 
told  on  him. 

It  is  rather  typical  that  he  should  make  our 
appointment  at  the  Light  Horse  Headquarters 
since  this  is  his  only  life  outside  the  studio  and 
his  family.  He  is  constantly  with  these  men 
who  stand  ready  at  a  moment's  notice  to  ride 
with  him,  to  fight  forest  fires,  handle  local 
emergencies  such  as  the  Long  Beach,  Cali- 
fornia, earthquake  and  who  are  at  the  service 
of  the  local,  State  and  Federal  police  at  any 
time.  These  same  men  hunt  and  train  with 
him  and  together  they  spend  interminable 
hours  before  the  roaring  fire  of  the  club  room 
smoking,  drinking  and  swapping  tales  of  their 
adventurous  lives. 

But  none  of  their  adventure  yarns  are  more 
glamorous,  more  exciting,  more  strange  than 
Vic's  own  story.  They  couldn't  be.  He's 
been  everywhere — done  everything. 

DORN  in  a  suburb  of  London,  he  spent  a 
^great  part  of  his  early  life  in  South  Africa 
where  his  father  was  Bishop  of  Clermont.  No 
psalm-singing,  hand-rubbing,  pious-faced  Di- 
vine of  the  old  school,  this  father  of  Victor 
McLaglen,  but  a  roaring  man,  a  physically 
strong  mail  .with  huge  bellows  for  lungs;  the 
Bishop  was  a  man  who  made  the  fight  between 
Right  and  Wrong  as  thrilling  and  adventure- 
some to  his  enthralled  listeners  as  though  he 
had  been  spinning  tales  of  the  battlefield. 
There  was  a  large  family:  seven  sons  born  to 
the  robust  Man  of  God  and  his  beautiful  wife — 
sons  who  were  to  rove  the  world  as  soldiers  of 
countries  and  fortunes,  carrying  their  heritage 
of  strength  and  spirit  to  their  amazing  adven- 
tures. 

Vic  was  the  strongest,  the  wildest,  the  ugliest 
and  the  most  sentimental!  And  though  his 
unquenchable  thirst  for  greener  pastures 
separated  him  from  his  family  at  an  early  age 
no  ocean  was  too  wide,  no  continent  too 
distant  to  make  him  lose  the  memory  of  the 
parents  and  home  that  he  worshipped.  While 
he  lived  and  worked  in  Hollywood,  his  one 
crowning  ambition  was  to  mark  his  mother's 
grave  with  a  beautiful  marble  statue  so  that 
her  memory  would  be  preserved  forever.  Thus, 
with  the  first  important  money  he  earned  in 
pictures,  Vic  McLaglen  journeyed  to  London 
and  placed  an  enormous  Carara  marble  statue 
over  the  last  resting  place  of  his  mother  and 
father.  It  took  almost  every  cent  he  had 
managed  to  save;  but  if  it  had  been  ten  times 
larger  and  ten  times  more  imposing  than  it  is, 
it  could  not  half  express  the  deep-rooted 
gratitude  and  affection  he  holds  for  their 
memory. 

McLaglen's  most  unusual  characteristic  is 
that  innate  feeling  of  gratitude  for  people  he 
loves  and  places  that  have  given  him  an 
opportunity.  This  very  Troop  of  Horsemen 
he  has  organized  is  but  a  manifestation  of  his 
gratitude  to  his  adopted  country.  He  doesn't 
think  it  enough  to  feel  gratitude,  he  must 
demonstrate  it.  While  for  England  he  has 
respect  and  affection — make  no  mistake  about 
his  real  feeling  for  America.  For  our  country 
he  has  a  love  and  a  gratitude  almost  beyond 
words.  He  attempts  his  explanation  with: 
"This  country  is  the  land  of  opportunity.  It 
has  given  me  everything.  The  proudest  day 
of  my  life  came  when  I  was  made  an  American 
citizen.    England  gave  me  birth — but  America 


gave  me  Life.  Why  shouldn't  my  life  and 
services  be  at  the  demand  of  the  country  that 
has  given  me  so  much?" 

His  citizenship  and  his  loyalty  are  a  touchy 
subject  with  Vic.  They  become  a  sore-spot 
when  they  are  questioned — as  they  were  in  a 
recent  newspaper  article  in  which  a  mis-guided 
pacifist  referred  to  his  Light  Horse  Troop  and 
his  leadership  of  it  as  an  influence  toward 
"Fascism,"  the  military  education.  This 
interpretation  shocked  him.  He  was  in  a  blue 
funk  for  days.  He  who  had  been  a  soldier  of 
fortune — lied  about  his  age  to  enlist  in  the 
Boer  War — who  had  stowed-away  to  every 
port  in  the  world  seeking  adventure  before  he 
was  twenty-one — who  had  once  been  heavy- 
weight champion  of  eastern  Canada  and  fought 
Jack  Johnson  to  a  draw  in  Vancouver — who 
had  washed  dishes  for  his  dinner  in  the  Fiji 


Best  wishes  to  Esther  Ralston  and 
Bill  Morgan,  for  whom  wedding 
bells  rang  recently.  Esther  is  di- 
vorced from   George  Webb,  actor 

Islands — who  had  joined  the  gold-rush  to 
Kalgoorlie  and  who  had  yet  to  meet  the  cir- 
cumstance he  couldn't  fight  his  way  out  of, 
was  temporarily  licked  with  a  few  words. 
Even  his  cronies  couldn't  laugh  him  out  of  it 
He  would  not  rest  until  he  had  met  this  news- 
paper man  and  carefully,  painstakingly  cor- 
rected the  misinterpretation  of  his  military 
organization.  It  is  impossible  for  him  to 
ignore  mistakes,  criticisms  or  wrong  ideas 
concerning  himself.  If  the  injury  can't  be 
corrected  with  fists,  then  hours  of  patient 
words  must  do  it. 

"It's  a  hangover  influence  from  my  father," 
he  said  upon  returning  from  one  of  his  many 
trips  to  his  office.  "None  of  us  followed  in 
his  footsteps  as  a  preacher,  but  I  think  we've 
all  followed  in  spirit.  I  can't  rest  until  the 
wrong  impression  or  idea  has  been  righted 
I'm  not  built  to  laugh  it  off!" 


It  is  this  intense  differential  between  Right 
and  Wrong  in  his  character  that  is  back  of  his 
enormous  charity  work.  But  this  was  one 
topic  I  didn't  dare  mention  to  McLaglen. 
Even  more  than  his  loyal  citizenship,  his 
charities  are  a  sore  spot  when  they  are  revealed 
in  the  spotlight  of  publicity. 

"For  heaven's  sake,"  one  of  his  rough  riders 
warned  me  during  one  of  Vic's  absences,  "don't 
tell  McLaglen  I  mentioned  it,  but  we  spent  all 
of  Christmas  day  delivering  baskets  of  food 
to  14,000  families  who  had  not  been  taken 
care  of  by  organized  charities  because  their 
requests  came  in  too  late.  Much  of  the  cost 
came  out  of  Vic's  own  pocket,  too.  We 
worked  two  days  packing  baskets  and  getting 
them  on  the  trucks  for  delivery.  And  he 
warned  all  the  newspaper  boys  that  he  wouldn't 
tolerate  a  word  about  it  in  print!  They  knew 
he  meant  it,  too." 

His  acting  career  began  accidentally  on  a 
trip  to  London  following  ten  years  of  soldiering 
and  three  years  service  as  Provost  Marshall  of 
Bagdad.  He  was  standing  at  the  bar  of  the 
National  Sporting  Club  in  London  when  a 
man  walked  up  and  introduced  himself  as  a 
motion  picture  director  and  asked  Vic  if  he'd 
be  interested  in  appearing  before  the  camera. 
McLaglen  was,  it  appeared,  "just  the  type" 
for  a  soldiering  part  in  the  gentleman's  current 
cinema.  Vic  was  amazed.  It's  true  he  had, 
at  one  time,  teamed  up  with  a  fellow  who  did 
strong-man  stuff  on  a  vaudeville  circuit 
through  Canada.  "But  I'm  not  an  actor,"  he 
protested.  The  man  replied  quickly:  "It's 
not  what  you  can  do — it's  the  way  you  look." 
And  to  this  day,  Vic  thoroughly  understands 
that  he  didn't  mean  his  beauty. 

"CO  I  got  into  pictures  just  like  a  Follies 
^Girl,"  he  grinned,  revealing  perfect,  strong 
teeth  of  gleaming  whiteness  in  his  usual  wide 
smile,  "on  my  shape  and  my  face." 

"The  Call  Of  The  Road"  was  his  first 
soldiering  part  before  the  camera,  followed  by 
"The  Glorious  Adventure" — both  of  w-hich 
titles  sound  like  hand-picked  stuff  for  Vic 
Then  came  a  cable  from  J.  Stuart  Blackton 
who  had  seen  him  in  his  first  London  efforts 
brought  him  and  Mrs.  McLaglen  to  America 
to  play  the  lead  in  "The  Beloved  Brute." 

His  American  career,  including  such  pictures 
as  "What  Price  Glory,"  "Loves  of  Carmen," 
"Mother  Machree,"  "The  Black  Watch," 
"The  Cockeyed  World,"  "The  Lost  Patrol" 
and,  now  "The  Informer,"  is  too  well  known 
to  need  recounting  here.  Yet  in  spite  of 
Hollywood,  with  her  far-flung  fame,  he  remains 
something  of  an  enigma  even  to  those  closest 
to  him.  Even  the  men  of  his  Light  Horse 
Troop  that  he  loves  so  much  are  quick  to  admit 
that  they  know  but  one  side  of  Vic.  "No  one 
really  knows  the  guy,"  is  the  way  one  of  his 
closest  friends  puts  it.  "You're  always  turning 
corners  in  his  make-up — stumbling  onto  some- 
thing you  hadn't  suspected." 

He  is  sincerely  grateful  for  everything 
Hollywood  has  given  him — yet  lives  only  neai 
enough  to  be  near  the  studios'  Flintridge 
Neither  Vic  nor  Mrs.  McLaglen  enter  into  any 
phase  of  the  local,  spotlighted  social  life. 

Many  men  who  know  some  of  the  secrets  of 
Vic's  heart — who  have  shared  exciting  or 
heart-breaking  experiences  with  him — have 
never  been  invited  into  his  home.  On  the 
other  hand,  he  may  play  a  charming  host  to  a 
man  who  is  practically  a  stranger,  whom  he 
thinks  will  enjoy  a  quiet,  family  dinner! 

No  one  has  ever  been  able  to  sell  him  a  radio 
because  he  "hates  the  squawking  things." 
Yet  he  carries  his  portable  phonograph  every- 
where— even  on  the  set — and  plays  his  favorite 


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PHOTOPLAY  MAGAZINE   FOR  SEPTEMBER,    1935 


95 


concert  artists  as  tirelessly  as  Joan  Crawford. 
He  has  an  Arabian  valet  whom  he  picked  up  in 
Bagdad  and  they  converse  in  Arabian.  He 
has  never  missed  a  prizefight  or  a  wrestling 
match  held  within  a  hundred  miles  of  Holly- 
wood. He  loves  hunting  trips,  cooking  his  own 
meals  and  roughing  it  in  any  kind  of  weather — 
but  he  travels  on  these  journeys  in  an  imported 
town  car,  luxuriously-upholstered  and  driven 
by  a  uniformed  chauffeur! 

He  rarely  ever  sees  the  actual  preview  of  his 
pictures  but  reads  the  reviews  avidly — and 
likes  to  talk  with  those  critics  with  whom  he 
fails  to  agree.  Next  to  horses,  he  loves  fancy 
game  birds  and  breeds  them  on  his  estate.  He 
lives  practically  his  entire  life  in  boots  on 
horseback,  yet  there  isn't  an  actor  in  Holly- 
wood with  a  more  extensive  wardrobe  of 
expensive,  hand-tailored  suits.  In  fact,  his 
tastes  seem  to  combine  the  most  unusual 
combination  of  luxury  and  simplicity. 

The  answer?  There  isn't  any.  That  is  one 
of  the  things  I  learned  from  our  meeting  (and 
from  his  friends):  that  no  one,  including  Vic 
McLaglen,  knows  much  about  Victor  McLag- 
len — nor  are  any  explanations  attempted.  But 
when  I  mentioned  his  size  to  one  of  the  men, 
his  answer  gave  a  good  incite  into  his  character. 
The  man  said: 

"Lucky  thing  he  is  so  big — otherwise  his 
heart  would  be  too  big  for  his  body!" 


WVHUUl  C4*4it  lrUji*  ttrt  Z4vJL\ 


WHAT  DO  THE 
STARS  REALLY  EAT? 

A  few  weeks  ago  Fred- 
erick L.  Collins  investigat- 
ed the  stellar  diets  at  first 
hand  by  going  to  several 
restaurants  where  Holly- 
wood's most  Famous  stars 
lunch  and  dine.  He  noted 
carefully  what  they  order- 
ed and  he  was  amazed,  as 
you  will  be  when  you  lead 
"Don't  Talk  to  Me  About 
Diet — I've  Seen  the  Stars 
Really  Eat."  It  is  an  in- 
teresting, surprising,  de- 
lightfully intimate  article 
appearing  in  the  October 
issue  of  Photoplay.  Read 
it. 


Love  Comes  First  for  Fred  MacMurray 


CON  IINUED  FROM  PAGE  29 


welcome  to  certain  exclusive  little  parties  that 
are  usually  distinguished  by  the  dazzling  pres- 
ence of  all  the  liard-to-see  producers,  and  there 
have  been  impromptu  telephone  calls  urging 
him  to  be  a  fourth  at  bridge  tables  circled  by 
the  loftiest  names  in  the  star  register. 

But  all  these  invitations  have  been  directed 
to  Fred  MacMurray,  the  single,  unattached 
and  highly  eligible  young  screen  actor.  Not 
one  of  them  suggested  that  he  bring  with  him  a 
young  lady  of  his  own  choice.  All  of  them 
were  quite  clear  on  one  point,  that  Mr.  Mac- 
Murray  attend  the  dinner,  the  dance,  the 
reception  or  the  cocktail  gathering  ALONE. 

And  Hollywood  continues  to  puzzle  over 
Fred's  strange  defiance  of  its  unwritten  and 
untlexible  law  concerning  all  promising  young 
actors,  the  law  that  makes  invitations  to  cer- 
tain important  drawing-rooms  command  per- 
formances. 

The  other  day  Fred  told  me  why  he  is  willing 


that  Fred  was  twenty-five  at  the  time,  but  the 
fact  remains  that  Lillian  is  the  first  woman  in 
his  life. 

It  happened  something  like  this.  At  the  age 
of  eleven  Fred  helped  his  mother  keep  their 
tiny  home  going  in  Madison,  Wisconsin,  by 
working  two  paper  routes  and  a  magazine 
delivery  service  after  school  hours.  He  worked 
his  way  through  high  school  and  college  by 
learning  to  play  a  saxophone  and  training  a 
dance  band  that  was  hired  for  every  school 
function  during  the  eight  years  of  his  higher 
education. 

"I  MET  a  lot  of  girls  from  the  orchestra  stand 
'during  those  years,"  Fred  once  told  me,  "but 
I  never  got  to  know  one  well  enough  from  that 
distance  or  in  the  unromantic  atmosphere  of  a 
classroom  to  offer  my  fraternity  pin.  Later, 
when  I  left  college,  I  worked  in  a  bargain  base- 
ment as  salesman  during  the  day  and  in  a  hotel 


The  Howards  and  the  Gargans  go  out  for  an  evening  of  merry-making. 
Only,  the  gentleman  on  the  left  is  not  Leslie  Howard,  but  son  Ronald. 
Next  is  Mrs.  William  Gargan,  Mrs.  Leslie  Howard,  and  William  Gargan 


to  risk  the  hazards  of  breaking  Hollywood's 
favorite  commandment.    He  said: 

"Long  before  I  came  to  Hollywood  or  had 
the  vaguest  notion  concerning  a  future  in 
screen  work,  I  met  a  girl.  Her  name  is  Lillian 
Lamont,  but  some  day  it  will  be  Mrs.  Mac- 
Murray. 

"She  gave  up  a  small  part  in  the  musical 
show  'Roberta,'  and  her  chances  for  a  stage 
career  to  come  out  here  when  it  became  un- 
bearably lonely  to  me  to  be  without  her.  She 
is  working  now  as  a  manikin  in  an  exclusive 
shop  on  the  Boulevard.  I  believe  that  explains 
everything,  doesn't  it?" 

DUT  Fred  is  wrong.  Only  the  complete  story 
"-^of  the  MacMurray-Lamont  romance  can 
"explain  everything." 

Lillian  is  Fred's  first  girl  friend.  It  is  quite 
true  that  they  met  only  two  years  ago,  and 


orchestra  at  night,  which  left  me  less  time  than 
ever  to  find  feminine  companionship." 

But  during  those  endless  hours  that  Fred 
made  his  saxophone  moan  and  laugh  and 
whisper  for  the  swaying,  jogging  couples  that 
swept  by  him,  he  fould  himself  unconsciously 
piecing  together  a  mental  picture  of  a  perfect 
girl  friend. 

He  always  selected  brown  or  black  hair  for 
her,  and  never  varied  once  from  brown  eyes, 
and  he  usually  pictured  her  as  tall,  although 
that  point  wasn't  too  important.  Her  voice — 
and  that  was  very  important — was  always  low 
and  no  matter  how  hard  she  laughed  at  his 
imagined  witticisms,  she  never  sounded  harsh 
or  brassy. 

He  carried  this  image  around  with  htai  for 
quite  a  long  time. 

And  then  in  the  middle  of  a  suffocatingly 
hot  afternoon  in  early  September,  1933,  during 


an  almost  unbearable  rehearsal  for  the  musical 
comedy  "Roberta,"  he  saw  her. 

Fred  recalls  that  he  was  working  out  one  of 
those  dot-line  puzzles  issued  by  a  nationally 
known  cigarette  company  as  a  nerve  test.  He 
was  just  discovering  that  he  was  on  the  verge 
of  a  complete  nervous  collapse  when  a  soft 
note  of  musical  laughter  caused  him  to  look 
over  his  shoulder. 

And  there  stood  the  image,  clad  in  a  white 
silk  blouse  and  a  pair  of  neat  brown  slacks, 
laughing  at  his  jerky  efforts  to  draw  straight 
lines  between  the  right  dots. 

Without  a  word  she  leaned  over  his  shoulder, 
corrected  two  or  three  major  errors  in  his 
puzzle  work,  and  then  returned  to  her  place  in 
the  show  girl  line-up. 

And  although  Fred  believed  all  the  legends 
surrounding  New  York's  luxury-cradled  show 
girls,  something  told  him  that  he  could  ask 
this  tall,  slender,  dark  duplicate  of  his  "image" 
to  have  dinner  with  him  that  night  at  a  cheap 
but  good  tea-room  around  the  corner. 

During  that  first  dinner,  Fred  discovered 
that  the  image's  name  was  Lillian  and  that  she 
had  left  her  home  in  a  small  town  in  South 
Carolina  because  she  wanted  to  design  gowns, 
to  write  short  stories  and  go  on  the  stage. 

The  next  night  at  dinner  he  learned  that  she 
lived  alone  in  a  little  room  and,  like  himself, 
was  quite  bereft- of  friends  in   New  York. 

THF  third  night  he  agreed  at  her  insistence 
'  that,  if  they  were  to  have  dinner  together 
every  night, itwould  have  to  be  "Dutch"  (shades 
of  the  pre-depression  chorus  girl!)  because  both 
of  them  had  been  rehearsing  six  weeks  without 
salary,  and  Fred  carried  the  added  burden  of  a 
mother  recovering  from  an  accident  in  a  Los 
Angeles  hospital. 

With  the  fourth  night  both  discovered  that 
they  preferred  long  walks  along  the  Hudson 
to  night  club  dancing,  picnics  in  New  Jersey 
on  nice  Sundays  to  cocktail  rendezvous,  and  a 
good  movie  with  a  stop  at  the  Chocolate  Shop 
for  sodas  on  the  way  home. 

And  on  the  fifth  night  as  Fred  was  sitting 
sleepily  in  a  late  subway  local  carrying  him 
from  Tudor  City  to  his  single  room  on  West 
Sixty-First  Street,  he  was  suddenly  quite  cer- 
tain that  the  next  night  at  dinner  he  would  ask 
Lillian  Lamont  to  wait  for  him.  And  somehow 
he  knew  that  her  answer  would  be  yes. 

From  September  to  April,  Lillian  and  Fred 
never  missed  a  single  evening  meal  together 
before  they  went  to  work  at  the  theater,  and 
they  usually  managed  to  have  their  midday 
breakfast  at  the  same  drug  store. 

On  April  Fool's  day  Fred  was  awakened  by  a 
call  from  the  Paramount  offices  asking  him  if 
he  would  be  willing  to  make  a  screen  test. 
Some  canny  talent  scout  for  the  studio  had 
discovered  Fred  deep  among  the  trap  drums 
and  brasses  of  the  "Roberta"  band. 

After  the  test  was  made,  Fred  and  Lillian 
agreed  to  refrain  from  talking  about  the 
possibilities  it  promised  because  they  were  so 
sure  this  fairy-tale  break  would  fizzle  away 
into  nothing.  They  shushed  one  another  deter- 
minedly for  a  week  whenever  the  subject  of 
Hollywood  or  movies  or  getting  enough  money 
on  which  to  marry  was  mentioned. 

And  then  Fred  was  notified  that  there  was  a 
contract  waiting  for  him  if  he  would  leave  for 
the  Pacific  Coast  immediately. 


96 


PHOTOPLAY  MAGAZINE   FOR  SEPTEMBER,    1935 


Before  he  quite  realized  what  had  happened, 
he  had  quit  his  job  with  the  show,  packed  his 
clothes  and  his  saxophone,  kissed  Lillian  a 
tearful  good-bye  at  the  Grand  Central  Station 
and  was  on  his  way. 

In  Hollywood  he  was  joyfully  welcomed  by 
his  mother,  his  grandmother,  his  Aunt  Hazel 
and  his  Uncle  Arthur,  who  had  joined  forces 
and  made  a  home  together  in  the  film  colony 
three  years  before. 

During  the  first  two  weeks  there  was  the 
excitement  of  getting  acquainted  around  the 
studio,  taking  publicity  photographs,  being 
interviewed  by  the  press  and  taking  more  tests. 
The  picture  for  which  he  had  been  rushed 
across  the  continent  was  indefinitely  postponed, 
and  Fred,  for  the  first  time  in  his  work-crowded 
life,  found  himself  with  time  on  his  hands — 
time  to  play  tennis  and  golf  and  to  swim  and 
time  enough  to  be  hideously  lonely  for  the 


THERE  were  no  invitations  to  gay  little  film 
'  parties  then  because  outside  the  studio  pro- 
ducers' and  cashier's  offices  no  one  knew  he 
was  in  Hollywood. 

It  was  on  another  suffocatingly  hot  day  in 
September  that  Fred  found  himself  wiring 
Lillian,  begging  her  to  give  up  her  show  job 
and  a  new  opportunity  to  do  some  dress  design- 
ing for  a  wholesale  house,  and  come  West. 

Lillian  was  on  a  train  headed  for  Hollywood 
within  twenty-four  hours. 
'  With  her  arrival  things  started  breaking 
right  for  Fred  at  the  studio.  He  was  rushed 
into  "The  Gilded  Lily"  at  the  last  minute  when 
the  studio  discovered  that  the  production 
budget  precluded  the  hiring  of  a  certain  well 
known  but  expensive  leading  man.  And  two 
short  months  later  Fred  suddenly  found  him- 
self accepting  congratulations  from  studio  big 
wigs  who  had  never  been  able  to  remember 
his  name  before. 

And  just  as  suddenly  he  was  called  into 
walnut-paneled  offices  for  friendly  talks  con- 
cerning his  promising  future,  and  asked  to 
lunch  with  well  known  directors.  And  some- 
how during  the  course  of  these  informal  little 
get-togethers  it  was  always  deftly  hinted  that 
attachments  of  the  heart  were  very  serious 
handicaps  for  promising  young  leading  men. 

But  it  seems  that  Fred  MacMurray  can't 
take  a  hint,  because  he  still  continues  to  meet 
Lillian  for  dinner  every  night. 

COMETIMES  they  dine  at  Fred's  home  with 
^his  mother,  his  grandmother,  his  Aunt  Hazel 
and  his  Uncle  Arthur.  And  sometimes,  when 
Lillian  isn't  too  tired  after  a  day  of  modelling 
gowns  in  the  exclusive  Boulevard  shop,  she 
prepares  their  dinner  in  her  little  kitchenette 
apartment. 

And  in  spite  of  the  many  impressive  cream- 
colored  notes  that  "request  the  pleasure  of 
Mr.  MacMurray's  presence"  at  this  and  that 
Hollywood  party,  Fred  and  Lillian  still  prefer 
a  picnic  on  nice  Sundays,  a  late  stroll  along  the 
ocean  front  on  moonlight  nights,  or  a  good 
movie  with  a  stop  at  the  Sweet  Shop  for  sodas 
on  the  way  home. 

They  will  be  married  the  moment  Fred  feels 
that  he  is  firmly  established  in  the  picture 
business  and  when  his  savings  account  has 
reached  a  certain  figure.  They  are  cautious 
about  their  financial  set-up  because  Fred 
supports  his  mother  and  insists  that  his  house- 
hold will  be  run  on  a  one  income  basis,  the  one 
income  being  his,  with  no  contributions  from 
Lillian. 

To  my  knowledge  Fred  MacMurray  is  the 
first  promising  young  leading  man  to  openly 
defy  Hollywood's  success  code. 


te/l ' iiS  •  •  Irf/hatziKbS  itliJee  ? 


// 


"Ellen,  you  and  Bob  are  looking  just  fine  after  that  long  trip! 
You  know,  Marge  and  I  never  have  traveled  by  bus.  I  suppose 
we're  behind  the  times  .  .  .  but  tell  us,  what  was  it  really  like?" 

WELL,  it  started  like  this:  We  had  set  our  hearts  on  a  trip  to  the 
San  Diego  Exposition,  but  the  old  budget  wouldn't  stretch  that  far. 
Then  we  discovered  that  a  Greyhound  ticket  would  save  us  something 
like  $74...  enough  to  pay  hotel  bills  and  meals  for  eight  or  ten  extra  days! 

"That  settled  it!  And  when  we  boarded  our  coach,  we  found  pleasant  surprise 
number  (wo — that  our  big  Greyhound  bus  rode  smooth  as  silk,  and  the  chairs 
were  ever  so  restful.  We  could  tilt  them  'way  back  when  we  wanted  a 
little  nap  .  .  .  matter  of  fact,  we  stayed  right  on  that  bus  two  or  three 
different  nights,  and  felt  fine  in  the  morning.  Lots  of  people  do  that  —  or 
they  stop  at  a  hotel  overnight  and  pick  up  the  next  bus  in  the  morning. 

"And  you'd  never  dream  that  this  country  could  be  so  beautiful!  We  can't 
begin  to  tell  you  all  the  interesting  things  we  saw...  the  Midwest  at  harvest 
time,  wrinkled  Indians  weaving  rugs,  the  Grand  Canyon — and  say! — we'll 
never  forget  our  return  trip  by  the  Redwood  Highway  and  Yellowstone. 

"Envy  us?  You  don't  have  to!  You've  been  longing  for  a  Florida  trip, 
Jim  and  Marge  .  .  .  why  don't  you  go  this  Fall,  by  Greyhound?  You'll 
have  a  great  time,  and  save   a  pocketful  of  money.    That's  a  promise!" 

PRINCIPAL    GREYHOUND    INFORMATION    OFFICES 


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YyHOUND 


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Name 

Address. 


Robert  Taylor  Chooses  Success 


CONTINUED  FROM  PAGE  28 


"Society  Doctor,"  "A  Wicked  Woman,"  and 
"Times  Square  Lady,"  make  prophecies  con- 
cerning his  future  very  easy. 

But  personally,  I  think  Robert  Taylor's 
twenty-three-old  past  is  even  more  interesting 
than  the  certainty  of  his  victory-crowded 
future. 

He  was  born  in  Filley,  Nebraska,  an  only 
child  of  parents  who  considered  such  things  as 
music,  good  literature  and  an  intelligent  ap- 
preciation of  art  important. 

At  seventeen  when  he  entered  college  at 
Doane,  Nebraska,  he  was  undecided  which  of 
three  careers  to  follow,  music  (he  plays  the 
cello  superbly),  medicine,  or  his  flare  for  the 
science  of  psychiatry. 

After  one  year  he  decided  finally  upon  a 
musical  future  and  enrolled  at  Pomona  Univer- 
sity, a  well  known  California  co-educational 
college  with  an  excellent  department  of  music. 
And  it  was  Robert's  usual  good  luck  that 
Pomona  happens  to  be  situated  just  forty  miles 
east  of  Hollywood. 

DEFORE  the  end  of  his  first  semester  in  the 
'-'new  school,  he  had  become  a  leader  in  the 
dramatic  club  (just  for  relaxation  after  class 
work)  and  he  had  fallen  desperately  in  love. 

Now  this  first  affair  of  the  heart  was  a  singu- 
larly unhappy  one  for  young  Taylor.  A  vast 
difference  in  temperaments  and  ideals  having 
to  do  with  the  future  kept  this  boy  and  girl  in 
a  maddening  turmoil  of  quarrels  and  rapturous 
reconciliations. 

But  Robert  knew  even  in  the  pulsating 
midst  of  this  young  romance  that  the  emotion 
that  was  making  his  days  beautiful  and 
hideous  with  restlessness  would  delay  if  not 
destroy  the  success  he  demanded  of  the  years 
beyond. 

At  that  time  he  thought  of  success  in  terms 
of  music,  and  instinctively  he  realized  that  at 
early  marriage  with  its  aftermath  of  money 
worries  and  its  clash  of  too  youthful  passion, 
would  place  a  hopeless  barrier  across  the  royal 
road  to  renown. 

Recently,  Robert  Taylor  told  me  how,  after 
a  period  of  two  years,  he  finally  wiped  out  the 
torture  of  that  first  love  affair  from  his  mind 
and  his  heart. 

"I  went  to  a  close  friend  at  school,  my  pro- 
fessor of  psychology,"  he  said.  "I  asked  him 
for  help.  I  had  to  have  help  and  he  was 
intelligently  sympathetic  and  understanding. 
We  talked  over  my  problem  after  class-room 
hours  day  after  day.  He  offered  me  the  most 
valuable  advice  I  have  ever  had  from  anyone. 
He  taught  me  how  to  sublimate  the  consuming 
emotion  of  love,  to  keep  it  in  its  rightful  place, 
to  prevent  it  from  overshadowing  every  other 
important  facet  of  life." 

And  so,  a  few  years  later,  Robert  Taylor 
came  to  Hollywood  safely  armored  with  a 
knowledge  of  psychology  and  a  fool-proof 
philosophy,  to  protect  him  from  the  fateful 
shafts  of  romance  until  he  has  tucked  his  share 
of  success  safely  away  and  is  quite  ready  for  the 
luxury  of  happiness. 

The  sudden  switch  in  his  ambitions  from 
music  to  screen  work  is  a  typical  example  of 
the  Taylor  luck,  which,  by  the  way,  is  always 
excellent. 

In  November  of  his  senior  year  at  Pomona, 
he  played  the  leading  role  in  "Journey's  End" 
for  the  college  dramatic  club.    After  the  per- 


formance he  was  accosted  on  the  campus  by  a 
strange  man.  The  stranger  offered  his  card 
and  suggested  that  Robert  show  up  at  the 
M-G-M  studios  the  next  Saturday  for  a  test. 

Robert  took  the  incident  lightly  enough 
because  even  Pomona  has  learned  about  the 
absolute  futility  of  ninety-nine  per  cent  of  all 
screen  tests.  The  dramatic  club  members, 
however,  urged  him  to  make  the  long  trip  to 
Culver  City,  because  it  would  make  a  "swell" 
item  for  the  college  weekly  paper. 

But  the  results  of  that  Saturday  morning 


Sally  Eilers  and  Cesar  Romero 
warble  a  duet,  impromptu.  Just 
happened  to  see  a  piano  over  at 
Universal,      and      couldn't     resist 


drive  to  Culver  City  made  a  "swell"  news 
items  for  every  daily  newspaper  in  Los  Angeles. 

Within  forty-eight  hours  after  the  film  of 
the  test  had  been  developed,  M-G-M  offered 
Robert  Taylor  a  contract,  which  he  summarily 
refused  to  sign,  giving  his  forthcoming  gradu- 
ation as  his  reason. 

Then  M-G-M  offered  a  compromise.  If  Mr. 
Taylor  would  study  twice  weekly  at  the  studio 
with  their  dramatic  instructor,  Oliver  Hinsdell, 
until  his  graduation  the  following  June,  the 
company  would  be  willing  to  hold  the  offer 
open. 

Mr.  Taylor  complied  with  this  request  for 
two  months,  but  when  he  found  that  it  inter- 
fered seriously  with  his  college  work,  he  again 
sent  in  his  regrets. 

It  required  a  few  weeks  for  M-G-M  officials 
to  digest  this  elegant  gesture  of  independence, 
but  they  recovered  to  the  extent  of  proffering 
still  another  contract  to  be  held  in  abeyance 
until  such  time  as  was  convenient  for  Mr. 
Taylor  to  go  on  the  studio  pay  roll. 

And  Mr.  Taylor  found  it  convenient  exactly 
one  year  later,  following  graduation,  and  an 
added  delay  caused  by  the  sudden  death  of 
his  father,  in  Nebraska. 

It  is  true  that  before  he  was  cast  in  his  first 
picture  Robert  Taylor's  interest  in  the  movies 
was  definitely  phlegmatic,  but  this  indifference 
was    swept    away    by    a    sudden    drenching 


enthusiasm  following  his  first  day's  work 
before  a  camera. 

"Within  a  few  short  hours  I  knew  I  had 
found  what  I  wanted,"  he  told  me.  "I 
realized  that  quite  by  accident  I  had  stumbled 
on  the  right  medium  for  the  success  and  in- 
dependence I  mean  to  get  out  of  life.  I  really 
love  this  work,  that's  why  I  think  my  chances 
to  succeed  at  it  are  better  than  fair." 

And  Robert  Taylor  is  also  very  sure  that  the 
usual  impedimenta  of  the  heart  will  never 
cause  him  to  make  any  detours  on  the  journey 
he  means  to  take  alone  for  the  next  ten  years. 

"Producers  have  told  me  that  romantic  ties, 
and  marriage  especially,  are  definite  draw- 
backs for  a  young  leading  man,"  he  explained 
to  me.  "They  know  more  about  the  public 
temperament  than  I  do,  so  I'll  take  their 
advice. 

"I  feel  that  after  the  age  of  thirty  my 
chances  for  a  happy  and  suitable  marriage  are 
better  than  they  are  now.  At  the  moment, 
and  for  the  next  few  years,  the  only  women  I 
have  an  opportunity  to  meet  are  in  the  picture 
game  and  just  as  ambitious  as  I  am.  Two 
ambitions  in  one  family  never  work  out. 

"And  suppose  I  did  marry  now?  I  would 
be  badgered  and  agitated  constantly  by  the 
money  problem.  My  salary,  naturally,  is 
small  and  I  support  my  mother.  My  wife,  no 
doubt,  would  be  in  pictures,  too,  and  would 
require  an  expensive  background.  If  I  gave  it 
to  her,  I  would  worry  continually  over  debts. 
If  I  didn't  give  it  to  her,  I  would  worry  over 
losing  her  to  someone  would  could  provide 
her  with  luxuries.  In  both  cases,  my  work  on 
the  screen  would  certainly  suffer." 

Now  Robert  Taylor  is  by  no  means  develop- 
ing into  a  youthful  misogamist.  During  the 
past  six  months  he  has  been  seen  at  all  the 
right  places  with  Irene  Hervey,  the  talented 
and  beautiful  young  stock  player  on  the 
M-G-M  roster. 

"We  are  what  you  might  call  'affectionate 
friends,'"  Taylor  admitted,  "but  we  have 
agreed  that  marriage  is  out  of  the  question  for 
both  of  us.  She  is  as  determined  to  make  good 
during  her  youth  as  I  am,  and  she  is  in- 
telligent enough  to  know  that  matrimony  will 
not  help  her  realize  this  goal. 

"  CHE  is  a  wonderful  companion  and  a  thor- 
^oughly  understanding  pal.  On  workless 
days  we  ride  horseback  in  the  early  mornings 
swim  or  drive  in  the  afternoons  and  go  to  any 
sort  of  a  concert  we  can  dig  up  in  the  evenings." 

But  what  if  another  violent,  lacerating  love 
affair  is  waiting  for  Robert  Taylor  before  his 
decade  dedicated  to  success  is  up? 

He  says  he  is  quite  ready  for  such  a  prank 
of  fate. 

"  But  this  time  I  am  equipped  to  handle  that 
sort  of  love."  he  observed.  "I  know  just  what 
to  do  now;  never  see  the  girl  unless  other 
people  are  present;  work  desperately  and  play 
furiously;  date  up  every  other  girl  of  my  ac- 
quaintance, and  if  all  this  doesn't  work,  buy 
a  ticket  for  New  York  or  Europe  or  China, 
if  necessary. 

"When  I  am  ready  to  leave  pictures,  I  will 
marry.  I  really  want  to  marry.  You  see, 
when  I  have  made  a  success  of  my  job  I  will 
have  the  time  to  make  a  success  of  my  mar- 
riage. There  is  too  little  time  in  early  youth 
for  both." 


98 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


99 


Is  Hepburn  Killing 
Her  Own  Career? 

f  CONTINUED  FROM  PAGE  39  ] 


Katharine  Hepburn  was  welcomed  to  the 
screen  with  more  genuine  enthusiasm  and 
good  wishes  than  any  actress  had  received  for 
years.  Hollywood — the  public — believed  it 
saw  genius  budding  and  prepared  a  reverent 
salaam  to  a  new  idol. 

Hepburn  replied  by  impudently  thumbing 
her  nose  and  indulging  in  a  succession  of  cute 
caprices,  made  to  order  for  a  boarding  school 
problem  child  rather  than  an  artist  engaged  in 
a  serious  art. 

At  first  they  were  amusing,  even  attractive, 
and  everyone  murmured  "Cute!"  and  smiled 
tolerantly  when  she  indicated  that  being  a 
film  star  was  a  great  big  barrelhouse  gag  to 
her. 

But  Hepburn  held  her  one-ring  circus  too 
long  and  mixed  in  too  many  acts.  She  was 
the  daring  young  gal  on  the  flying  trapeze,  she 
was  the  clown  and  the  prima  donna  with  a 
Garbo-complex — all  at  the  same  time.  She 
was  the  great  "  What-Is-It?  " 

l/ATHARINE  HEPBURN'S  first  great  mis- 
'  nake  has  been  her  treatment  of  the  press. 
Her  idea,  unmistakably  conveyed,  hus  been 
that  La  Hepburn's  art  was  enough — its  own 
justification  and  its  own  explanation.  She  was 
above  the  printed  word  and  would  have  none 
of  it — and  none  of  its  lowly  minions.  Ho-hum. 
Ho-ho-hum.  Kings  and  potentates  with 
armies  and  gold  have  learned  better  than  that. 

If  she  had  any  dignity  or  any  sincerity  she 
might  have  got  away  with  it  at  that.  Garbo 
has,  but  Garbo  is  sincere  in  her  extreme  desire 
for  seclusion.  Even  the  press  realized  and 
respected  that.  Even  if  it  didn't  the  quiet 
and  consistent  dignity  with  which  Garbo  goes 
about  her  cloistered  campaign  is  enough  to 
enlist  the  respect  of  the  world. 

The  result — what  do  you  read,  what  have 
you  read  about  Katharine  Hepburn?  Any 
intelligent,  earnest  portraits  of  her?  Any 
sympathetic  analyses — any  presentations  of 
the  worth-while  sides  of  her  makeup? 

Not  often.  Just  the  gags,  the  eccentricities, 
the  scatterbrain  anecdotes  and  stories,  the 
pranks — the  things  which  make  readers  mut- 
ter, "Why  doesn't  she  grow  up?"  and  pass  by 
her  blazing  name  on  the  theater  marquees  with 
a  "So  what?" — regardless  of  her  personality 
and  her  talent  on  the  screen.  Reporters  re- 
sented her  treatment  of  them  and  sometimes 
wilfully,  but  more  often,  unconsciously,  got 
back  at  her  by  making  her  seem  silly. 

And  that  is  tragic  because  Katharine  Hep- 
burn is  sincere  about  her  work,  and  an  earnest, 
democratic  and  fair  workman  on  the  set. 

The  self-laid  smoke  screen  of  her  particular 
type  of  temperament  (a  greatly  overworked 
word  in  Hollywood)  erected  a  barrier  between 
her  and  her  leading  men,  which  can't  be  too 
good  for  her  pictures.  Both  John  Beal  and  Fred 
MacMurray  were  nervous  as  cats  when  they 
knew  they  were  to  play  with  her.  Both  got 
over  it  when  after  a  few  days  they  discovered 
that  the  real  Hepburn  wasn't  such  a  terror  as 
was  commonly  believed. 

To  this  day  you  will  have  a  hard  time  con- 
vincing anyone  in  Hollywood  that  the  reason 
Francis  Lederer  walked  out  of  "Break  of 
Hearts"  wasn't  a  temperamental  break  with 
Hepburn.  As  a  matter  of  fact,  it  had  nothing 
to  do  with  Hepburn.    Lederer  couldn't  agree 


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with  the  director  about  the  interpretation  of 
his  role. 

The  resentment  against  Katharine  Hepburn 
which  has  piled  up  behind  the  dam  for  many 
months  and  is  now  apparently  spilling  over  is 
the  same  sort  of  resentment  which  piled  up 
against  Constance  Bennett  for  several  years, 
fed  by  the  same  tiny  trickling  streams. 

Long  before  they  got  into  print,  Hollywood 
whispered  about  the  petty  things,  the  little 
things  which  did  not  portray  the  real  Connie, 
but  which  taken  altogether,  succeeded  in  pre- 
senting her  to  those  who  saw  her  films  as  a 
pretty  disagreeable  person. 

Connie  berating  a  photographer,  Connie 
ritzing  a  rival,  Connie  in  a  bickering  quarrel 
with  her  next  door  neighbor  over  a  wooden 
fence.  Connie  doing  this  and  that  bit  of 
trivia  which  made  those  who  didn't  know  her 
at  all  tell  themselves,  "She  must  be  a  hell- 
cat." Producers,  set-workers,  other  actors 
began  resenting  Connie,  often  without  know- 
ing why,  but  the  resentment  got  into  the 
stories  written  for  her,  the  pictures  made  with 
her.  It  seeped  through  to  the  public  who  buy 
the  tickets.    It  cost  her  a  lot  of  her  glamour. 

A  famous  and  glamorous  star  of  the  silent  era 
found  herself  at  the  peak  of  a  popularity 
from  which  it  seemed  (to  her)  nothing  could 
dislodge  her. 

She  said  as  much,  boldly,  when  a  few  of 
those  who  had  helped  her  rise  asked  her 
reasonable  favors,  were  refused,  and  accused 
her  of  "going  grand." 

"What  if  I  am?"  was  her  attitude.  "I'm 
at  the  top.  I  can  afford  to.  I  don't  need 
you  any  more." 

The  stories  got  around.  From  that  time  on 
she  went  steadily  down.  Desperately,  when 
the  reason  finally  dawned,  she  hired  a  "public 
relations  counsel."     But  then  it  was  too  late. 

She  had  committed  career  suicide. 

Like  any  other  form  of  self-destruction, 
this  strangest  of  all  strange  Hollywood  phe- 
nomena— star  suicide — which  is,  of  course,  in- 
tangible, subconsious,  and  not  always  possible 
to  explain,  though  it  seems  to  work  out,  takes 
different  forms. 

Nancy  Carroll  allowed  her  chip-on-shoulder 
Irish  nature  to  make  her  one  of  the  most  un- 
popular stars  ever  to  step  on  a  set. 


Nancy  was  one  of  the  best  bets  Paramount 
had  at  one  time,  then,  for  no  evident  reason 
her  popularity  at  the  box-office  dimmed  and 
practically  winked  out. 

Nancy  was  notoriously  hard  to  please — and 
still  is.  She  made  it  hard  for  the  people  who 
worked  with  her.  She  had  the  flare-up  type 
of  temperament — and  possibly  that  tempera- 
ment irritated  all  who  came  in  contact  with 
her,  and  swore  to  get  even. 

It  takes  a  great  many  people  besides  the 
star  to  make  a  successful  picture.  A  great 
many  little  people  seldom  seen  or  heard  about. 
Still  photographers,  hair-dressers,  wardrobe 
women  and  the  like.  The  "crew"  are  a  close 
fraternity.  They  wouldn't  lie  down  on  their 
jobs  even  with  a  star  they  could  willingly 
choke — but  there  is  bound  to  be  an  under- 
current of  resentment  which  militates  against 
a  bad-tempered  star. 

It  can  show  in  a  picture.  In  a  roundabout 
way  it  can  kill  a  career. 

Katharine  Hepburn  has  a  good  reputation 
with  the  people  who  work  with  her  on  the  set. 
Most  of  them  like  her.  Most  of  them  like 
Margaret  Sullavan,  too,  another  current  short- 
sighted enfant  terrible  who  has  been  accused  of 
aping  Hepburn's  "act." 

But  Sullavan,  like  Hepburn,  has  been  guilty 
of  rudely  treading  on  the  toes  of  the  people 
who  can  and  would  like  to  present  her  to  the 
world  which  supports  her  salary  in  a  favorable 
light.  So  they  are  forced  to  describe  only  the 
face  she  shows  them — which  is  defiant. 

She  doesn't  seem  to  know  that  every  time 
she  sticks  out  her  tongue  several  thousands  of 
her  admirers  are  quite  likely  to  stick  out  their 
tongues  right  back  at  her. 

Margaret  wages  a  continual  battle  with  the 
publicity  department  of  her  studio,  whose  main 
concern  is  to  save  her  skin  with  the  public. 

To  snap  a  photograph  which  will  further  her 
fame  they  must  coax  and  cajole  her.  To  pro- 
tect her  they  must  plead  with  her.  To  do 
her  a  favor  they  must  ask  a  favor.  Even 
publicity  men  can  get  tired  of  that.  Gradually 
an  attitude,  unstudied,  of  "Oh,  nuts"  results. 
The  breaks  go  to  those  who  accept  them 
graciously. 

Not  long  ago  it  was  necessary  for  the 
publicity  department  at  Universal  to  get  in 


touch  with  Margaret  to  protect  her  from  some 
adverse  publicity.  They  called  her  home  for 
days,  were  told  she  wasn't  in.  They  left 
messages,  word  for  her  to  call,  sent  telegrams. 
No  response. 

Finally,  days  later,  she  showed  up  at  the 
studio.  They  told  her  they  had  been  trying 
desperately  to  reach  her. 

"I  know  it,"  she  said,  "I  was  there  all  the 
time." 

Stories  such  as  this  abound  about  Sullavan's 
and  Hepburn's  ring-around-the-rosy  tactics, 
their  sometime  pointless  and  frequently  ex- 
asperating jokes  at  the  expense  of  those  who 
are  working  in  their  interests.  The  question  is 
— has  it  done  either  of  them  any  good? 

Sullavan's  last  picture,  "The  Good  Fairy," 
broke  no  theater  box-office  records.  And 
Frank  Morgan  drew  most  of  the  praise. 

It  doesn't  seem  at  all  unreasonable  to  won- 
der what  can  be  the  cause  of  Ann  Harding's 
sinking  spell  in  popularity.  Possibly  it  is  her 
exclusiveness. 

It  is  only  natural  to  suspect  that  Jean 
Arthur,  now  back  for  her  third  try  at  screen 
success,  may  bump  into  the  fate  of  her  first 
two  trips  unless  she  curbs  the  temper  dis- 
played on  a  set  recently,  when  she  angrily 
ripped  off  a  costume  which  her  director  in- 
sisted on  and  stamped  it  on  the  floor. 

By  the  same  token,  the  remarkable  rise  of 
Claudette  Colbert  and  the  long  sustained 
popularity  of  Marion  Da  vies  may  have  some- 
thing to  do  with  the  fact  that  both  are  uni- 
versally beloved  by  everyone  who  has  any- 
thing to  do  with  their  careers.  Both  spurn 
bizarre  acts,  caprices,  theatrical  fever  fits. 

Good  manners,  sincerity,  a  touch  of  human- 
ity— that  would  seem  to  be  the  diet — all  else 
being  equal — which  determines  a  long  life  for 
a  Hollywood  star. 

But,  of  course,  every  day  there  are  people 
in  perfect  health  who  climb  to  the  tops  of 
high  bridges,  admire  the  view  below — and 
jump  off. 

They  seem  to  like  it. 

Perhaps  Hepburn  and  the  current  crop  of 
headstrong  Terrible  Turks  rather  fancy  the 
idea,  too. 

One  thing  is  certain — they'll  know  for  sure 
when  they  land. 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  69 


ESCAPADE— M-G-M 

THE  story  of  one  of  those  fatal  Viennese 
'  artists  who  lures  all  women  until  an  innocent 
lass  comes  along  who  makes  him  really  truly 
love.  In  other  words,  basic  plot  number  four, 
with  suave  William  Powell  miscast  and  com- 
pletely sacrificed  to  the  debut  of  Louise  Rainer. 
Rainer  is  very  interesting,  however,  and  her 
appearance  may  make  you  forget  the  other- 
wise routine  sex-melodramatics. 

LADIES   CRAVE    EXCITEMENT— Mascot 

HACED  at  a  rapid  tempo,  well  written  and 
'  acted  this  one  gives  the  low-down  on  the 
news-reel  cameramen — a  really  novel  idea. 
Norman  Foster  is  the  specific  daredevil.  Then 
he  starts  something  new  with  his  March  of 
Events — and  the  girl,  Evalyn  Knapp.  Story 
has  a  ring  of  authenticity,  and  never  a  dull 
moment.    Good  cast. 


CALM    YOURSELF— M-G-M 

|T  tries  to  be  melodramatic  and  it  tries  to  be 
funny,  and  succeeds  in  being  very  little  of 
both.  Robert  Young,  enterprising  ad-man, 
thinks  up  a  business  called  Calm  Yourself, 
involving  extraordinary  services.  He  gets 
mixed  up  in  a  kidnapping  and  lots  of  other 
grief.  Madge  Evans  and  Betty  Furness  help, 
also  Hardie  Albright,  Nat  Pendleton.  Ralph 
Morgan,  and  others.    Weak  story. 


LADY  TUBBS— Universal 

THAT  grand  trouper,  Alice  Brady,  has  a 
'  field  day  with  a  vigorous  part  tailor-made 
for  her  farcical  talents.  The  result  is  a  grand 
evening  of  fun.  It's  about  a  railroad  camp 
cook  who  inherits  a  fortune,  poses  as  a  titled 
lady  and  shows  up  society  snobs  who  are 
ritzing  her  niece  out  of  romance      Wei!  done 


hokum.    Douglass  Montgomery,  Anita  Louise. 
Alan  Mowbray.    Heartily  recommended. 

THE   MAN   ON   THE   FLYING  TRAPEZE— 
Paramount 

|T  is  unfortunate  that,  due  to  his  illness,  what 
may  be  W.  C.  Fields'  last  picture  should  be 
as  trivial  as  this.  The  star  is'very  funny.  So 
are  the  individual  gags.  But  there  is  no  story. 
Fields  plays  a  meek  married  man  who  lies 
himself  out  of  an  afternoon  at  the  office  to  go 
to  the  wrestling  matches.  Complications 
ensue.    That's  all  there  is.    It  isn't  enough. 

WELCOME   HOME— Fox 

W/HIMSICAL  and  sentimental  and  rather 
"  meager  entertainment.  Jimmy  Dunn  is 
the  romantic  grafter  who  feels  the  call  of  home, 
and  protects  the  old  home  town  from  the 
depredations  of  his  gilt-edged  partners,  Ray- 
mond Walburn  and  William  Frawley.     Arline 


100 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


101 


Judge  is  the  shady  lady.  Rosina  Lawrence 
the  small-town  girl  competition.  Charles 
Sellon  plays  the  eccentric  millionaire  who  gets 
them  out  of  a  jam.    Fair. 

MAD  LOVE— M-G-M 

\  /ERY  heavy  and  tedious  stuff,  this — and  a 
"  poor  Hollywood  start  for  Peter  Lorre,  the 
roly-poly  foreign  star  of  "M."  He  plays  a 
mad  super-surgeon  who  grafts  the  hands  of  a 
guillotined  knife-thrower  on  the  wrists  of 
injured  concert  pianist,  Colin  Clive.  The 
result  is  pretty  awful  for  everyone.  Ted 
Healy  is  funny  to  lighten  the  somber  mood. 
Frances  Drake  is  a  pretty  heroine.  You'll 
fidget.    Not  for  the  youngsters. 

MAKING   A    MILLION— Monogram 

THIS  is  the  inevitable  chain  letter  picture. 
'  Charles  Starrett,  a  professor  ousted  from 
his  college  for  radical  ideas,  starts  a  million 
dollar  mail  subscription  plan  to  carry  out  his 
economic  schemes.  He  lands  in  a  barrel  of 
trouble  but  comes  out  with  a  girl  and  a  fortune. 
Preposterous  but  very  amusing.  George  E. 
Stone,  Pauline  Brooks. 

STRUGGLE  FOR  LIFE— Foy  Productions,  Ltd. 

A  SPOTTY  film  made  in  the  depths  of 
'  Markest  Africa,  with  a  cast  of  native  tribes- 
men acting  out  the  story  of  their  right  for 
existence.  Some  good  photography  and  some 
exciting  sequences,  but  there  are  too  many 
moments  of  vagueness  and  lack  of  suspense 
to  make  this  an  A-l  jungle-adventure  film. 

HONEYMOON    LIMITED— Monogram 

NIEIL  HAMILTON'S  bright  banter  may 
'  ^  amuse  you,  but  this  film  fails  to  rise  above 
ordinary  entertainment.  Neil,  a  romance 
writer,  hikes  'cross-country  to  find  adventure 
and  win  a  bet.  It's  poor  pickings  until  he 
stumbles  into  an  abandoned  house  in  a  storm — 
then  things  happen,  with  Irene  Hervey  and 
Lloyd  Hughes  helping  the  plot  thicken.  May- 
be it's  too  thick  at  times. 

THE    RAVEN— Universal 

EDGAR  ALLAN  POE  will  doubtless  whirl 
— in  his  grave  at  this  inane  and  insane  trash 
tacked  on  to  his  great  poem.  Bela  Lugosi,  a 
sadistic  nerve  specialist,  traps  his  friends  in 
his  house  and  makes  Boris  Karloff  (particularly 
repulsive)  give  them  the  works,  including  the 
pit  and  the  pendulum.  It's  so  horrible  it's 
silly.    Quoth  the  Raven,  "Nevermore." 


.^^PHpwSi 


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In  the- — ' 

Sparkling  Gaiiies  of  youth— 

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OVERLOOKING  CENTRAL  PARK 
FIFTH  AVE  •  58th  to  59th  STS  •  NEW  YORK 


Swinging  Around  the  Circuit  With  Mitzi 

[  CONTINUED  FROM  PAGE  51  ] 


Are  you  romantic?  Are  you  starry-eyed? 
Then  list  to  the  tale  of  love  as  told  by  Franchot 
Tone  to  his  best  girl,  Joan  Crawford.  Every 
Saturday  night  Franchot  sends  his  fair  one  a 
treemenjus  box  of  flowers.  Every  kind.  Every 
color.  Every  fragrance.  And  Joan  always 
arranges  them  herself.  It's  her  solemn  and 
beloved  duty.  She  usually  gives  dinner  parties 
that  night,  so  she's  all  niftied  up  in  some  daz- 
zling creation  which  she  tops  off  by  a  pair  of  huge 
white  cotton  gloves!  These  to  protect  her 
hands  when  she's  arranging  the  posies!  She 
collects  all  the  bowls  and  vases  in  her  little 
flower  room,  and  snips  and  arranges  to  her 
heart's  content.  Woe  be  to  the  servant  who 
as  much  as  fingers  a  fern!  And  if  I  can't  get 
me  a  beau  to  do  as  Franchot  does,  I  think  I'll 
go  out  in  the  fields  and  dish  up  a  daisy  chain! 

I  gotta  soul  what  craves  music  (I  sing  lustily 
but  lousily).  But  Grace  Moore  warbles  so 
handsomely  she  puts  the  nightingales  to  shame. 
So,  when  I  heard  Grace's  newest  picture  was  to 
be  previewed,  I  zipped  right  out  to  the  theater. 
I  had  another  reason  for  my  anxiety  beside  my 
aesthetic  craving.  Michael  Bartlett,  who  had 
beaued  me  around  to  a  few  parties,  also  sings 
in  the  film.  And  magnificently.  I  puffed  with 
pride.  However,  I  suppose  now  that  he's  going 
to  be  famous  I'll  have  to  fight  off  crowds 
of  screaming  females  who  are  determined  to 
get  mon  homme. 

DUT  anyway,  I  have  my  memories!  'Twas 
'-'this  little  gazelle  who  went  shopping  with  him 
and  helped  him  choose  hoighty-toity  soaps  and 
cologne.  'Twas  this  doe  who  went  to  a  birth- 
day party  with  him,  got  lost  on  the  way  and 
ended  up  outside  a  graveyard!  And  'twas  la 
petite  Mitzi,  again,  who,  with  Mister  Bartlett 
went  to  brother  Jack's  tea  for  the  opera  star, 
Madame  Jeritza,  arrived  too  late,  and  so 
sought  cheer  in  the  Trocadero.  Memories  are 
sweet  .  .  .  but  I'd  trade  'em  all  for  a  dern 
good  future! 

Twittering  about  futures  makes"  me  sad  to 
think  of  Loretta  Young's.  She  and  her  mother 
have  gone  to  Europe  to  have  themselves  a  fine 
time.  But  the  mater  is  a  one.  She  buys  old 
furniture.  She  never  stops  buying  old  fur- 
niture. In  their  house  here  on  Sunset  Boule- 
vard they've  already  had  to  build  on  two  extra 
rooms  to  store  all  the  ancients.  And  now 
they've  come  to  the  conclusion  that  either 
mama  must  open  a  shop,  or  else  buy  an  apart- 
ment house  so  that  she  can  furnish  all  the  flats! 
Therefore,  I  regret  to  say  that  Loretta  will 
either  give  maw  her  way  and  see  Europe 
through  a  welter  of  highboys  and  Louis  Seize 
tables,  or  else  pin  the  lady  firmly  and  securely 
to  her  mid-riff! 

I'M  back  in  grand  opery  again!  Some  time 
'ago  I  met  the  great  singer,  Chaliapin.  I  don't 
know  what  he  expected  me  to  look  like,  but 
from  his  six  feet  two  I  must  have  seemed 
teensy,  so  he  grabbed  my  hand,  kissed  it 
nicely  and  exclaimed:  "Such  a  leetle  madam- 
oiselle!"  (But  big  ideas,  Mr.  Chaliapin!)  He 
hadn't  been  up  very  long  and  was  still  garbed 
in  a  handsome  wine-red  dressing  gown  with 
his  initials,  very  large,  embroidered  on  the 
pocket.  Mr.  C.  explained,  in  his  pot-pourri 
English  that  the  firm  in  New  York  from  whom 
he  had  purchased  aforementioned  garment  had 
put  on  the  flourishing  initials  .  .  .  and  now 
he  felt  like  the  president  of  the  U.  S.! 


His  beautiful  wife  smiled  complacently  at 
this  ...  as  far  as  she  was  concerned,  hus- 
band Feodor  was  much  more  important  even 
then  Roosevelt.  The  singer's  greatest  friend 
is  Max  Reinhardt,  with  whom  he  used  to  be 
associated  years  ago.  And  here's  a  beautiful 
example  of  understatement.  When  I  asked 
Chaliapin  how  long  he  and  Reinhardt  had  been 
friends,  he  waved  his  hands  deprecatingly 
and  said,  "Oh,  not  for  so  long  .  .  twenty- 
five  years,  maybe!" 

I  mentioned  to  Mrs.  Pat  O'Brien,  when  I 
saw  her  at  the  Clover  Club  last  week,  that  I 
pined  for  a  party.  And  I  got  invited  to  one  of 
hers  immedjit.  Pat  was  being  very  tish-tush 
showing  off  a  wrist  watch  that  Marion  Davies 
just  gave  him  as  a  little  finishing-up  gift  for 
the  picture  he  just  did  with  her,  "Page  Miss 
Glory."  If  that's  a  little  gift,  let  me  at  the  gal 
when  she's  passing  out  large  ones!  Pat's  tick- 
tock  has  numerals  in  baguette  diamonds! 
Won't  baby  Mavourneen  have  fun  flinging 
that  about! 

Did  I  mention  a  party?  It  was  a  soiree  in 
the  garden  for  Bert  Lytell  who's  been  making 
such  a  hit  in  his  play,  "The  First  Legion."  I 
chomped  several  hunks  of  barbecued  steak 
(which  Leo  Carrillo  supervised  the  barbecueing 
of)  and  had  many  a  dish  of  coffee  before  I  even 
bothered  to  see  who  was  there. 

First  I  ogled  Estelle  Taylor  over  whom  Lee 
Tracy  hovered  lovingly.  Then  I  twittered  up 
to  my  pal,  Glenda  Farrell,  who  as  usual,  had 
a  chain  of  gents  clinging  to  her.  Then  I  gaped 
at  Joe  E.  Brown,  in  eye  glasses,  but  he  grin- 
ned engagingly  and  I  couldn't  mistake  that 
cavern ! 

CUDDENLY,  in  popped  Mary  Brian  looking 
^good  enough  to  gobble,  in  a  tomato-red  outfit. 
Someone,  before  she  arrived,  had  been  telling 
her  constant  admirer,  Russell  Gleason,  that 
he  had  seen  Mary  driving  a  big  car  down 
Wilshire  Boulevard.  "Was  she  alone?"  shot 
Russell  anxiously.  "Alone,"  answered  the 
friend  and  Russell  breathed  a  sigh  of  relief. 
When  I  told  this  to  Mary  she  dimpled  and 
blushed  and  then,  miraculously,  the  ardent 
Russell  was  by  her  side. 

"Lawsy  me!"  exclaimed  a  voice  in  my  ear.  1 
turned  and  saw  Mrs.  O'Brien's  colored  maid 
laden  with  tray,  eyeing  Mary's  beautiful  dress. 
"She  looks  so  splen  .  splendid  ..." 
She  shook  her  head  despairingly  "I  jest  ain't 
got  a  grand  enough  word  in  my  voluptuary!" 

Suddenly  a  sound  of  cooing  assailed  me 
Not  only  cooing  but  kissing,  and  not  only  kiss 
ing  but  baby-talk!  A  Mr.  Patrick  O'Brien 
held  lovingly  in  his  arms  wee  Miss  Mavourneen 
O'Brien,  who  looked  very  classy  indeed  in  a 
new  gown  and  jacket  of  petal  pink.  One 
plump  patty  caressed  tough  O'Brien's  mug 
which,  at  that  moment,  looked  like  an  ad  for 
Easter  Morn! 

|  KEEP  bumping  into  affection  these  days 
'  Big  people  for  little  people.  Tall  Fred  Astaire 
for  diminutive  Mrs.  Astaire  .  .  .  and  the  little 
woman  actually  blushes  (when  people  are 
about)  when  the  dancing  whiz  kisses  her!  Now 
don't  rush  me,  Joan,  I'll  tell  you  ALL. 

Last  week  I  waltzed  out  to  see  my  good 
friend,  director  Mark  Sandrich,  who  makes  all 
the  Astaire-Rogers  films.  I  rushed  on  the  set 
of  "Top  Hat"  just  as  Ginger  and  Fred  were 
doing   the   final  dance,   the  Piccolino,   which 


meant  the  finish  of  the  picture.  I  stood  quiet 
as  a  mouse  while  they  leaped  and  looped 
through  the  exciting,  blue-and-white  modern- 
ized Venetian  set. 

They  whirled  on  the  plaza,  pirouetted  up  over 
a  bridge,  tapped  down  the  bridge,  pattered 
up  a  veranda,  slithered  down  the  veranda, 
careened  over  another  bridge  and  with  a  final 
flourish  and  a  clinch  ye  polka  was  done!  And 
perfectly!  Ginger  by  the  way,  looked  like 
sifted  moonlight  in  a  white  gown  powdered 
with  silver  spangles. 

Then  she  whipped  herself  off  the  set,  slithered 
into  pajamas  and  went  winging  home  to  Lew, 
the  husband.  And  Fred  came  over  to  the 
missus,  sitting  with  Mrs.  Irving  Berlin,  and  all 
excited,  asked  how  they  liked  it.  They  liked  it. 
Fred  leaned  over  his  lady  and  put  his  face  close 
to  hers.  She  knew  what  was  coming  and  got 
fussed  because  folks  were  looking.  But  Freddie 
wouldn't  be  dodged.  He  held  on  to  both  her 
hands  and  kissed  her  soundly. 

All  you  could  see  was  a  shiny  top-hat  right 
smack  up  against  a  little  white  straw  one  with 
a  knot  of  flowers.  Mrs.  Astaire  didn't  dare 
look  up  for  two  whole  minutes,  she  was  that 
shiny-eyed  and  rosy-cheeked,  but  Mr.  Astaire 
bust  into  song,  tilted  his  lid  over  one  lobe,  and 
hopped  into  a  brand  new,  two-thousand-dol- 
lar dance  step! 

|OAN,  my  lamb,  if  you  don't  hear  from  me  in 
^the  near  future,  it's  because  I'm  going  into 
the  coat-checking  business.  At  least,  them's 
my  plans  if  I  don't  get  left  holding  the  hat! 
But  Mr.  Jack  Benny's  chapeau  I  shall  hold 
gleefully  at  any  time.  See  me  passing  it  to  the 
King  of  the  Ether  Waves? 

But  don't  get  yourself  into  a  tiz.  The  Benny 
is  married  to  Mary  of  his  radio  program.  She 
likes  him  an  awful  lot.  She  also  likes  movie 
pitchers.  "So  much,"  sighed  her  man,  "that 
she  goes  to  see  a  bad  picture  twice!"  So  he's  try- 
ing to  be  awfully  good  in  the  film,  "Broadway 
Melody  of  1936,"  so  she'll  go  and  see  him 
four  times! 

When  I  walked  on  the  set  he  and  Sid 
Silvers  were  doing  a  scene  in  a  doughnut  shop. 
Benny's  line  was  "Nobody  knows  it  but  you 
and  me."  But  they  were  having  an  argument. 
Jack  said  it  was  "you  and  me."  Sid  said  it 
was  "you  and  I." 

Then,  to  my  chagrin,  they  called  on  little 
Know-Nothing-At-All  to  settle  it.  I  crawled 
under  a  couch  and  refused  to  answer.  But 
Benny  was  right.  It  was  "You  and  me." 
(Or  is  it?)  However,  if  thee  had  had  to  gob- 
ble doughnuts  from  early  morn  to  late  after- 
noon, thou  too  like  Mr.  Silvers,  would  be 
a  little  dull. 

But  a  bright  thought  was  the  box  of  bi- 
carbonate that  he  sent  for.  He  turned  to 
Jack.  "This,"  he  said  with  a  bow  and  a 
flourish,  "is  for  you  and  me  and  I!" 

The  Jello  gent  has  a  nice  new  house  all  filled 
with  shiny  new  push-buttons.  One  for  the 
maid,  another  for  the  phone,  another  for  the 
bar  and  another  for  anything  else  you  can 
think  of.  Some  day  soon  our  Jackie's  going  to 
have  himself  a  glossy  time  pushing  them  all  at 
once.  Then  he'll  find  himself  unexpectedly 
transported  from  the  dining-room  table  to  his 
little  trundle  bed.  And  little  Mitzi  will  be 
right  there  to  hand  him  his  night-cap! 

On  my  wayl 

Mitzi. 


102 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


103 


Don't  Love  Me 


[  CONTINUED  FROM  PAGE  35  ] 

For  the  prosecution  presented  a  case  which,  if 
I  had  not  known  positively  to  the  contrary, 
would  have  convinced  me.  I  don't  believe 
that,  normally,  it  could  have  failed  to  have 
persuaded  an  impartial  jury  to  bring  in  a  ver- 
dict of  "Guilty." 

Before  Sam  Werks  opened  for  the  defense  I 
did  not  honestly  think  that  there  was  anything 
like  an  even  chance  for  an  acquittal.  He  had 
conducted  little  or  no  cross-examination  of 
the  state's  witnesses  and  had  sat  most  of  the 
time  at  the  table  provided  for  the  legal  talent 
drawing  meaningless  designs  on  page  after 
page  of  a  scratch  pad.  My  own  seat  was 
where  I  could  see  him  at  it  and  I  was  fasci- 
nated enough  to  keep  glancing  at  the  formless 
tracings  which  he  made,  hoping  that  sometime 
I  would  find  some  sense  to  them.  There  never 
was  any. 

When  he  arose  to  open  the  defense  he  grinned 
deprecatingly  at  the  judge  and  the  jury. 

"Your  Honor  and  gentlemen — also  ladies — 
of  the  jury,"  he  said,  "Probably  no  attorney 
representing  a  client  on  trial  for  murder  has 
ever  opened  the  case  for  the  defense  under 
circumstances  which  appeared  more  hopeless." 

IT  was  then  that  Sam  paused  and  laughed — 
'not  long  but  with  chuckling,  uncontrollable 
mirth.  "The  strange  thing,"  he  continued, 
"is  that,  on  the  other  hand,  no  attorney  ever 
has,  so  far  as  I  know,  opened  a  case  which  he 
was  more  certain  of  winning."  He  paused  and 
gathered  up  his  audience  with  his  eye — that 
trick  of  his  which  I  have  previously  spoken  of — 
before  he  spoke  again. 

If  Sam  wanted  attention  he  had  guaranteed 
it  all  right.  There  was  a  new  and  electric 
atmosphere  in  that  courtroom  which  had 
threatened  to  become  stale  with  the  routine  of 
a  foredoomed  verdict.  Everybody  hunched  a 
little  further  forward  on  his  chair,  the  reporters 
quit  playing  pencil-and-paper  I.  Q.  games 
among  themselves,  and  the  prosecution,  which 
was  all  prepared  for  a  long  comforting  rest  on 
inner-spring  laurels,  sat  up  suddenly  with  a 
startled  expression  as  of  a  sleep-walker  who 
has  wakened  unexpectedly  on  a  high  ledge 
with  no  recollection  of  how  he  got  there. 

Even  I  was  impressed  by  Sam's  assurance. 
I  didn't  know  what  he  had  up  his  sleeve  but 
I  was  as  fascinated  at  watching  him  do  his  trick, 
whatever  it  was,  as  if  I  were  a  little  girl  at  her 
first  circus.  The  fact  that  my  life  depended 
on  his  making  good  his  rash  promise  to  secure 
an  unqualified  acquittal  seemed  to  make  little 
difference.  All  I  wanted  was  to  know  the  end 
of  the  story. 

That,  I  presume,  was  the  frame  of  mind  he 
had  intended  to  induce  in  all  of  his  listeners. 
There  was  no  danger  that  he  would  lose  their 
attention  after  that. 

Sam  outlined  his  case.  "I  am  not  going  to 
try  to  disprove  that  the  fingerprints  on  the 
famous  gas  radiator  wrench,  'Exhibit  A,'  are 
not  those  of  the  defendant.  Neither  am  I 
going  to  deny  that  my  client  had  no  oppor- 
tunity to  commit  the  crime  in  the  manner 
described  by  the  State.  I  suppose  I  ought  to 
point  out  in  passing  that  the  State  has  not 
proven  a  reasonable  motive,  but  I  will  not 
even  dwell  on  that. 

"I  propose,  first,  Your  Honor,  and  ladies 
and  gentlemen  of  the  jury,  to  put  on  the  stand 
two  witnesses  whose  testimony  will  probably 
be  stricken  from  the  records  at  the  perfectly 


( 


WHEME   EESE 

.  .  .  this   perfect   setting 


A  touch  of  tradition  that  brings  grace  and  charm  to  the  world  of 
today .  .  .  Old  New  York  in  a  modern  setting. 

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one  oherru'lNetnerlana 

Facing  the  Park 

FIFTH  AVENUE  AT   59th 

NEW  YORK 


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reasonable  request  of  the  State.  Secondly, 
after  the  excitement  of  protests  and  objec- 
tions has  died  down  for  the  simple  reason  that 
I  shall  not  contest  them,  I  shall  ask  Miss 
Adair  herself  to  take  the  stand  and  tell  you 
exactly  what  happened  in  the  apartment  of  the 
late  Mr.  Deering  on  the  night  of  December 
twenty-second  up  to  the  time  she  left  it. 
Thirdly  and  finally,  I  shall  reconstruct  for  you 
what  happened  in  that  apartment  after  Miss 
Adair  left — in  other  words,  add  the  final 
scenes  to  the  dramatic  sequence  of  events 
leading  up  to  the  death  of  Mr.  Deering.  It  is 
quite  true  that  the  basis  of  my  reconstruction 
will  be  circumstantial  evidence — I  am  ad- 
mitting that  in  advance  to  save  the  time  of  the 
court — but  permit  me  to  point  out  that  the 
entire  fabric  of  the  case  which  has  been  built 
up  by  the  State  also  rests  upon  circumstantial 
evidence." 

He  turned  and  bowed  to  the  judge.  "Your 
Honci,  I  will  call  as  my  first  witness,  Miss 
Louella   Whitemeat,    the   defendant's   maid." 

Louella  filled  the  witness  chair  to  overflow- 
ing. Grief  was  written  on  her  features  but  it 
had  caused  no  visible  signs  of  emaciation  in  her 
figure. 

DEING  duly  sworn,  Louella  made  the  usual 
^statements  with  reference  to  her  name,  occu- 
pation, length  of  service  with  me,  etc. 

"Louella,"  said  Sam,  walking  over  to  the 
witness  box,  "did  you  see  Miss  Adair  on  the 
evening  of  December  twenty-second?" 

"Yes,  sir." 

"  When  and  where?  " 

"Practically  all  night  long.  She  never  left 
the  house." 

A  storm  of  objections  from  the  State's 
lawyers  was  laughingly  silenced  by  the  judge. 

"Louella,"  declared  His  Honor,  "you  have 
testified  to  an  obvious  falsehood.  Miss  Adair 
herself  admitted  being  at  many  and  various 
places  other  than  her  home  on  the  night  in 
question.  Why  did  you  commit  this  manifest 
perjury?" 

"Says  which?"  asked  Louella,  trying  to 
follow  his  meaning  by  reading  the  expression 
of  his  eyes,  the  way  a  dog  does. 

"Permit  me,"  interrupted  Sam.  He  faced 
Louella.  "Listen,  Louella,  you  have  just 
made  a  statement  which  we  all  know  is  false. 
You  were  under  oath  to  tell  the  truth  and  you 
told  a  lie.    Why?" 

Louella  grinned.  "Why  not,  mister? 
What's  a  lie  to  me  if  it  does  Miss  Rochelle  any 
good?    I'd  tell  thousands  of  'em." 

"I  see,"  said  Sam.  "You'd  do  a  good  deal 
for  your  employer,  Miss  Adair?" 

"I'd  die  for  her,"  Louella  stated  simply. 
She  didn't  even  look  at  me  and  there  was 
nothing  sappy  or  melodramatic  about  her  un- 
emotional affirmation  of  loyalty. 

I  could  have  hugged  the  ebony  damfool. 
She  meant  exactly  what  she  said  and  I  knew  it. 

Sam  was  through  with  Louella.  He  turned 
to  the  prosecution.    "Your  witness." 

The  representative  from  the  District  At- 
torney's office  got  up  indignantly.  "Your 
Honor,  why  should  we  waste  our  time  and 
yours  by  cross-examining  a  witness  whom  the 
defense  admits  is  a  perjuror?  Something 
should  be  done  about  this." 

The  young  lawyer  was  pretty  mad. 

Sam  offered  a  suggestion.  "My  opponent 
is  undoubtedly  right.  Something  should  be 
done  about  it.  How  about  scoring  him  the 
equivalent  of  two  tricks  in  the  honor  column?" 

The  judge  laughed  and  the  prosecution  sat 
down.  I  guess  everyone  was  glad  to  see  a 
little  comedy  relief  creeping  into  the  trial.  It 
had  all  been  pretty  serious  business  up  to  the 


time  that  Sam  had  lighted  his  torch  and  begun 
to  wave  it  around  among  the  explosives. 

"Call  Mr.  Lanford  Barnes."  Sam  requested. 

Lanny  took  the  stand,  grinning  nervously. 

After  the  preliminaries  Sam  asked,  "Where 
were  you  on  the  evening  of  December  twenty- 
second?" 

"I  was  in  the  apartment  of  Mr.  Scott  Deer- 
ing in  the  Grassmere  Apartments." 

"About  what  time?" 

"I  don't  know  the  exact  hour  but  I  was 
there  when  Miss  Adair  and  Mr.  Deering 
arrived." 

Certainly  no  one  was  more  surprised  by 
Lanny's  testimony  than  I.  If  he  was  in 
Scott's  apartment  when  I  arrived  why  hadn't 
I  seen  him  and  why  had  I  found  him  later  just 
coming  out  of  the  Egyptian  Theater? 

Sam  pursued  the  interrogation  "  What 
were  you  doing?" 

"I  was  waiting  to  see  Mr.  Deering.  We  had 
an  appointment  to  discuss  a  new  sound- 
recording  process  that  we  have  been  working 
on  together." 

"I  see.    How  did  you  get  in?" 

"I  have  a  key  to  the  apartment  which  he 
gave  me." 

"You  go  there  often  when  he  is  not  there?" 

"Not  often — sometimes — usually  to  wait 
for  him.    Mr.  Deering  was — er — erratic." 

"  You  mean  he  drank?  " 

"Everybody  knows  that — but  he  never 
touched  a  drop  when  he  was  shooting.  Every- 
body knows  that  too." 

"You  say  you  were  in  the  apartment  when 
Mr.  Deering  and  Miss  Adair  arrived.  Did 
you  speak  to  them  or — ?" 

Lanny  interrupted  the  question.  "No  one 
knew  I  was  there.    I  hid  in  the  closet." 

"If  you  were  there  for  a  business  discussion 
why  did  you  hide?" 

"  Because  when  I  heard  the  voice  of  a  woman 
outside  the  door  I  knew  that  Mr.  Deering  had 
probably  forgotten  his  appointment  with  me. 
I  was  afraid  I  would  embarrass  him  by  my 
presence." 
.    "Did  you  know  what  woman  it  was?" 

"Yes.     I  recognized  Miss  Adair's  voice." 

"You  would  be  quite  positive  about  identi- 
fying a  certain  person  by  the  sound  of  his  or 
her  voice?" 

"Naturally — that's  my  business.  I've  been 
listening  to  Miss  Adair,  through  the  ear- 
phones on  my  'mixer,'  for  over  a  year." 

"She  has  a  very  distinctive  voice?" 

"I  would  recognize  it  anywhere." 

"Proceed  with  your  account  of  what 
happened." 

A  CCORDING  to  Lanny's  story,  he  had  not 
'  \een  anything  because  the  door  of  the  closet 
in  which  he  was  hidden  was  closed.  He  had 
caught  scraps  of  conversation,  he  said,  when 
we  raised  our  voices  and  he  had  deduced  that 
Scott  was  intoxicated. 

Actually  I  was  not  following  his  testimony 
very  closely  because  my  attention  was  at- 
tracted by  the  behavior  of  the  attorneys  from 
the  District  Attorney's  office.  They  were  un- 
doubtedly taken  off  guard  by  the  introduction 
of  this  new  element  into  the  defense.  They 
went  into  a  whispering  huddle  and  finally  one 
of  them  left  the  courtroom. 

Sam's  voice  went  on  smoothly,  drawing  out 
Lanny's  story  with  simple  questions.  He  came 
eventully  to,  "What  happened  after  Miss 
Adair  left  the  apartment?" 

I  looked  then  at  Lanny.  He  was  white  and 
gulped  a  little  before  he  answered.  "I  waited 
for  a  while,  hoping  that  Mr.  Deering  would 
leave  also." 

"Shy?" 


"I  didn't  want  him  to  know  that  I  had 
been  eavesdropping." 

"Proceed." 

"  I  finally  decided  to  come  out  and  face  him." 

"Did  you?" 

"I  came  out  of  the  closet  all  right  but  I 
found  Mr.  Deering  asleep  on  the  floor." 

"Are  you  sure  he  was  asleep  and  not  dead?" 

"Yes.  I  went  over  and  stood  beside  him 
for  a  moment.    He  was  mumbling  something." 

"What?" 

"Nothing  that  I  could  catch — just  talking 
the  way  a  man  does  sometimes  when  he  is 
under  the  influence  of  liquor." 

"What  did  you  do  then?" 

"  I  thought  it  was  a  little  cold  in  the  room  and 
I  went  over  to  the  gas  radiator  with  the  idea 
of  lighting  it  so  that  Mr.  Deering  would  not 
get  chilled.  I  found  that  it  was  already  burn- 
ing." 

"You're  sure  of  that?" 

"Yes." 

"Why?" 

"By  looking  down  between  the  coil  sections 
of  the  radiator  I  could  see  the  blue  flames  at 
the  base." 

"How  did  you  come  to  examine  the  radiator 
so  carefully?" 

"I  always  do  that.  Those  things  are  dan- 
gerous if  they're  turned  on  and  not  lighted." 

There  was  a  little  titter  of  amusement  at 
that.  Lanny's  remark  seemed  the  height  of 
understatement,  considering  that  Scott  Deer- 
ing was  dead  and  I  was  on  trial  for  my  life  for 
that  very  reason. 

Sam  addressed  the  court.  "  Your  Honor,  I 
have  proved  by  this  witness  that  after  Miss 
Adair  left  the  apartment  the  radiator  was  still 
burning  and — " 

THE  judge  halted  him.  "  The  attorney  for 
'  the  defense  will  please  reserve  his  deductions 
for  his  summing  up  before  the  jury." 

Sam  grinned.  He  had  gotten  in  all  he  wanted 
to  say.  He  turned  urbanely  to  the  prosecu- 
tion. 

"I  have  finished.      Your  witness!" 

Sam  grinned  at  the  prosecuting  attorney. 
His  opponent  smiled  right  back  at  him. 

He  was  looking  off  in  the  direction  of  the 
door  where  a  man  was  having  difficulty  getting 
through  the  crowd,  even  with  the  assistance  of 
a  policeman. 

It  was  the  young  member  of  the  District 
Attorney's  staff  who  had  left  the  courtroom 
during  Sam's  direct  examination  of  Lanny 
He  had  in  his  hand  a  rolled-up  piece  of  paper. 
I  was  looking  at  him  myself  as  he  approached 
the  railed  off  portion  of  the  room  near  the 
judge's  bench  and  I  saw  him  nod  toward  the 
trial  lawyer  as  he  took  his  seat  at  the  counsel's 
table. 

"Mr.  Barnes,"  said  the  prosecuting  attor- 
ney, "suppose  you  tell  the  court  exactly 
what  your  relations  with  Miss  Adair  were." 

Lanny  looked  appealingly  at  Sam.  Sam 
entered  an  objection  but  the  judge  overruled 
him. 

Lanny  stalled.  "I  don't  quite  understand 
the  question." 

"I'll  put  it  another  way.  Are  you  in  love 
with  Miss  Adair  yourself?" 

"Why— I—" 

"Answer  yes  or  no." 

Lanny  gave  me  a  swift  glance  of  apology. 

"Yes,"  he  answered,  and  then  added  de 
fensively,  "so  is  every  man  who  ever  knew  her." 

"Never  mind  the  others.  You  love  her  well 
enough  to  commit  a  crime  for  her  sake 
don't  you?" 

"If  you  mean  I  killed  Mr.  Deering,  you're 
mistaken." 


104 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


105 


"Perhaps,"  the  prosecutor  pursued  relent- 
lessly. "Nevertheless,  you  realize  that  by 
admitting  you  were  in  Mr.  Deering's  apart- 
ment after  the  prisoner  left,  you  may  logically 
be  suspected  of  his  death?" 

"I  suppose  so." 

"Then  do  you  wish  to  retract  your  state- 
ment that  you  were  hiding  in  a  closet  in  Mr. 
Deering's  apartment  when  he  entered  with  the 
defendant?" 

"No." 

"Very  well.  Tell  the  court  the  approximate 
location  of  this  closet  in  which  you  hid." 

Lanny  hesitated.     "I'm  not  exactly  sure." 

"Of  course  not."  The  prosecutor  was  very 
pleasant  about  it.  "A  woman  would  notice 
the  exact  size  and  location  of  every  closet 
in  a  house  or  apartment  but  most  men  never 
think  of  such  things.  Still,  since  you  hid  in 
this  particular  closet,  you  doubtless  know 
about  where  it  was.  You  said,  I  think,  that 
you  could  hear  scraps  of  conversation.  That 
rules  out  the  bedroom  closet.  Therefore  it 
must  have  been  the  small  coat  closet  off  the 
living  room." 

"Yes,  that  was  it." 

"Now,  Mr.  Barnes,  please  try  to  recall 
where  that  closet  is,  with  reference  to  the  door 
to  the  hallway." 

"  I  don't  remember." 

"Just  locate  it  approximately.  Is  it  in  the 
wall  alongside  the  entrance  door  or  in  one  of 
the  side  walls  toward  the  bedroom  or  the 
kitchen?" 

"In  the  side  wall." 

"Which  one?" 

"Toward  the  kitchen." 

"Thank  you." 

The  attorney  turned  to  the  counsel's  table. 

"Mr.  Nichols,"  he  called,  "have  you  that 
blue-print  of  the  floor  arrangement  of  the 
Grassmere?  " 

"Yes,  sir."  Mr.  Nichols  hurried  to  the  side 
of  his  chief,  the  roll  of  paper  in  his  hand. 

The  prosecuting  attorney  spread  it  out  in 
front  of  Lanny. 

"This  is  the  architect's  final  floor  plan  from 
which  the  Grassmere  was  built."  He  pointed 
to  one  section  of  it.  "This  represents  the 
apartment  in  which  Mr.   Deering  lived.     Will 


you  please  point  out  to  the  court  the  closet  in 
which  you  say  you  hid?  " 

Lanny  studied  the  plan  carefully. 

There  was  a  long,  painful  silence.  Every- 
one was  looking  at  Lanny  as  if  to  see  through 
his  eyes. 

Finally  Lanny  glanced  up — not  at  the 
attorney  but  at  me. 

"I  can't  find  the  closet  on  the  plan,"  he  ad- 
mitted. 

"Correct.  The  reason  you  can't  find  it  is 
because  there  is  no  closet  off  from  the  living 
room  in  that  apartment  or  in  any  other 
apartment  in  the  entire  building." 

Lanny  was  still  looking  at  me,  pleading  for- 
giveness. 

I  smiled  at  him.  It  didn't  make  any  dif- 
ference now.  Besides  I  appreciated  deeply 
the  thing  that  he  had  tried  to  accomplish. 
There  was  nothing  I  could  do  for  him  in  re- 
turn, then  or  ever,  so  I  thought,  to  repay  him 
for  laying  his  faith  and  honor  so  completely 
at  my  feet. 

"May  it  please  this  court,"  the  attorney  was 
saying,  "the  prosecution  moves  that  the  testi- 
mony of  this  witness  be  stricken  from  the 
record." 

"  Motion  allowed." 

"The  district  attorney's  office  will  later 
indict  the  witness  for  perjury." 

It  was  a  complete  collapse  of  the  defense 
which  Sam  Werks  had  so  confidently  adver- 
tised as  conclusive. 

I  looked  at  him  to  see  how  he  was  taking  it. 

Sam  was  laughing! 

CHAPTER  XXVIII 

The  trial  lasted  only  two  more  days. 

I  went  on  the  stand  myself  the  next  day  and 
told  my  story  as  simply  as  I  could.  The 
prosecution  did  not  even  try  to  trip  me.  I 
gathered  the  impression  that  no  one  thought 
that  anything  which  I  might  say  would  make 
any  difference. 

Then  the  deputy  District  Attorney  summed 
up.  He  pointed  out  that  my  only  alibi  wit- 
nesses had  lied  and  that  my  own  admissions, 
plus  the  circumstantial  evidence,  made  it  an 


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open  and  shut  case.  He  demanded  a  con- 
viction. 

It  was  all  so  routine  and  cold-blooded  that  I 
scarcely  realized  it  was  I,  Rochelle  Adair, 
about  whom  he  was  talking. 

No  one  expected  much  from  Sam,  least  of  all 
myself. 

He  had  sat,  during  the  prosecutor's  address, 
drawing  meaningless  designs  once  more  on 
pieces  of  paper. 

He  seemed  far  away,  thinking  of  something 
else.  The  judge  had  to  attract  his  attention 
when  the  prosecution  had  finished. 

"Yes,  your  Honor! " 

CAM  rose  slowly  to  his  feet.  I  thought  he 
'-'looked  terribly  tired  and  ill  as  he  limped 
over  to  the  jury  box. 

"Ladies  and  gentlemen  of  the  jury,"  he 
began,  "a  charming  gentleman  has  been  killed 
and  a  lovely  lady  has  been  accused  of  his 
murder.  There  is  an  instinct  in  all  of  us  that 
demands  an  eye  for  an  eye  and  a  tooth  for  a 
tooth.  We  no  longer  take  personal  vengeance 
but  we  appoint  men  from  our  midst  to  rep- 
resent us,  to  hunt  down,  to  prosecute  and 
finally  to  mete  out  punishment  to  those  who 
have  violated  the  laws  of  God  and  man. 
Therefore,  no  one  can  blame  the  elected  and 
appointed  policemen,  district  attorneys  and 
executioners  for  carrying  out  our  collective 
will.  It  is  their  business  to  do  our  bidding. 
I  blame  no  one  for  zeal.  But,  though  justice  is 
supposed  to  be  blind,  her  servants  must  not 
be.  Even  blindness  in  one  eye  is  scarcely 
permissible  to  those  who  are  dealing  with 
matters  where  lives  are  at  stake.  We  all, 
every  one  of  us,  are  prone  to  believe  that  the 
obvious  is  true.  Further,  we  convince  our- 
selves and  try  to  convince  others  that  our  own 
interpretation  of  a  certain  event  or  series  of 
events  is  the  only  correct  one.  But  such 
partisanship  is  not,  or  should  not  be,  the 
privilege  of  those  who  concern  themselves 
with  the  administration  of  the  law. 

"I  propose  to  show  that  the  interpretation 
which  the  prosecution  has  placed  upon  the 
facts  in  this  case  is  not  the  only  possible  inter- 
pretation and  to  prove,  in  fact,  that  it  is  not 
the  correct  one." 

CAM  walked  away  from  the  jury  box  to  the 
^counsel's  table  where  he  took  a  drink  of 
water.  With  it  he  swallowed  two  pills  which  he 
dumped  in  the  palm  of  his  hand  from  a  small 
brown  glass  bottle. 

Once  more  before  the  jury  he  continued. 

"I  placed  on  the  stand  two  witnesses  whose 
testimony  was  torn  to  shreds  by  the  clever- 
ness of  the  prosecution.  I  knew  that  some- 
thing like  that  might  happen.  But  I  let  them 
tell  their  stories  because  I  wanted  you  to 
understand,  to  see  and  hear  with  your  own 
eyes  and  ears,  how  far  devotion  to  my  client 
would  lead  those  who  really  love  her.  It  has 
led  one  of  my  witnesses,  Mr.  Barnes,  willingly 
and  gallantly  to  risk  his  own  life  in  a  desperate 
attempt  to  shield  Miss  Adair  from  death. 

"Fortunately  for  Mr.  Barnes,  his  attempt 
failed. 

"But  love  for  my  client  is  not  peculiarly 
and  exclusively  the  attribute  of  Mr.  Barnes. 
Many  others  have  laid  their  devotion  at  her 
feet  and  some  of  them  have  died.  She  is,  I 
think,  one  of  the  most  glamorous  women  in 
the  world — perhaps  the  most  glamorous.  Not 
to  want  her  for  his  own  almost  stamps  a  man  as 
lacking  in  some  of  the  distinguishing  qualities 
of  his  sex. 

"Accept,  then,  as  a  reasonable  supposition, 
that  many  men  were,  and  perhaps  still  are,  in 
love  with  Miss  Adair — some  of  them  willing 


to  risk  their,  lives  for  her  with  no  thought  of 
reward;  and  others,  not  so  unselfish,  but  also 
willing  to  face  death  in  order  to  have  her  for 
their  own. 

.  "Let  us  imagine,  then,  that  at  least  one  such 
man  exists,  a  selfish  man,  a  supreme  egoist. 
He  loves  her,  perhaps  hopelessly,  but  never- 
theless he  loves  her  so  passionately  that  it  is 
the  moving  purpose  of  his  life.  Place  your- 
selves in  the  situation  of  this  imaginary  man. 
He  learns  one  day,  along  with  all  the  world, 
that  the  object  of  his  adoration  is  about  to 
marry  someone  else.  Remember  that  he 
really  cares  for  nothing  else  in  life — it  is  a  con- 
suming obsession  with  him.  Terrific  emotions 
flame  up  in  him.  The  fact  that  some  other  man 
is  to  possess  the  only  thing  on  earth  that  he 
wants  blinds  him  to  all  other  considerations. 
He  feels  that  he  must  stop  it  some  way — any 
way.  Without  much  thought  of  the  conse- 
quences and  with  no  definite  plan  of  action, 
he  flies  to  where  she  is.  Perhaps  he  thinks 
that  if  he  gets  there  in  time  he  can  do  some- 
thing about  it — that  it  will  be  possible  to 
present  proofs  of  his  prior  claim  to  his  suc- 
cessful rival  which  will  cause  him  to  withdraw. 
He  is  like  a  crazy  man  with  a  single  purpose, 
hopeless  but  determined. 


During  the  filming  of  "Anna  Karenina," 
this  bike  was  delivered  for  Freddie  Bar- 
tholomew's   birthday    from    an    admirer 


"He  goes  to  his  rival's  apartment  to  argue 
with  him.  No  one  answers  his  knock  but  the 
door  is  unlocked  and  he  goes  in.  The  man  he 
has  come  so  far  to  see  is  there  but  he  is  asleep — 
drunk.  This  man  about  whom  we  are  talking 
— our  hero,  let  us  say,  although  he  is  far  from 
a  hero  even  in  his  own  estimation — this  man 
finds  himself  in  a  peculiar  position.  Frustrated 
in  his  attempt  to  argue  his  case,  he  is  convinced 
by  the  situation  that  he  was  right  in  his  im- 
pulsive determination  to  do  something  about 
it.  Apparently  the  woman  he  loves  is  about 
to  marry  someone  who  is  unworthy  of  her — 
a  drunkard! 

"He  sits  down  to  think  it  over,  hoping, 
perhaps,  that  the  sleeping  man  will  regain 
consciousness.  Finally,  with  an  almost  blind- 
ing light,  a  solution  of  the  entire  problem 
flashes  on  him.  If  the  sleeping  man  should 
never  regain  consciousness,  that  would  clear 
up  the  entire  difficulty.  He,  our  pseudo-hero, 
may  have  sat  there  toying  with  the  idea.   Why 


not?  No  one  knew  that  he  was  there.  No 
one  even  suspected  that  he  was  in  Los  Angeles. 

"If  it  could  be  made  to  look  like  suicide — 

"It  could  be  made  to  look  that  way! 

"The  gas  radiator  was  turned  on.  The  pre- 
sumption was  that  the  sleeping  man  had  turned 
it  on  hinself.  The  only  problem  was  to  put  out 
the  flames  so  that  the  gas  would  escape  into 
the  room.  Our  hero  tried  the  simplest  method 
first — he  tried  to  blow  out  the  gas.  It  couldn't 
be  done,  because  as  soon  as  he  blew  out  the 
flames  at  one  end  of  the  radiator  they  would 
ignite  again  before  he  could  so  the  same  thing 
at  the  other  end. 

"He  stood  up  and  walked  around  the  apart- 
ment while  he  thought.  He  could  not  turn  off 
the  gas  and  then  turn  it  on  again  because  it 
seemed  important  that  the  sleeping  man's 
fingerprints  on  the  valve-wrench  should  not 
be  smudged.  For  the  same  reason  he  could 
not  wipe  off  the  wrench — not  if  it  was  to  look 
like  suicide. 

"IN  the  kitchen  of  the  apartment  his  eye  lit 
'on  the  solution.  A  fire  extinguisher  hung 
over  the  kitchen  stove  in  a  bracket.  It  seemed 
as  if  fate  had  again  pointed  the  way.  He  took 
the  extinguisher  to  the  living  room  and  sprayed 
a  little  of  the  gas-forming  liquid  on  the  radi- 
ator.    It  went  out  almost  instantly. 

"That  was  all.  Our  hero  replaced  the  fire- 
extinguisher  in  its  bracket,  went  back  to  the 
living  room,  wiped  off  the  few  places  where  he 
might  have  left  incriminating  fingerprints,  in- 
cluding the  knob  of  the  door  as  he  went  out, 
and  walked  downstairs  unobserved. 

"Out  in  the  street  he  was  conscious  of  only 
one  thing — that  he  had  done  a  service  to  the 
woman  he  loved,  by  preventing  her  marriage 
to  a  man  who  would  make  her  unhappy! 

"  That  feeling  persisted — a  glow  of  righteous 
satisfaction — all  during  the  night  and  until 
the  next  day  when  he  discovered  that  the 
woman  he  loved  had  been  arrested  for  the 
murder  he  had  committed — that  her  finger- 
prints were  on  the  wrench  he  had  been  so  care- 
ful not  to  touch!" 

THERE  was  a  commotion  among  the  repre- 
'  sentatives  of  the  District  Attorney's  office. 

But  Sam  forestalled  an  interruption. 

"  I  know,  Your  Honor,  that  my  distinguished 
opponents  are  about  to  ask  that  my  outline 
of  the  way  this  crime  was  committed  be  strick- 
en from  the  record  on  the  ground  that  it  is 
merely  another  fanciful  and  synthetic  tale, 
introduced  for  the  purpose  of  confusing  the 
issue.  But  I  must  ask  you  to  bear  with  me  for  a 
moment  longer.  I  know  that,  properly,  it  is 
too  late  to  produce  additional  evidence  after 
the  testimony  of  witnesses  has  been  taken. 
But  to  save  the  State  the  cost  of  an  appeal, 
which  I  shall  surely  make,  I  am  going  to  request 
that  this  court  set  aside  the  regular  rules  of 
procedure  long  enough  to  verify  the  state- 
ments I  have  just  made,  to  accept  evidence 
that  what  I  have  said  is  true." 

The  judge  raised  his  hand  to  still  the  eager- 
ness of  the  prosecution. 

"Mr.  Werks,  I  appreciate  the  justness  of 
your  desire  to  save  the  expense  of  a  new  trial. 
I  am  inclined  to  allow  you  to  introduce  this 
additional  evidence  of  which  you  speak  for 
that  reason,  and  also  because  I  doubt  if  either 
the  jury  or  myself  will  be  able  to  stand  the 
strain  of  waiting  much  longer  to  know  what 
the  conclusion  of  your  story  is." 

The  judge  was  being  facetious.  He,  too, 
thought  it  was  merely  a  cleverly  constructed 
fairy  story,  conceived  to  throw  dust  in  the 
eyes  of  the  jury.    I  knew  he  was  wrong. 

"So  you  may  proceed,   Mr.   Werks,"   the 


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107 


judge  instructed.  "What  is  the  additional 
evidence  of  which  you  speak?  " 

"The  fire  extinguisher  from  Mr.  Deering's 
apartment,  Your  Honor.  The  damn'  fool  for- 
got to  wipe  his  fingerprints  off  that!  And  no 
one  thought  to  look  there!  I'm  asking  this 
court  to  order  that  it  be  brought  here  carefully 
and  turned  over  to  a  police  department  expert 
in  your  presence  so  that  he  may  develop  the 
fingerprints  which  I  claim  are  upon  it." 

The  judge  leaned  back  in  his  chair.  He 
shook  his  head  doubtfully. 

"What  if  there  are  fingerprints  upon  this 
fire  extinguisher  as  you  claim,  Mr.  Werks? 
Does  that  prove  anything  except  that  some- 
one at  some  time  or  other  handled  it  when 
it  was  put  there  in  the  first  place?  " 

Sam  smiled.  "Your  Honor  is  quite  right — 
or  would  be,  except  for  one  thing.  I  think  I 
can  produce  the  man  whose  fingerprints  will 
match  those  on  the  fire  extinguisher!  All  I 
ask  is  that  you  do  not  declare  a  recess  but 
hold  the  jury  and  everyone  else  in  the  court- 
room until  my  experiment  has  been  tried." 

CHAPTER  XXIX 

THE  judge  decided  to  grant  Sam's  request 
'  and  sent  an  officer  to  telephone  the  neces- 
sary instructions  to  the  police  department. 

A  buzz  of  mystified  conjecture  went  up 
among  the  relaxed  spectators.  No  one  knew 
what  Sam  was  driving  at  except  Sam  and 
myself. 

I  knew  only  too  well  what  he  meant. 
Whether  he  spoke  the  truth  or  not  I  could  not 
tell.  Even  if  the  fingerprints  were  there  I 
couldn't  be  sure.  Perhaps  they  had  been 
placed  on  the  fire  extinguisher  after  the  trial 
began — merely  to  substantiate  the  story.  Sam 
was  a  capable  liar.  I  tried  to  catch  his  eye  to 
see  if  I  could  read  the  truth  there. 

He  only  looked  at  me  once.  That  was  when, 
after  he  had  returned  to  the  counselors'  table, 
he  poured  himself  another  drink  of  water.  He 
took  two  more  pills  from  his  brown  bottle 
and  put  them  in  his  mouth.  Then  he  picked 
up  the  glass.  It  was  then  that  he  looked  at 
me.  Before  he  touched  the  glass  to  his  lips  he 
raised  it  slightly  as  if  he  were  proposing  a 
toast. 

After  that  he  sat  down  and  began  again  to 
draw  those  innumerable  meaningless  designs 
upon   the  pad   of  paper. 

It  seemed  an  interminable  time  but  it  was 
actually  less  than  an  hour  before  the  police 
brought  in  the  fire  extinguisher  and  an  expert 
with  his  apparatus  to  develop  the  fingerprints. 

There  was  absolute  silence  in  the  courtroom 
while  he  went  to  work.  Even  I,  who  knew 
what  he  would  find,  watched  him  almost 
breathlessly. 

Finally  he  raised  his  head  from  a  close 
scrutiny  of  the  surface  over  which  he  had  been 
bent. 

"They're  here,  Your  Honor — four  fingers 
and  a  thumb,  just  the  way  a  man  would  hold 
this  thing  to  use  it." 

A  sigh  of  relief  went  up  from  the  crowded 
room.  It  is  not  often  that  an  audience  can  see 
the  solution  of  a  murder  mystery  worked  out 
before  its  eyes. 

The  judge  leaned  forward. 

"Mr.  Werks,  so  far  you  are  right.  Now  if 
you  can  produce — Mr.  Werks,  I'm  talking 
to  you." 

Sam  was  not  paying  attention.  The  pencil 
in  his  hand  was  moving  aimlessly  but  now, 
while  everyone  was  looking  at  him,  it  slipped 
from  his  fingers  and  rolled  noisily  to  the  floor. 
Sam's  head  drooped  lower  and  pillowed  itself 
on  his  arm. 


The  judge  spoke.  "He's  gone  to  sleep. 
Wake  him  up." 

One  of  the  attorneys  shook  Sam  by  the 
shoulder.  "Wake  up — the  judge  is  speaking 
to  you." 

Sam  lifted  his  head.     "Yes,  Your  Honor?" 

"We  have  the  fingerprints  on  the  fire  ex- 
tinguisher. You  said  we  would  find  a  man  in 
this  courtroom  whose  fingerprints  would 
match." 

Sam  laughed,  very  drowsily.  "Right,  Your 
Honor — try  mine!" 

He  dropped  his  head  again. 

He  was  asleep. 

CAM  died  that  afternoon  at  the  receiving 
^hospital. 

The  immediate  cause  was  an  over-dose  of 
sleeping  potion,  as  I  could  have  told  the  au- 
topsy surgeon  even  without  looking  at  the 
little  brown  bottle  he  carried  in  his  pocket. 
He  was  in  bad  shape  otherwise,  and  would  not 
have  lived  more  than  a  few  months  longer. 
I  also  could  have  guessed  that. 

Among  his  papers  was  a  letter  addressed  to 
me. 

It  was  read  in  court  at  the  final  hearing 
the  next  day. 

"Dear  Rachel:"  (it  began)  "You  see  I  am 
using  the  name  by  which  I  knew  you — not 
the  one  which  all  the  world  calls  you.  I 
thought  I  could  get  you  off  without  pulling  the 
last  trick  out  of  my  sleeve.  I  couldn't.  But 
after  my  boast  I  couldn't  fail,  could  I?  It 
doesn't  matter  much  anyway. 

"I  know  you  are  worried  about  the  docu- 
ment in  my  vault  back  home.  Rachel,  dar- 
ling, there  isn't  anything  there  and  never  has 
been.  I'm  a  tricky  shyster  and  that  was  one 
of  my  tricks.  You  didn't  give  Gregory  Cooper 
an  overdose  of  sleeping  potion.  I  did.  I  saved 
up  the  capsules  that  he  spit  out  after  the  nurse 
had  left  the  room  and  gave  them  to  him  later 
after  you  had  administered  the  ordinary  dose 
and  he  was  only  half  awake.  He  even  thought 
I  was  you  and  didn't  object. 

"I  think  that  is  all.  Remember  me  as  the 
only  man  who  ever  died  for  you  intentionally. 
Adios! — which  I  think  means,  T  give  you  to 
God's  keeping.'  Perhaps  you  can  trust  Him. 
I  don't  know. 

"Sam" 

When  I  was  released  from  custody,  Lanny, 
who  was  out  on  bail  from  the  perjury  charge, 
was  waiting  for  me  outside  the  Hall  of  Justice 
with  his  ancient  car.  Louella  was  with  him. 
I  kissed  her. 

THE  news  cameramen  took  a  snap-shot  of 
1  that.  Also  many  others.  The  reporters 
insisted  on  a  statement! 

"Are  you  going  to  marry  Mr.  Barnes,  who 
stuck  out  his  neck  for  the  rope  on  your 
account?" 

I  had  no  answer.  "I  haven't  any  plans, 
boys.  Please  let  me  go  somewhere  and  think 
about  things.    Take  me  home,  Lanny." 

On  the  way  I  said,  "Thanks,  Lanny,  for — 
everything." 

"  I  hoped  I'd  be  able  to  do  something  for  you 
but  I  guess  I  still  owe  you  one." 

"One  what?" 

"One  life — you  saved  mine." 

I  was  thinking.  "Nearly  every  man  who 
has  ever  cared  for  me  has  died  a  violent  death." 

He  didn't  answer  for  a  minute — there  was  a 
tough  bit  of  traffic  that  he  had  to  navigate. 

Finally  he  said,  "I'd  take  a  chance." 

I  had  to  laugh.  "Lanny,  dear,  some  day 
I  may  tell  you  to  say  that  again." 

That's  the  way  things  are  today,  Sunday, 
July  7,  1935.    Maybe  next  year 


B      R      I 


H 


EYES  BEHIND  GLASSES! 

Lots  of  women  we  know  hesitate  to  wear 
glasses  because  they  believe  them  unflat- 
tering. Not  a  bit,  if  you  beautify  your  eyes! 
Glasses  make  them  look  smaller — so  enlarge 
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ment that  curls  back  your  lashes  lastingly 
between  soft  rubber  bows.  Your  lashes  ap- 
pear longer  and  darker.  Your  eyes  look 
larger,  brighter,  deeper!  Opticians  recom- 
mend Kurlash  because  it  keeps  your  lashes 
from  touching  your  glasses.  $1,  at  good  stores. 


thjz  olmz 


Don't  neglect  your  eyebrows,  either!  Tweez- 
ette,  which  "tweezes"  out  an  offending 
hair  at  the  touch  of  a  button,  is  the  easiest 
way  known  to  shape  your  brows,  painlessly, 
at  home.  Make  them  conform  to  the  upper 
curve  of  your  glasses,  and  the  latter  will  be 
less  noticeable!  $1,  also,  at  your  drug  store. 


ViMtCiUKti 


Behind  your  glasses,  you  can  use  eye  make- 
up liberally  and  defy  detection!  Try  Shad- 
ette,  at  $1,  to  give  your  eyes  size  and  allure. 
And  the  little  marvel  Lashpac  to  travel  in 
your  handbag  everywhere.  It  holds  a  stick 
of  mascara  for  accenting  brows  and  a  little 
brush  to  groom  them  later.  Also  $1.  Write 
me  if  you  aren't  sure  what  shades  to  use! 


Jane  Heath  will  gladly  send  you  personal  advice  on 
eye  beauty  if  you  drop  her  a  note  care  oj  Department 
A-9.  The  Kurlash  Company,  Rochester,  N.  Y.  The 
Kurlash  Company  oj  Canada,  at  Toronto,  3. 


108 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


# 


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The  Beauty  Who  Cannot  Stay  in  Love 

1  CONTINUED  FROM  PAGE  27  ] 


—this  stunning  "powder  box" 

You'll  adore  this  smart  box  with  its  gleaming 
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keeping  the  inside  of  the  box  immaculate. 

Carter's  Ideal  Typewriter  Ribbons  write 
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Loretta,  not  so  much  tor  the  qualities  they  lack 
as  the  qualities  she  imagined  they  possessed. 
She  prefers  to  believe  the  best  of  everyone  she 
likes  but  she  is  not  easily  fooled  for  long. 
Moreover  she  has  the  strength  of  character  to 
admit  her  mistaken  judgment  "It  is  usually 
my  own  fault,"  she  says 

Yet  even  with  her  keen  insight  into  human 
frailties,  Loretta  is  easily  imposed  upon.  She 
lends  a  ready  ear  to  any  tale  of  woe.  Her 
sympathies  aroused,  she  tries  to  assume  the 
sorrows  of  all  humanity  with  whom  she  comes 
in  contact. 

Literally,  she  leaves  the  house  each  morning 
with  an  empty  purse.  She  would  give  away 
more  than  her  salary  each  week  if  allowed. 

I  could  fill  many  pages  with  accounts  of 
Loretta's  unpublicized  charities.  Begging  fan 
mail  is  kept  from  her  but  she  finds  enough 
poverty  and  need  among  fellow  workers  to 
keep  her  busy  She  never  forgets  a  kindness 
and  only  recently  came  to  the  aid  of  a  woman 
who  had  befriended  her  as  a  child. 

Loretta's  love  of  children  is  almost  a  ruling 
passion.  She  should  have  a  backyard  over- 
running with  children  of  her  own.  Love  to 
her  is  nearly  entirely  maternal. 

The  man  she  will  eventually  marry  will 
awaken  first  her  sympathy.  His  need  of  her 
will  gradually  cause  her  to  love,  a  rich  maternal 
love  in  which  his  problems  will  become  hers 
Loretta  has  the  stuff  of  which  pioneer  women 
were  made.  She  would  welcome  hardships 
even  suffering,  if,  in  these  experiences,  she 
would  be  her  husband's  helpmate. 

That,  if  you  want  the  real  reason,  was  the 
cause  of  her  first  marriage  break-up.  Attract- 
ed by  the  clean  youth  of  Grant  Withers  and 
intrigued  by  the  idea  of  falling  in  love,  plus 
the  romance  of  an  elopement,  Loretta  married. 
She  gave  up  her  beloved  family  and  would 
have  given  more  had  she  been  asked.  Gracious 
ly  she  takes  the  blame  of  the  failure  of  that 
marriage  upon  her  shoulders,  but  I  know  that 
the  realization  Withers  did  not  actually 
need  her  brought  about  the  separation.  Whai 
had  begun  spiritually  became  materialistic 

I    ORETTA'S  second  love  has  no  name  foi 

publication.  He  too  needed  her  and  his 
need  for  a  time  was  great.  That  this  love  ended 
tragically  with  death  is  the  only  time  fate 
entered  the  story  of  Loretta's  loves. 

When  she  and  Spencer  Tracy  met,  Spence 
was  separated  from  his  wife.  He  was  un 
happy  and  Loretta  endeavored  to  cheer  him 
That  their  companionship  ripened  into  love  is 
the  fault  of  no  one.  But  when  they  found 
how  far  it  might  go,  they  had  the  courage  to 
yank  their  love  up  by  the  roots.  Rather  than 
condemn  either,  they  should  be  praised  for 
their  courage.  It  is  unfortunate  that  the 
affair  achieved  the  wide  publicity  it  did,  de 
manding  a  statement  from  both. 

The  loves  of  Loretta  Young  need  not  be  held 
in  the  light  of  malignant  tricks  of  fate.  She  is 
an  extraordinary  girl  for  her  brief  twenty-two 
years.  Were  Loretta  to  believe  herself  tragic 
and  forsaken,  there  would  be  cause  for  con 
sternation.  But  she  is  filled  with  the  joy  of 
living  and  laughter.  I  know  of  no  better  state- 
ment to  prove  how  clearly  Loretta  Young 
thinks  than  this: 

"In  the  movies,  we  play  so  much  with 
emotions  that  we  might  easily  lose  our 
emotional   susceptibility.      Oddly   enough,    it 


doesn't  work  out  that  way.  Instead,  we  be- 
come even  more  susceptible.  Our  battle  is  to 
achieve  and  maintain  equilibrium.  Heir  as  we 
are  to  empty  flattery,  we  must  retain  our 
balance. 

"I  believe  I  know  enough  of  love  to  rec- 
ognize the  spurious  from  the  real  thing.  I 
have  indulged,  of  course,  in  minor  flirtations 
with  experts.  A  luncheon,  for  instance,  with  an 
actor  who  makes  conversation  by  reading  lines 
from  the  love  scenes  of  his  latest  picture  and 
I  answer  with  lines  from  one  of  my  films 
No  one  attaches  any  importance  to  such 
flirtations.  They  are  merely  pastime.  In 
Hollywood,  these  affairs  are  called  'Luncheon 
Loves'  and  end  with  the  after-meal  coffee 
Only  the  columnists  attempt  to  make  them 
significant. 

"I  want  love  and  marriage  and  children. 
Those  are  the  vital  things  of  life.  But  they 
must  be  vital,  worth  making  the  sacrifices 
necessary  to  sustain  them." 

No,  Loretta  Young  is  not  emotionally  over- 
balanced. She  brings  to  her  dream  of  life  and 
love  the  intense  sincerity  that  characterizes 
her  in  everything  she  does. 

I — I OLLYWOOD  asks  why  Loretta  cannot  stay 
in  love.  She  is  not  a  dilettante  who  is  play- 
ing love  as  a  game.  She  is  not  making  herself 
absurd  by  openly  seeking  love.  She  is  one  of 
the  most  sought-after,  most  dated  girls  in  the 
film  colony  but  she  is  not  to  be  won  by  an  in- 
sincere suit.  The  man  she  marries  must 
primarily  need  her.  He  must  awaken  her 
maternal  instinct.  Such  a  man  she  would 
follow  to  the  ends  of  the  earth.  She  simply 
has  yet  to  find  him. 

I  once  accused  Loretta  of  being  too  idealistic 
of  love.    I  warned  her  of  disillusionment. 

Her  reply  sums  up  the  whole  case:  "My 
mother  is  an  idealist  and  she  is  not  dis- 
illusioned. If  I  can  be  the  woman  my  mother 
is.  I'll  be  happy." 


Not  bad,  Jackie,  not  bad!  This  is 
Jackie's  friend,  from  the  old  home 
town,  Jacqueline  Eckert,  and  Mr. 
Cooper   is   showing   her  the   sights 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


109 


THE  FAN  CLUB  CORNER 


THE  Fan  Club  Bulletins  have  been  arriving 
'  in  my  office  in  great  numbers  this  month. 
Congratulations   on    the    fine   work 

By  the  time  you  read  this  article  the  Fan 
Club  Convention  at  Chicago  will  be  over  and 
there  is  no  doubt  in  my  mind  it  was  a  great 
success.  I  expect  to  have  many  interesting 
items  to  tell  you  in  my  next  issue.  I  would  ap- 
preciate all  the  clubs  that  sent  delegates  to 
send  me  in  their  opinion  of  the  convention 
before  the  20th  of  August. 

To  the  Nelson  Eddy  Fans,  there  is  a  newly 
organized  club  named  "The  Musical  Nelson 
Eddy  Fan  Club,"  1508  East  94th  St.,  Brooklyn, 
N.  Y.  They  are  members  of  the  Fan  Club 
Federation  and  are  open  for  new  memberships. 
They  want  to  make  this  club  a  big  success,  so 
you  Nelson  Eddy  fans  get  together  and  help 
them. 

"Footnotes,"  the  Fred  Astaire  Fan  Club 
Paper,  is  a  wow  this  month.  The  editorial  is 
worth  reading  and  I  am  only  sorry  that  I 
haven't  the  space  to  print  same  for  you.  This 
club  has  some  very  outstanding  people  as  mem- 
bers. The  paper  consists  of  prose  and  poetry 
written  by  its  members  and  they  are  doing 
great  work.  Any  Fred  Astaire  fans  wishing  to 
join  the  club  might  write  to  Bonita  Meyers, 
Pres.,  85  Van  Reypen  Street,  Jersey  City,  N.J. 

Virginia  R.  Bingham,  Pres.  of  the  Hedda 
Hopper  Fan  Club,  located  at  558  North 
Coulter  Street,  Coquille,  Oregon,  is  interested 
in  getting  some  information  from  any  other  fan 
club  that  would  write  to  her  as  to  how  she 
would  go  about  enlarging  her  club.  Up  to  the 
present  time  it  has  been  just  a  very  informal 
group,  but  now  that  she  has  invited  other 
members  to  join  she  would  like  all  the  informa- 
tion necessary  to  make  it  a  regular  fan  club. 

The  latest  issue  of  the  "Fan  Club  Fare," 
official  publication  of  the  Fan  Club  Federation 
has  reached  my  desk  and  I  find  it  very  enter- 
taining. It  carries  many  interesting  articles, 
particularly  an  interview  with  Irene  Dunne.  I 


like  the  way  it  lists  the  other  club  members 
of  the  Federation  in  the  front  of  the  bulletin. 

"The  Telescope,"  the  Lew  Ayres'  Fan  Club 
paper  gives  a  bit  of  information  that  I  am  sure 
a  lot  of  fans  will  be  interested  to  learn.  Luna 
Homan,  his  secretary,  is  reorganizing  Jimmie 
Fiddler's  Regulars  Club,  per  the  usual  fan  club 
way,  charging  dues  and  promising  pictures  of 
Jimmie  and  the  issuance  of  a  paper  to  its 
members. 

How  many  of  you  movie  fans  have  seen  that 
marvelous  picture,  "Becky  Sharp"?  If  you 
haven't  already  I  can  think  of  no  nicer  way  of 
spending  an  evening.  Why  not  get  a  theater 
party  together  and  go  and  see  it  as  soon  as  you 
can.  After  seeing  the  picture  I  am  sure  that 
some  one  of  you  will  start  a  Miriam  Hopkins' 
club.  I  see  that  there  isn't  one  belonging  to 
the  Federation.  There'll  be  plenty  of  discus- 
sions also  on  color  photography,  pro  and  con. 

For  fans  who  haven't  already  signed  up  with 
some  club  and  are  anxious  to  I  have  listed 
below  a  number  of  clubs  that  are  members  of 
the  Federation.  Lew  Ayres'  Club,  Helen 
Raether,  Pres.,  311  S.  Mingo  Street,  Albion, 
Michigan;  Bing  Crosby  Club,  Fay  E.  Zinn, 
Pres.,  95  North  Walnut  Street,  East  Orange, 
New  Jersey;  Irene  Dunne  Fan  Club,  Meta 
Waltman,  Pres.,  269  Meade  Ave.,  Hanover, 
Pennsylvania;  Francis  Lederer  Fan  Club, 
Beatrice  Kramer,  Pres.,  4341  North  Albany 
Ave.,  Chicago,  Illinois;  Jean  Muir  Fan  Club, 
Anita  Weber,  Pres.,  9025  Keith  Ave.,  West 
Hollywood,  California;  Dick  Powell,  Chaw 
Mank,  Pres.,  226  East  Mills  Street,  Staunton, 
Illinois;  Norma  Shearer  Club,  Hans  Faxdahl, 
Pres.,  1947  Broadway,  New  York  City; 
Official  Robert  Taylor  Club,  Dorothy  M. 
Hulse,  Pres.,  3322  Wilson  Ave.,  Boston  Road, 
New  York;  Franchot  Tone  Fan  Club,  Phyllis 
Caryle,  Pres.,  45  Smith  Street,  Portland, 
Maine;  and  Evelyn  Venable  Club,  Margaret 
Connell,  Pres.,  811  Prospect  Road,  Des 
Moines,  Iowa. 


AN  AFFLICTION  so  painful  it  almost  drives  you 
1  mad,  yet  one  so  delicate  you  can  scarcely  bring 
yourself  to  talk  to  your  doctor  about  it  1  That's  Piles ! 

Bad  pain  is  not  the  worst  thing  about  Piles! 
They  can  develop  into  something  very  serious. 

Whether  Piles  be  internal  or  external,  painful  or 
Itching,  real  relief  is  to  be  had  today  in  Pazo  Oint- 
ment. Pazo  is  threefold  in  effect. 

First,  it  is  soothing,  which  relieves  pain,  soreness 
and  itching.  Second,  it  is  lubricating,  which  makes 
passage  easy.  Third,  it  is  astringent,  which  tends  to 
reduce  the  swollen  blood  vessels  which  are  Piles. 

You  get  immediate  and  lasting  relief  with  Pazo. 
NOW  IN   THREE  FORMS 

Pazo  Ointment  now  comes  in  three  forms:  (1)  in 
Tubes  with  Special  Pile  Pipe  for  insertion  high  up  in 
the  rectum;  (2)  in  Tins  for  application  in  the  ordinary 
way ;  (3)  in  Suppository  form  (new) .  Those  who  prefer 
suppositories  will  find  Pazo  the  most  satisfactory,  as 
they  are  self -lubricating  and  otherwise  highly  efficient. 

All  drug  stores  sell  Pazo  in  the  three  forms  as 
described,  but  a  trial  tube  is  free  for  the  asking.  Just 
mail  a  postcard  or  the  coupon  below. 


I 

'  Grove  Laboratories,  Inc. 
|  Dept.    32- P,    St.  Louis,  Mo. 

J  Gentlemen:  Please  send  Pazo  FREE. 

|   NAME 

I 

I   ADDRESS- 


FREE 


Look  at  their  mouths  water!  Jimmy  Gleason,  Boris  Karloff  and  Robert 
Armstrong  are  broiling  a  nice  thick  steak  out-of-doors  at  the  Karloff 
home,  over  a  charcoal  fire.    Wonder  if  they  could  use  another  helper? 


I   CITY_  STATE.__. 

I 


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JBlh  year.  Send  tor  tree  booklet. 
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Support  and  relieve -swelling  and  varicose  veins 
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postman. 

Dr.  JEANNE  P.  H.  WALTER 

389  Fifth  Ave.,  New  York 


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PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


When  the  drummer  has  crashed 
the  last  crescendo  and  the  hass 
viol  has  heen  put  under  wraps 
—  then  it's  time  to  eat.  And 
whether  it's  on  the  kitchen  table 
or  over  a  lunch  counter  —  about 
the  best  you  can  get  is  a  big  bowl 
of  Kellogg's  Corn  Flakes  in  milk 
or  cream.  Because  they  digest 
easily,  they'll  let  you  sleep  so 
soundly  that  you'll  enjoy  that 
morning  dash  for  the  8: 18. 

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hair  soft,  glossy,  natural.  Permits  permanent  wave  and  curl. 
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Absorb  blemishes  and  discolorations  using 
Mercolized  Wax  daily;  as  directed.  Invisible 
particles  of  aged  skin  are  freed  and  all 
defects  such  as  blackheads,  tan,  freckles  and 
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fully clear,  velvety  and  so  soft — face  looks 
years  younger.  Mercolized  Wax  brings  out 
your  hidden  beauty.  At  all  leading  druggists. 
Phelactine  removes  hairy  growths 
—takes  them  out— easily,  quickly 
and  gently.  Leaves  the  skin  hair  free. 

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Addresses  of  the  Stars 


HOLLYWOOD,  CALIF. 


Paramount 


Studios 
Elissa  Landi 
Billy  Lee 
Baby  LeRoy 
Carole  Lombard 
Pauline  Lord 
Ida  Lupino 
Fred  Mac  Murray 
Marian  Mansfield 
Herbert  Marshall 
Gertrude  Michael 
Raymond  Mi  Hand 
Joe  Morrison 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Joe  Penner 
George  Raft 
Maxine  Reiner 
Lyda  Roberti 
Charlie  Ruggles 
Marina  Schubert 
Randolph  Scott 
Sylvia  Sidney 
Alison  Skipworth 
Fred  Stone 
Sir  Guy  Standing 
Gladys  Swarthout 
Akim  Tamiroff 
Colin  Tapley 
Kent  Taylor 
Lee  Tracy 
Virginia  Weidler 
Mae  West 
Henry  Wilcoxon 

N.  Western   Ave. 

Walter  King 
Rosina  Lawrence 
Charles  Locher 
Edmund  Lowe 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Conchita  Montenegro 
Rosita  Moreno 
Herbert  Mundin 
Warner  Oland 
Pat  Paterson 
Ruth  Peterson 
John  Qualen 
Regina  Rambeau 
Bill  Robinson 
Will  Rogers 
Gilbert  Roland 
Raul  Roulien 
Siegfried  Rumann 
Jackie  Searl 
Slim  Summerville 
Shirley  Temple 
Claire  Trevor 
Helen  Twelvetrees 
Blanca  Vischer 
Henry  B.  Walthall 


ctures,   780  Gower   St. 
Pert  Kelton 
Francis  Lederer 
Gene  Lockhart 
Raymond  Middleton 
Polly  Moran 
June  Preston 
Gregory  Ratoff 
Virginia  Reid 
Erik  Rhodes 
Barbara  Robbins 
Buddy  Rogers 
Ginger  Rogers 
Anne  Shirley 
Frank  Thomas,  Jr. 
Helen  Westley 
Bert  Wheeler 
Robert  Woolsey 


Benny  Baker 
George  Barbier 
Wendy  Barrie 
Douglas  Blackley 
Mary  Boland 
Grace  Bradley 
Carl  Brisson 
Kathleen  Burke 
Burns  and  Allen 
Kitty  Carlisle 
Dolores  Casey 
Claudette  Colbert 
Gary  Cooper 
Jack  Cox 

Larry  "  Buster"  Crabbe 
Bing  Crosby 
Katherine  DeMille 
Marlene  Dietrich 
Johnny  Downs 
Frances  Drake 
Mary  Ellis 
W.  C.  Fields 
William  Frawley 
Trixie  Friganza 
Cary  Grant 
Julie  Haydon 
Samuel  Hinds 
David  Holt 
Dean  Jagger 
Helen  Jepson 
Roscoe  Karns 
Walter  C.  Kelly 
Lois  Kent 
Jan  Kiepura 

Fox  Studios,    1401 

Astrid  Allwyn 
Rosemary  Ames 
Lew  Ayres 
Mona  Barrie 
Warner  Baxter 
Thomas  Beck 
William  Benedict 
Barbara  Blone 
John  Boles 
Rita  Cansino 
Jane  Darwell 
Rosita  Diaz 
Alan  Dinehart 
James  Dunn 
Jack  Durant 
Alice  Faye 
Stepin  Fetchit 
Ketti  Gallian 
Janet  Gaynor 
Frances  Grant 
Harry  Green 
Tito  Guizar 
Sterling  Holloway 
Rochelle  Hudson 
Roger  Imhof 
Walter  Johnson 
Arline  Judge 
Paul  Kelly 

RKO-Radio  P 

Glenn  Anders 
Fred  Astaire 
John  Beal 
Willie  Best 
Eric  Blore 
Alice  Brady 
Helen  Broderick 
Chic  Chandler 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Preston  Foster 
Wynne  Gibson 
Alan  Hale 
Margaret  Hamilton 
Ann  Harding 
Katharine  Hepburn 

United  Artists  Studios,  1041    N.  Formosa  Ave. 

Eddie  Cantor  Miriam  Hopkins 

Charles  Chaplin  Joel  McCrea 

Douglas  Fairbanks  Mary  Pickford 


20th  Century   Studios, 
George  Arliss 
Ronald  Colman 

Columbia  Studios, 
Robert  Allen 
Jean  Arthur 
Tala  Birell 
James  Blakeley 
Nana  Bryant 
Jack  Buckler 
Tullio  Carminati 
Nancy  Carroll 
Ruth  Chatterton 
Walter  Connolly 
Donald  Cook 
Inez  Courtney 
Richard  Cromwell 
Douglas  Dumbrille 
Lilian  Harvey 
Arthur  Hohl 


1041    N.  Formosa  Ave. 

Fredric  March 
Loretta  Young 

1438  Gower  St. 
Jack  Holt 
Victor  Jory 
Fred  Keating 
Arthur  Killian 
Peter  Lorre 
Marian  Marsh 
Ken  Maynard 
Tim  McCoy 
Robert  Middlemass 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Florence  Rice 
Ann  Sothern 
Raymond  Walburn 


CULVER  CITY,  CALIF. 

Ha!    Roach   Studios 


Don  Barclay 
Billy  Bletcher 
Charley  Chase 
Billy  Gilbert 
Oliver  Hardy 

Metro-Goldwyn- 

Brian  Aherne 
Katharine  Alexander 
Elizabeth  Allan 
Lionel  Barrymore 
Granville  Bates 
Wallace  Beery 
Constance  Bennett 
Virginia  Bruce 
Ralph  Bushman 
Charles  Butterworth 
Bruce  Cabot 
Mary  Carlisle 
Ruth  Channing 
Maurice  Chevalier 
Mady  Christians 
Constance  Collier 
Joan  Crawford 
Dudley  Digges 
Jimmy  Durante 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Muriel  Evans 
Louise  Fazenda 
Preston  Foster 
Betty  Furness 
Clark  Gable 
Greta  Garbo 
Gladys  George 
C.  Henry  Gordon 
Ruth  Gordon 
Igor  Gorin 
Russell  Hardie 
Jean  Harlow 
Frank  Hayes 
Helen  Hayes 
Louise  Henry 
William  Henry 
Jean  Hersholt 


Patsy  Kelly 
Stan  Laurel 
Billy  Nelson 
Our  Gang 
Douglas  Wakefield 

Mayer  Studios 
Irene  Hervey 
Isabel  Jewell 
Barbara  Kent 
June  Knight 
Evelyn  La  ye 
Myrna  Loy 
Jeanette  MacDonald 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Karen  Morley 
Edna  May  Oliver 
Maureen  O'Sullivan 
Cecilia  Parker  , 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
William  Powell 
Carl  Randall 
May  Robson 
Mickey  Rooney 
Shirley  Ross 
Rosalind  Russell 
Norma  Shearer, 
Frank  Shields 
Sid  Silvers 
Harvey  Stephen 
Lewis  Stone 
Gloria  Swanson 
William  Tannen 
Robert  Taylor 
Franchot  Tone 
Spencer  Tracy 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


UNIVERSAL  CITY,  CALIF. 


Uni 


Heather  Angel 
Henry  Armetta 
Baby  Jane 
Binnie  Barnes 
Noah  Beery,  Jr. 
Phyllis  Brooks 
Andy  Devine 
Jean  Dixon 
Marta  Eggerth 
Sally  Eilers 
Douglas  Fowley 
Valerie  Hobson 
Henry  Hull 
Buck  Jones 
Boris  Karloff 
John  King 
Frank  Lawton 


Studios 
Bela  Lugosi 
Paul  Lukas 
Joel  McCrea 
Lester  Matthews 
Henry  Mollinson 
Douglass  Montgomery 
Victor  Moore 
Chester  Morris 
Hugh  O'Connell 
Cesar  Romero 
Gloria  Stuart 
Margaret  Sullavan 
Mary  Wallace 
Irene  Ware 
Clark  Williams 
Jane  Wyatt 


BURBANK,  CALIF. 


Warners-First  National  Studios 

Josephine  Hutchinson 
Allen  Jenkins 
Al  Jolson 
Ruby  Keeler 
Guy  Kibbee 
Joseph  King 
Robert  Light 
Margaret  Lindsay 
Anita  Louise 
Helen  Lowell 
Barton  MacLane 
Everett  Marshall 
June  Martell 
Frank  McHugh 
James  Melton 
Jean  Muir 
Paul  Muni 
Jack  Norton 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed 
Philip  Regan 
Edward  G.  Robinson 
Mary  Russell 
Winifred  Shaw 
Lyle  Talbot 
Verree  Teasdale 
Genevieve  Tobin 
Mary  Treen 
Rudy  Vallee 
Gordon  Westcott 
Warren  William 
Donald  Woods 


Ross  Alexander 
Johnnie  Allen 
Mary  Astor 
Robert  Barrat 
Joan  Blondell 
Glen  Boles 
George  Brent 
Joe  E.  Brown 
James  Cagney 
Hobart  Cavanaugh 
Colin  Clive 
Ricardo  Cortez 
Joseph  Crehan 
Dorothy  Dare 
Marion  Davies 
Bette  Davis 
Olivia  de  Haviland 
Dolores  Del  Rio 
Claire  Dodd 
Robert  Donat 
Ruth  Donnelly 
Maxine  Doyle 
Ann  Dvorak 
John  Eldredge 
Gordon  Elliott 
Patricia  Ellis 
Florence  Fair 
Glenda  Farrell 
Errol  Flynn 
Kay  Francis 
William  Gargan 
Nan  Gray 
Hugh  Herbert 
Leslie  Howard 
Ian  Hunter 

Lloyd  Hughes,  616  Taft  Bldg..  Hollywood,  Calif. 
Harold  Lloyd,  6640  Santa  Monica   Blvd.,  Hollywood, 
Calif.  „       „         ,     ,..,, 

Neil  Hamilton,  351  N.  Crescent  Dr.,  Beverly  Hills, 
Calif.  TT  „  . 

Ned  Sparks,  1765  No.  Sycamore  Ave.,  Hollywood. 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,   1935 


III 


Casts  of  Current  Photoplays 

COMPLETE     FOR     EVERY     PICTURE     REVIEWED     IN     THIS     ISSUE 


"ACCENT  ON  YOUTH"— Paramount.— From  a 
play  by  Samson  Raphaelson.  Screen  play  by  Herbert 
Fields  and  Claude  Binyon.  Directed  by  Wesley 
Ruggles.  The  cast:  Linda  Brown,  Sylvia  Sidney; 
Steven  Gaye,  Herbert  Marshall;  Dickie  Reynolds, 
Phillip  Reed;  Genevieve  Lang,  Astrid  Allwyn;  Frank 
Galloway,  Holmes  Herbert;  Miss  Darling,  Catherine 
Doucet;  Flogdell,  Ernest  Cossart;  Orvillc,  Donald 
Meek;  Benham,  Samuel  S.  Hinds;  Mrs.  Benham, 
Florence  Roberts;  Mrs.  Galloway,  Laura  Treadwell; 
Chuck,  Lon  Chaney,  Jr.;  Butch,  Nick  Foran;  Fiancee, 
Janet  Elsie  Cook;  Cashier,  Albert  Taylor. 

"ANNA  KARENINA"— M-G-M.— From  the 
story  by  Count  Leo  Tolstoy.  Screen  play  by  Clem- 
ence  Dane  and  Salka  Viertel.  Directed  by  Clarence 
Brown.  The  cast:  Anna  Karenina,  Greta  Garbo; 
Vronsky,  Frederic  March;  Sergei,  Freddie  Bartholo- 
mew; Kilty,  Maureen  O'Sullivan;  Countess  Vronsky, 
May  Robson;  Karenin,  Basil  Rathbone;  Sliva, 
Reginald  Owen;  Yashvin,  Reginald  Denny;  Dolly, 
Phoebe  Foster;  Levin,  Gyles  Isham;  Grisha,  Buster 
Phelps;  Anna's  Maid,  Ella  Ethridge;  Lih,  Joan 
Marsh;  Vronsky's  Valet,  Sidney  Bracey;  Tania, 
Cora  Sue  Collins;  Butler,  Joe  E.  Tozer;  Tutor,  Guy 
D'Ennery;  Cord,  Harry  Allen;  Princess  Sorokino, 
Mary  Forbes;  Mme.  Karlasoff,  Ethel  Griffies;  Matve, 
Harry  Beresford;  Governess,  Sarah  Padden. 

"BECKY  SHARP"— Pioneer-RKO  Release  — 
From  the  play  "Becky  Sharp"  by  Langdon  Mitchell. 
Screen  play  by  Francis  Edward  Faragoh.  Directed 
by  Rouben  Mamoulian.  The  cast:  Becky  Sharp, 
Miriam  Hopkins;  Amelia  Sedley,  Frances  Dee; 
Marquis  of  Sleyne,  Cedric  Hardwicke;  Lady  Bare- 
acres,  Billie  Burke;  Miss  Crawley,  Alison  Skipworth; 
Joseph  Sedley,  Nigel  Bruce;  Rawdon  Crawley,  Alan 
Mowbray;  George  Osborne,  G.  P.  Huntley,  Jr.;  Pitt 
Crawley,  William  Stack;  Sir  Pill  Crawley,  George 
Hassell;  Duke  of  Wellington,  William  Faversham; 
General  Tuflo,  Charles  Richman;  Duchess  of  Rich- 
mond, Doris  Lloyd;  William  Dobbin,  Colin  Tapley; 
Lord  Tarquin,  Leonard  Mudie;  Briggs,  May  Beatty; 
Bowles,  Charles  Coleman;  Lady  Blanche,  Bunny 
Beatty;  Miss  Flowery,  Finis  Barton;  The  Prince 
Regent,  Olaf  Hytten;  Fifine,  Pauline  Garon;  Sedley's 
Page,  James  "Hambone"  Robinson;  Miss  Pinkerton, 
Elspeth  Dudgeon;  The  Charwoman,  Tempe  Pigott; 
Lady  Jane  Crawley,  Ottola  Nesmith. 

"BROADWAY  GONDOLIER"— Warners.— 
From  the  story  by  Sig  Herzig,  E.  Y.  Harburg  and 
Hans  Kraly.  Screen  play  by  Warren  B.  Duff  and 
Sig  Herzig.  Directed  by  Lloyd  Bacon.  The  cast: 
Dick  Purcell,  Dick  Powell;  Alice  Hughes,  Joan 
Blondell;  Professor  de  Vinci,  Adolphe  Menjou;  Mrs. 
Flagenheim,  Louise  Fazenda;  Cliff  Stanley,  William 
Gargan;  Hayward,  George  Barbier;  Richards,  Grant 
Mitchell;  Gilmore,  Hobart  Cavanaugh;  Red,  Joseph 
Sauers;  Ramon,  Rafael  Storm;  Singing  Cop,  Bob 
Murphy;  Uncle  Andy,  James  Burke;  also  Ted  Fio 
Rito  and  his  Band,  Four  Mills  Bros,  and  the  Canova 
Family. 

"CALM  YOURSELF"— M-G-M.— From  the  story 
by  Edward  Hope.  Screen  play  by  Arthur  Kober. 
Directed  by  George  Seitz.  The  cast:  Pat,  Robert 
Young;  Rosalind,  Madge  Evans;  Mary  Elizabeth, 
Betty  Furness;  Knuckles  Benedict,  Nat  Pendleton; 
Bobby  Kent,  Hardie  Albright;  Mr.  Rockwell,  Ralph 
Morgan;  Allenby,  Claude  Gillingwater;  Roscoe,  Paul 
Hurst;  Mrs.  Rockwell,  Shirley  Ross;  Joan  Vincent, 
Shirley  Chambers;  Mr.  Kent,  Hale  Hamilton;  Mrs. 
Lanselle,  Claudelle  Kaye;  Joe,  Clyde  Cook;  Brotn- 
berg,  Herman  Bing;  Police  Inspector,  Richard  Tucker; 
Lieut,  of  Police,  Ivan  "Dusty"  Miller;  Lanselle,  Charles 
Trowbridge;  Anne,  Tempe  Pigott;  Mike,  Raymond 
Hatton. 

"CHARLIE  CHAN  IN  EGYPT"— Fox.— Based 
on  the  character  "Charlie  Chan"  created  by  Earl 
Derr  Biggers.  Screen  play  by  Robert  Ellis  and  Helen 
Logan.  Directed  by  Louis  King.  The  cast:  Charlie 
Chan,  Warner  Oland;  Carol  Arnold,  Pat  Paterson; 
Tom  Evans,  Thomas  Beck;  Nayda,  Rita  Cansino; 
Dr.  Anion  Racine,  Jameson  Thomas;  Professor 
Thurston,  Frank  Conroy;  Edfu  Ahmad,  Nigel  de 
Brulier;  Barry  Arnold,  James  Eagles;  Fouad  Soueida, 
Paul  Porcasi;  Drageman,  Arthur  Stone;  Snowshoes, 
Stepin  Fetchit. 

"CLAIRVOYANT,  THE"— GB  Prod.— From  the 
story  by  Ernst  Lothar.  Directed  by  Maurice  Elvey. 
The  cast:  Maximus,  Mind  Reader,  Claude  Rains; 
Rene,  His  Wife,  Fay  Wray;  Christine,  Jane  Baxter; 
Simon,  Ben  Field;  Madame,  Mary  Clare;  Customs 
Officer,  Jack  Rains;  Lodging  Housekeeper,  Margaret 
Davidge;  Bimeler,  Denier  Warren;  Derelict,  Donald 
Calthrop. 

"ESCAPADE"— M-G-M.— Based  on  the  German 
script  "Maskerade"  by  Walter  Reisch.  Screen  play 
by  Herman  J.  Mankiewicz.  Directed  by  Robert  Z. 
Leonard.  The  cast:  Fritz,  William  Powell;  Leo- 
poldme,  Luise  Rainer;  Karl,  Frank  Morgan;  Gerta, 
Virginia  Bruce;  Paul,  Reginald  Owen;  Anita,  Mady 
Christians;  Countess,  Laura  Hope  Crews;  Concierge, 
Henry  Travers;  Carmen,  Mathilda  Comont. 

"FRONT  PAGE  WOMAN"— Warners.— Based 
on  the  magazine  story  by  Richard  Maccaulay.  Screen 
play  by  Laird  Doyle.  Directed  by  Michael  Curtiz. 
The  cast:  Ellen  Garfield,   Bette   Davis;  Curt  Devin, 


George  Brent;  Inez  Cordoza,  Winifred  Shaw;  Toots 
O'Grady,  Roscoe  Karns;  Spike  Kiley,  Joseph  Crehan; 
Lester  Hartnell,  Joseph  King;  Mae,  chorus  girl, 
Dorothy  Dare;  Olive,  chorus  girl,  June  Martel;  Irma 
Barnell,  Grace  Hale;  Robert,  J.  Carrol  Naish;  Mail- 
land  Coulter,  Gordon  Westcott;  Hallohan,  J.  Farrell 
MacDonald;  Joe  Davis,  Selmar  Jackson;  District 
Attorney,  Addison  Richards;  Chinard,  Georges 
Renavent;  Fuji,  Mike  Morita. 

"HARD  ROCK  HARRIGAN"— Fox.— From  the 
story  by  Charles  Furthman.  Screen  play  by  Ray- 
mond L.  Schrock  and  Dan  Jarrett.  Directed  by 
David  Howard.  The  cast:  "Hard  Rock"  Harrigan, 
George  O'Brien;  "Anderson" ,  Irene  Hervey;  Black 
Jack  Riley,  Fred  Kohler;  Michael  McGinnis,  Dean 
Benton;  McClinlock,  Frank  Rice;  Oscar,  Victor  Potel; 
Clancy,  Olin  Francis;  Clark,  William  Gould;  Colu mho, 
George  Humbert;  McNally,  David  Clyde;  Dr. 
Wagner,  Ed  Keene;  Casey,  Lee  Shumway. 

"HONEYMOON  LIMITED"— Monogram.— 
From  the  story  by  Vida  Hurst.  Screen  play  by 
Dorothy  Reid  and  Betty  Burbridge.  Directed  by 
Arthur  Lubin.  The  cast:  Dick,  Neil  Hamilton; 
Judy,  Irene  Hervey;  Henry,  Lloyd  Hughes;  Slug, 
Russell  Hicks;  Babe,  Lorin  Raker;  Jack,  Joy  Filmer; 
Jill,  June  Filmer;  Pinkham,  George  Hayes;  Randall. 
Henry  Kolker. 

"IN  OLD  KENTUCKY"— Fox.— From  the  play 
by  Charles  T.  Dazey.  Screen  play  by  Sam  Hellman 
and  Gladys  Lehman.  Directed  by  George  Marshall. 
The  cast:  Sieve  Tapley,  Will  Rogers;  Nancy  Martin- 
gale, Dorothy  Wilson;  Lee  Andrews,  Russell  Hardie; 
Ezra  Martingale,  Charles  Sellon;  Arlene  Shattuck, 
Louise  Henry;  Dolly  Breckenridge,  Esther  Dale; 
Slick  Doherly,  Alan  Dinehart;  Pole  Shattuck,  Charles 
Richman;  Pluvious  J.  Aspinwall,  Etienne  Girardot; 
Sheriff,  John  Ince;  Wash  Jackson,  Bill  Robinson. 

"KEEPER  OF  THE  BEES,  THE"— Monogram 
— From  the  novel  by  Gene  Stratton-Porter.  Screen 
play  by  Adele  Buffington.  Directed  by  Christy 
Cabanne.  The  cast:  Jamie,  Neil  Hamilton;  Molly, 
Betty  Furness;  Margaret,  Emma  Dunn;  Seoul,  Edith 
Fellowes;  Bee  Master,  Hobart  Bosworth;  Shorty, 
Helen  Jerome  Eddy;  Louise,  Marion  Shilling;  Red, 
James  Burtis;  Nurse,  Barbara  Bedford;  Dr.  Grayson, 
Lafe  McKee;  Judge,  George  Cleveland;  Colonel, 
William  Worthington. 

"LADIES  CRAVE  EXCITEMENT"— Mascot. 
— From  the  story  by  John  Rathmell.  Screen  play  by 
Wellyn  Totman.  Directed  by  Nick  Grinde.  The 
cast:  Don  Phelan,  Norman  Foster;  Wilma  "Billie" 
Howell,  Evalyn  Knapp;  Miss  Winkler,  Esther  Ralston; 
Bob  Starke,  Eric  Linden;  Amos  Starke,  Purnell  Pratt; 
J.  Fenlon  Howell,  Gilbert  Emery;  Flynn,  Syd  Saylor; 
Johnson,  Matt  McHugh;  Bert  L.  Taylor,  Russell 
Hicks;  Mary  Phelan,  Emma  Dunn;  Vi,  Irene  Frank- 
lin; Dan  McCloskey,  George  Hayes;  Nick,  Jason 
Robards;  Joe,  Stanley  Blystone;  Terry,  Francis 
McDonald;  Pat,  Max  Wagner;  Mike,  Lynton  Brent; 
Warden,  Edward  Peil;  Globe  Sales  Mgr.,  Robert 
Frazer;  Constable,  Herbert  Heywood;  Swenson, 
Christian  Rub;  Harry,  Herb  Vigran;  Maid,  Mary 
McLaren;  Guard,  Eddie  Hearn. 

"LADY  TUBBS"— Universal.— From  the  novel 
by  Homer  Croy.  Screen  play  by  Barry  Trivers. 
Directed  by  Alan  Crosland.  The  cast:  Henrietta 
(Mom)Tubbs,  Alice  Brady;  Phil  Ash-Orcutt,  Doug- 
lass Montgomery;  Wynne  Howard,  Anita  Louise; 
Elyot  Wembsleigh,  Alan  Mowbray;  Fishbaker,  Minor 
Watson;  Mr.  Ash-Orcutt,  Russell  Hicks;  Mrs.  Ash- 
Orcutt,  Hedda  Hopper;  Jean  LaGendre,  June  Clay- 
worth;  Lord  Abernalhy,  Lumsden  Hare;  Elmer,  Harry 
Tyler;  Joseph,  Walter  Brennan;  Rinaldo,  Rafael 
Storm;  also  Mildred  Harris,  Mary  Carewe,  Phyllis 
Brooks,  Mary  Wallace,  Virginia  Hammond,  Walter 
Lang,  Pat  O'Malley,  Victor  Potel,  Perry  Ivins  and 
Sam  McDaniels. 

"LOVE  ME  FOREVER"— Columbia.— From  the 
story  by  Victor  Schertzinger.  Screen  play  by  Jo 
Swerling  and  Sidney  Buchman.  Directed  by  Victor 
Schertzinger.  The  cast:  Margaret  Howard,  Grace 
Moore;  Stive  Corelli,  Leo  Carrillo;  Philip  Cameron, 
Robert  Allen;  Fields,  Spring  Byington;  Maurizzio, 
Thurston  Hall;  Miller,  Douglas  Dumbrille;  Luigi, 
Luis  Alberni;  Michael  Bartlelt,  Michael  Bartlett. 

"MAD  LOVE"— M-G-M.— From  the  novel  "Les 
Mains  D'Orlac"  by  Maurice  Renard.  Screen  play  by 
P.  J.  Wolfson  and  John  L.  Balderston.  Directed  by 
Karl  Freund.  The  cast:  Doctor  Gogol,  Peter  Lorre; 
Yvonne  Orlac,  Frances  Drake;  Stephen  Orlac,  Colin 
Clive;  Reagan,  Ted  Healy;  Marie,  Sarah  Haden; 
Rollo,  Edward  Brophy;  Prefect  Rossel,  Henry  Kolker; 
Marianne,  Isabel  Jewel;  Dr.  Wong,  Keye  Luke; 
Thief,  Harold  Huber;  Henry  Orlac,  Ian  Wolfe;  Dr. 
Marbeau,  Charles  Trowbridge;  Charles,  Murray 
Kinnell;  Francoise,  May  Beatty;  Endore,  Rollo  Lloyd. 

"MAKE  A  MILLION"— Monogram.— From  the 
story  by  Emmett  Anthony.  Screen  play  by  Charles 
Logue.  Directed  by  Lewis  D.  Collins.  Cast:  Jones, 
Charles  Starrett;  Irene,  Pauline  Brooks;  Larkey, 
George  E.  Stone;  Pete,  James  Burke;  Corning,  Guy 
Usher;  Moxey,  Norman  Houston;  Benny,  Monte 
Carter;  Soapy,  Jimmy  Aubrey;  Blindman,  George 
Cleveland;  Dean,  John  Elliot. 


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112 


PHOTOPLAY  MAGAZINE  FOR  SEPTEMBER,    1935 


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ARABIAN 
NIGHTS 


THE  ORIGINAL  LANE  } 
TRANSLATION        .    . 


2 


98 


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Dept.  P9,     1926  Broadway,     New  York  City 


"MAN  ON  THE  FLYING  TRAPEZE.  THE"- 
Paramount. — From  the  story  by  Charles  Bogle' 
Screen  play  by  Jack  Cunningham,  Ray  Harris  and 
Bobby  Vernon.  Directed  by  Clyde  Bruckman.  The 
cast:  Ambrose  Woolfinger,  W.  C.  Fields;  Loena  Wool- 
finger,  Kathleen  Howard;  Hope  Woolfinger,  Mary 
Brian;  Mrs,  Neselroad,  Vera  Lewis;  Claude  Neselroad, 
Grady  Sutton;  Malloy,  Oscar  Apfel;  T.  P.  Wallaby, 
David  Clyde;  Willie,  the  Weasel,  Tammany  Young; 
Legs  Garnell,  Walter  Brennan;  Adolph  Berg,  Lew 
Kelly;  Peabody,  Lucien  Littlefield;  Night  Court 
Judge,  Arthur  Aylesworth. 

"MEN  WITHOUT  NAMES"— Paramount.— 
From  the  story  by  Dale  VanEvery.  Screen  play  by 
Marguerite  Roberts,  Howard  J.  Green  and  Kubec 
Glasmon.  Directed  by  Ralph  Murphy.  The  cast: 
Richard  Hood,  Fred  MacMurray;  Richard  "Dtck" 
Grant,  Fred  MacMurray;  Helen  Sherwood,  Madge 
Evans;  Gabby  Lambert,  Lynne  Overman;  David 
Sherwood,  David  Holt;  Aunt  Ella,  Elizabeth  Patter- 
son; Andrew  Webster,  Grant  Mitchell;  Jones,  Dean 
Jagger;  Sam  "Red"  Hammond,  John  Wray;  Major 
Newcomb,  J.  C.  Nugent;  Monk,  Leslie  Fenton; 
Crawford,  Herbert  Rawlinson. 

"OLD  CURIOSITY  SHOP"— B.I. P.-Alliance.— 
Adapted  by  Margaret  Kennedy  and  Ralph  Neale. 
Directed  by  Thomas  Bentley.  The  cast:  The  Grand- 
father, Ben  Webster;  Nell,  Elaine  Benson;  Quilp, 
Hay  Petrie;  His  wife,  Beatrix  Thomson;  Sampson 
Brass,  Gibb  McLaughlin;  Sally  Brass,  Lily  Long; 
Dick  Swiveller,  Reginald  Purdell;  The  Marchioness 
Polly  Ward;  The  Single  Gentleman,  James  Harcourt; 
The  Schoolmaster,  J.  Fisher-White;  Codlin,  Dick 
Tubb;  Short,  Roddy  Hughes;  Mrs.  Jarley,  Amy 
Veness;  Kit,  Peter  Penrose;  Tom  Scott,  Vic  Filmer. 

"PAGE  MISS  GLORY"— Warners.— From  the 
play  by  Joseph  Schrank  and  Philip  Dunning.  Screen 
play  by  Delmer  Daves  and  Robert  Lord.  Directed 
by  Mervyn  LeRoy.  The  cast:  Loretta,  Marion 
Davies;  Click  Wiley,  Pat  O'Brien;  Bingo  Nelson, 
Dick  Powell;  Gladys,  Mary  Astor;  Ed  Olson,  Frank 
McHugh;  Slatlery,  Lyle  Talbot;  Betty,  Patsy  Kelly; 
Peley,  Allen  Jenkins;  Blackie,  Barton  MacLane; 
Joe  Bonner,  Hobart  Cavanaugh;  Mr.  Freischulz, 
Joseph  Cawthorn;  Mr.  Hamburgher,  Al  Shean; 
Yates,  Berton  Churchill;  Loretta' s  Mother,  Helen 
Lowell;  Beauty  Operator,  Mary  Treen;  Kimball, 
Harry  Beresford;  Melz,  Gavin  Gordon;  Nick,  Lionel 
Stander;  Detective  Chief,  Joseph  Crehan. 

"RAVEN,  THE"— Universal.— From  the  story 
suggested  by  Edgar  Allan  Poe's  classic  "The  Raven." 
Screen  play  by  David  Boehm  and  Jim  Tully.  Di- 
rected by  Louis  Friedlandcr.  The  cast:  Batetnan, 
Karloff;  Dr.  Vollin,  Bela  Lugosi;  Jean  Thatcher, 
Irene  Ware;  Jerry  Halden,  Lester  Matthews;  Judge 
Thatcher,  Samuel  Hinds;  Mary,  Inez  Courtney; 
Geoffrey,  Ian  Wolfe;  Col.  Grant,  Spencer  Charters; 
Harriet,  Maidel  Turner;  Chapman,  Arthur  Hoyt. 


"SANDERS  OF  THE  RIVER"  —  London  Films 
United  Artists. — Scenario  and  continuity  by  Lajos 
Biro  and  Jeffrey  Dell.  Directed  by  Zoltan  Korda. 
The  cast:  Bosambo,  Paul  Robeson;  Sanders,  Leslie 
Banks;  Lilongo,  Nina  Mae  McKinney;  Tibbets, 
Robert  Cochrane;  Ferguson,  Martin  Walker;  Hamil- 
ton, Richard  Grey;  Mofolaba,  Tony  Wane;  Farini, 
Marquis  de  Portago;  Smith,  Eric  Maturin;  Father 
O'Leary,  Allan  Jeayes;  Governor  of  the  Territory, 
Charles  Carson;  also  Luao  and  Kllongalonga,  Chiefs 
of  the  Wagenia  (Congo)  Tribe;  Oboja,  Chief  of  the 
Acholi;  Members  of  the  Acholi,  Sesi,  Tefik,  Juruba, 
Mendi  and  Kroo  Tribes. 

"SHE"— RKO-Radio.— From  the  story  by  H. 
Rider  Haggard.  Screen  play  by  Ruth  Rose.  Directed 
by  Irving  Pichel  and  Lansing  C.  Holden.  The  cast: 
She,  Helen  Gahagan;  Leo  Vincey,  Randolph  Scott- 
Tanya,  Helen  Mack;  Holly,  Nigel  Bruce;  Billali. 
Gustav  Von  Seyffertitz;  Dugmore,  Lumsden  Hare; 
John  Vincey,  Samuel  Hinds;  Native  Leader,  Noble 
Johnson;  Capl.  of  the  Guards,  Jim  Thorpe. 

"STRANDED"— Warners.— Based  on  the  story 
by  Frank  Wead  and  Ferdinand  Reyher.  Screen  play 
by  Delmer  Daves.  Directed  by  Frank  Borzage.  The 
cast:  Lynn  Palmer,  Kay  Francis;  Mack  Hale,  George 
Brent;  Velma  Tuthill,  Patricia  Ellis;  John  Wesley, 
Donald  Woods;  Stanislaus  Janauschek,  Robert 
Barrat;  Sharkey,  Barton  MacLane;  Grace  Dean, 
Mary  Forbes;  Mike  Gibbons,  John  Wray;  Miss 
Walsh,  Florence  Fair;  Jimmy  Rivers,  Frankie  Darro; 
Mrs.  Tuthill,  Ann  Shoemaker;  Jack,  Gavin  Gordon; 
Updyke,  William  Harrigan;  Jennie  Holden,  June 
Travis;  Tim  Power,  Edward  McWade;  Lizzie,  Mae 
Busch;  Marvel  Young,  Shirley  Grey;  Tuthill,  Henry 
O'Neill;  Johnny  Quinn,  Joseph  Crehan;  Diane 
Nichols,  Joan  Gay;  Detective,  Joseph  King;  Worker. 
Pat  Moriarity. 

"STRUGGLE    FOR    LIFE"— Fox    Prod.— The 

cast:  All  native  tribesmen. 

"39  STEPS,  THE"— GB  Prod.— From  the  novel 
by  John  Buehan.  Adapted  by  Charles  Bennett. 
Directed  by  Alfred  Hitchcock.  The  cast:  Hannay, 
Robert  Donat;  Pamela,  Madeleine  Carroll;  Professor 
Jordan,  Godfrey  Tearle;  Mrs.  Jordan,  Helen  Haye; 
Miss  Smith,  Lucie  Mannheim;  Crofter's  Wife,  Peggy 
Ashcroft;  Crofter,  John  Laurie;  The  Sheriff,  Frank 
Cellier;  Mr.  Memory,  Wylie  Watson;  Maid,  Peggy 
Simpson. 

"WELCOME  HOME"— Fox.— From  the  original 
story  by  Arthur  T.  Horman.  Screen  play  by  Marion 
Orth  and  Arthur  T  Horman.  Directed  by  James 
Tinling.  The  cast:  Richard  Foster,  James  Dunn; 
Gorgeous,  Arline  Judge;  Giltedge,  Raymond  Walburn; 
Susan  Adams,  Rosina  Lawrence;  Painless,  William 
Frawley;  Anstruther,  Charles  Sellon;  Andrew  Carr, 
Charles  Ray;  Willis  Parker,  Frank  Melton;  Edward 
Adams,  George  Meeker;  Shaunessey,  James  Burke; 
Tiiwillow,  Arthur  Hoyt;  Stanley  Phillips,  Dave 
O'Brien;  Constable  Mulhausen,  Spencer  Charters; 
Flink.  Harry  Holman;  Mrs.  Frisbee,  Sarah  Edwards. 


Joan  Crawford  and  Brian  Aherne  showed  Captain  Knox  Little  of  the 
Royal  Navy,  the  studio  sights  when  he  visited  them  on  the  set  of 
"Elegance"  at  M-G-M.   The  chap  in  back  of  Joan  is  Director  Van  Dyke 


:tober 


25   CEN 


•* 


y 


/ 


WHY  MALE  STARS 
MARRY  PLAIN  GIRLS 


/ 


x 


X 


\ 


BEGINNING    A    THRILLI 
MURDER      MYSTERY   - 


JOAN 
CRAWFOR 

J  n  V  0    S  3  1  3  2 N  V    b^1 
IS     HlCU     M      1  V8  I 


rom 


CASANOVA 


Hh,  left  a  trail  ol  broken  hearts 
Irom  Warsaw  to  ^Naples  and 
from  Constantinople  to  raris,  tins 
swashbuckling,  diplomatic,  engaging 
soldier  ol  lortune  known  to  history 
as  Casanova.  Women  li  1  g la  and 
women  low,  women  brilliant  and 
women  dull,  all  lound  him  lasci- 
nating  .  .  .  And  not  tlie  least  ol  his 
charms  was  his  astonishing  lastidi- 
ousness.  Centuries  belore  halitosis 
was  a  household  word,  he  realized 
that  unpleasant  breath  was  a  lault 
that  could  not  be  lorgiven  even  in 
him.  Consequently,  belore  he  awoo- 
nig  went,  it  was  his  habit  to  chew 
the   leaves   ol  certain    fragrant   herbs 


that  would  quickly  render  his  breath 

sweet  and  agreeable. 

•  •  • 

11  halitosis  ^bad  breath)  were  an 
uncommon  condition,  lew  would  be 
concerned  about  it.  Unlortunately, 
however,  it  is  an  ever-present  threat, 
ivveryone  is  likely  to  have  it  at  some 
time  or  other  lor  this  reason:  even 
in  normal  mouths  lermentation  ol 
tiny  lood  particles  constantly  goes 
on.  Unpleasant  odors  are  released 
without  the  victim  Knowing  it. 

Don  t  take  a  chance 

jjmce  it  is  impossible  to  know  when 
this  condition  is  present,  tbe  wise 
course  is  to  take  sensible  precautions 


against  it.  J.  he  quick,  -wholly  de- 
ligbtlul  method  is  to  use  Listerine 
as  a  mouth  rinse  belore  any  engage- 
ment at  which  you  wish  to  appear 
your  best.  .Because  it  is  antiseptic, 
ijisterine  instantly  halts  lermenta- 
tion. J.  hen  it  overcomes  the  odors 
lermentation  causes.  Hie  breath  — 
indeed  the  entire  mouth  —  becomes 
cleaner,  purer  and  sweeter. 

J\.eep  a  bottle  ol  this  delightful 
mouth  wash  handy  at  all  times.  It 
is  your  assurance  that  you  will  not 
offend  others  needlessly;  that  you 
wall   be  -welcome. 

Lambert    Pharmacal   Company 

St.   Louis,  Mo. 


_Listerine  puts  your  breath  beyond  oilense 


QUICKLY    CHECKS    HALITOSIS 


PHOTOPLAY  MAGAZINE   FOR  OCTOBER,    1935 


Uks 


THE  YEAR'S  OUTSTANDING  ROMANTIC  COMEDY! 


V.\ 


.-i-1 ', 


i'i   50p{\ 


It  happened  in  JViexico  when  two 
lugitive  young  lovers  "went  over  the 
border  and  then  round  out  that  they 
couldn  t  get  back!  You'll  roar  with 
laughter  at  tne  last-moving  series 
ol  amusing  dilliculties  tnat  almost 
■wrecked  tlieir  motor  trailer  and  their 
constantly   interrupted   romance! 


X" 


"tm  r 


\ 


ItttH! 


#£' 


HARRY    M     GOETZ    presents 
a  n      O  award      O'  mall     p  r  o  a  it  c  1 1  o  u 

BARBARA 

STANWYCK 


nth 


-■&* .,  -" 


ROBERT  YOUNG 

HARDIE  ALBRIGHT  •  RUTH  DONNELLY 

CLIFF  EDWARDS  •   GORDON   JONES 

PAUL  STANTON 

LH.     cKeliance     CSiciure 


Directed  by 
SIDNEY   LANFIELD 


Released  thru 
UNITED   ARTISTS 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


6ARB0 


Gmta'fwrSH/n/T 


"ALL    THAT    I    KNOW...  I    KISOW    BY    LOVE    ALONE 


•>•> 


The  heart  of  a  man  called  to  the  heart  of  a 
woman.  "We  love",  it  said,  "and  love  is  all."' 
Heart  answered  heart.  With  eyes  open  to 
what  she  was  leaving  forever  behind  her, 
she  went  where  love  called... to  dark  de- 
spair or  unimaginable  bliss.  It  is  a  drama  of 
deep,  human  emotions,  of  man  and  woman 
gripped  by  circumstance,  moved  by  forces 
bigger  than  they—  a  great  drama,  portrayed 
by  players  of  genius  and  produced  with  the 


fidelity,  insight  and  skill  which  made'David 
Copperfield"  an  unforgettable  experience. 
FREDDIE 

BARTHOLOMEW 

(\ou  remember  him  as  "David  Copperfield  ') 

with  MAUREEN  O'SULLIVAN 
MAY  ROBSON  •  BASIL  RATHBONE 

CLARENCE    BROWN'S 


Production 


A    M  e  t  r  o  •  G  o  1  d  w  y  n  -  M  a  v  e  r    Picture  .   .   .    Produced     by    David    O.    Selznick 


WHO'S  CALLED 

"THE  FRETTING  FROG" 

AND  WHY? 

She's  one  of  the  most  glamorous  girls 
on  the  screen  but  you  will  never  under- 
stand her  until  you  read  this  amusing 
story  on  her  written  by  her  most  recent 
director. 

WHY   VIRGINIA    BRUCE 
WON'T  MARRY 
FOR  FIVE  YEARS 

She   has   more   escorts  than    any   girl 

in      Hollywood,     yet     this     beautiful 

young  divorcee  says  she  won't  marry 

now  and  tells  why. 

THE  SONGS  THAT 

MAKE  STARS  AND  HOW 

THOSE  SONGS  ARE 

CREATED 

If  you  ve  ever  wanted  to  break  into 
the  song  writing  game  (and  who 
hasn't?)  read  the  trials  and  tribula- 
tions of  the  big  boys  who  write  the 
Hollywood    hits. 

WHAT  MATTERS 
MOST  IN  LIFE? 

Dolores  Del  Rio,  Pat  O'Brien,  Glenda 

Farrell,  Gene  Raymond  each  choose 

a  different  ideal. 

Why  does  beautiful  Merla  Smith 
scream  three  times  as  she  runs  from 
the  shadowy  house?  You'll  have  to 
read  the  second  installment  of  "Face 
Down"  by  Charles  J.  Kenny,  the 
finest  mystery  ever  written  about 
Hollywood,  to   get  the   answer. 

These  are  just  a  few  of  the  many 
features  that  will  be  in  the  Novem- 
ber Photoplay  on  sale  October  5th. 


PUBLISHED  MONTHLY  BY 

MACFADDEN  PUBLICATIONS,  INC. 

BERNARR  MACFADDEN,   PRESIDENT 

IRENE  T.   KENNEDY,  TREASURER 

WESLEY  F.  PAPE,  SECRETARY 

PUBLISHING  OFFICE 

333  N.  MICHIGAN  AVE.,  CHICAGO.  ILL 

BUSINESS  AND  EDITORIAL  OFFICES 

1926  BROADWAY,  NEW  YORK  CITY 

LONDON  AGENTS 

MACFADDEN  MAGAZINES,  LTD. 

30  BOUVERIE  ST.,  LONDON,  E.  C.  4. 

TRADE  DISTRIBUTORS 

ATLAS   PUBLISHING  COMPANY, 

18,  BRIDE  LANE,  LONDON,  E.  C.  4. 

CURTIS  HARRISON 

ADVERTISING  MANAGER,  GRAYBAR  BLDG. 

420  LEXINGTON  AVE.,   NEW  YORK,  N.  Y. 

CHARLES  H.   SHATTUCK 

MANAGER  CHICAGO  OFFICE 

YEARLY  SUBSCRIPTION:  $2.50  IN  THE  UNITED 

STATES.    ITS    DEPENDENCIES,    MEXICO    AND 

CUBA;  $3,00  IN  CANADA;  $3  50  FOR  FOREIGN 

COUNTRIES.  REMITTANCES  SHOULD  BE  MADE 

BY   CHECK,   OR  POSTAL   OR   EXPRESS  MONEY 

ORDER.      CAUTION  —  DO     NOT     SUBSCRIBE 

THROUGH    PERSONS    UNKNOWN    TO    YOU. 

ENTERED    AS    SECOND-CLASS    MATTER    APRIL 

24,   1912,  AT  THE   POSTOFFICE  AT  CHICAGO. 

ILL.,    UNDER    THE    ACT    OF    MARCH    3,    1879. 

COPYRIGHT,   1935,  BY 
MACFADDEN   PUBLICATIONS,  INC.,  NEW  YORK 


PHOTOPLAY 

THE    ARISTOCRAT    OF     MOTION     PICTURE     MAGAZINES 

KATHRYN     DOUGHERTY,     PUBLISHER 
RUTH     WATERBURY,     EDITOR 

WILLIAM  7.  WALSH,  MANAGING  EDITOR 
IVAN  ST.  JOHNS,  WESTERN  EDITOR 
WALLACE     HAMILTON     CAMPBELL,      ART     EDITOR 


VOL.  XLVIII    NO.  5 


OCTOBER,    1935 


HIGH-LIGHTS       OF       THIS       ISSUE 

"Curly  Top"  Sets  the  Fashion  for  Little  Girls    ...  4 

Close-Ups  and  Long-Shots.     .       Kathryn  Dougherty  23 

What  Love  Has  Done  for  Chaplin 

Reginald  Taviner  28 

Don't  Talk  to  Me  About  Diets  —  I've  Seen  What  the 

Stars  Really  Eat      .      .      .       Frederick  L.  Collins  30 

The  Girl  Without  a  Past  .  .  .  Dorothy  Manners  32 
Face  Down  (Fiction  Serial,  Opening  Installment)  . 

Charles  J.  Kenny  34 

Why  Male  Stars  Marry  Plain  Girls    .      .  Kay  Proctor  38 

Cal  York's  Gossip  of  Hollywood 40 

Know  Luise  Rainer Kirtley  Baskette  44 

Photoplay's  Memory  Album 

Edited  by  Frederick  L.  Collins  45 

What  Was  the  Best  Picture  of  1934? 52 

Seymour — Photoplay's  Style  Authority 53 

Mitzi  Rides  the  Social  Whirlwind 70 

The  Secret  of  Bing  Crosby's  Greatness    .       Don  Ryan  72 

Photoplay's  Hollywood  Beauty  Shop 

Carolyn  Van  Wyck  74 

PHOTOPLAY'S       FAMOUS       REVIEWS 

Brief  Reviews  of  Current  Pictures 8 

The  Shadow  Stage 66 

PERSONALITIES 

Farewell  to  a  Great  Man 14 

Jean  Parker 17 

Sally  Eilers 20 

Marlene  Dietrich 25 

Don't  Try  to  Explain  Warren  William         Ben  Maddox  37 

Why  Jack  Oakie  Has  Changed     .       Julie  Lang  Hunt  65 

The  Facts  of  Hollywood  Life 92 

On  the  Cover,  Joan  Crawford,  Painted  by  Tchetchet 

INFORMATION       AND        SERVICE 

Letters 6 

Hollywood  Menus 79 

Ask  the  Answer  Man 82 

The  Fan  Club  Corner 115 

Screen  Memories 116 

Casts  of  Current  Photoplays .117 

Addresses  of  the  Stars  .      .      .      .    * 119 

3 


Curly  Top"  Sets 

the  Fashion  for 

Little  Girls 


Madam,   will    you   walk   with   me,   in   your   little   crepe 
frock    and    velvet    capelet    with    perky    hat    to    match 


Buttercup  yellow  crepe 
forms  a  background  for 
Shirley's  daisies  in 
"Curly  Top,"  Fox.  How 
does  the  garden  grow? 


Bunnies  peep  from  un- 
der Shirley's  pajama 
sleeve,  her  pocket; 
white  plush  twin  bun- 
nies, her  boots.  Styles 
by     Rene     Hubert 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,   1935 


THE    GRANDEST    ROMANCE    EVER   BORN 
FROM   THE   FIRE-DIPPED   PEN   OF   DUMAS! 


Reckless  sons  of  the  flashing  blade  ride  and  fight  for  love 
again!  This  month  a  real  thrill  comes  to  the  screens  of  the 
world  as  RKO-  RADIO  gives  you  one  of  its  finest  pictures. 


WALTER   ABEL,  dashing  young  Broadway  stage  star  as  D'Artagnan, 

gay  and  audacious,  as  Dumas  must  have  dreamed  him!  Beloved  PAUL 

LUKAS    as    Athos,    MARGOT    GRAHAME,    who    soared    to    dramatic 

heights  in  the  year's  most  praised  picture,  "The  Informer",  plays  the 

alluring    Milady   de  Winter   together  with   a   superb   cast    including 

Heather  Angel,  Ian  Keith,  Moroni  Olsen,  Onslow  Stevens,  Rosamond 

Pinchot,  John  Qualen,  Ralph  Forbes  and  Nigel  de  Brulier  as  Richelieu. 

Cast    to    perfection!    Produced    with    a    lavish    hand    by    Cliff    Reid 

Superbly  directed   by  Rowland  V.  Lee.  Don't  miss  The  Musketeers ! 
Fencing  Arrangements  by  Fred  Cavens 

1*5*  ■ 


Don't  say  it,  write  it!  You  can 
only  tell  a  few  people  what  you 
think  of  one  or  several  pictures. 
You  reach  thousands  in  "Letters 


Hollywood's  beauty 
on  p  a  r  a  d  e — J  ean 
Harlow,  more  fetch- 
ing than  ever,  and  al- 
luring Marlene  Diet- 
rich, leave  the  Troca- 


dero. 


posies 


Left,  the  brunette  and 
the  blonde  of  it.  Dol- 
ores Del  Rio  and  Vir- 
ginia Bruce  are  al- 
ways pairing  off,  and 
they  make  a  most 
beautiful      contrast 


CHEERS  FOR  LUISE 

I  SHOULD  like  to  he  among  the  first  to 
'  throw  my  hat  in  the  air  and  give  a  few  lusty 
cheers  for  the  new  Viennese  importation, 
Luise  Rainer,  who  made  such  an  auspicious 
beginning  of  her  Hollywood  career  in  "Es- 
capade." 

With  the  notable  exceptions  of  Garbo 
and  Dietrich,  none  of  the  foreign  movie 
actresses  has  made  a  very  startling  success  in 
spite  of  the  avalanche  of  publicity  with  which 
they  were  launched. 

Miss  Rainer's  case,  I  believe,  will  be  very 
different. 

I  can  only  hope  that  the  movie  moguls 
will  refrain  from  bleaching  her  hair,  plucking 
her  eyebrows,  and  damning  her  with  the  twin 
epithets  "exotic"  and  "glamorous."  She 
distinctly  has  something  to  offer,  being  a 
remarkably  clever  and  finished  actress  with  an 
odd  sort  of  beauty  all  her  own. 

J.  S.  H.,  Washington,  D.  C. 


AND  TECHNICOLOR 

I IURRAY  for  Technicolor!     We  have  al- 

'ways  appreciated  the  black  and  white 
films,  but  deep  in  our  hearts  we  have  been 
dreaming  of  the  day  we  should  see  our  favorites 
as  they  really  arc.  Then,  too,  what  an  ad- 
vantage Technicolor  is  to  the  stars.  It  could 
never  be  hoped  for  them  to  display  their  true 
beauty  in  the  drab,  colorless  films. 
Maria  Lupaszewska,  San  Francisco,  Cal. 

TO  MR.  McLAGLEN 

"  THE  Informer" — the  best  picture  of  this  or 
'  any  other  year.  Direction  and  photography 
were  top-notch,  and  as  a  reward,  Victor 
McLaglen  deserves  more  roles  as  great  as  his 
Gypo  Nolan.  An  art  in  itself,  it  is  a  splendid 
example  of  the  movie  of  tomorrow.  Please 
give  us  more  dramatic  punches  like  "The 
Informer." 

A.  M.  M.,  Bremerton,  Wash. 


V 


ICTOR    McLAGLEN'S   acting   in-  "The 
Informer"   was   very   fine. 
Gladys  Feet  Cakpentlr,  St.  Paul,  Minn. 


NOT  SINCE  VALENTINO 

K  IOT  since  Valentino  have  I  seen  any  per- 
'  formance  like  Charles  Foyer's  in  "Break 
of  Hearts."  Katharine  Hepburn,  John  Beal, 
and  Jean  Hersholt  too  were  splendid. 

Charles  Boyer,  Leslie  Howard,  and  Val- 
entino have  put  a  rare  and  very  much  needed 
something  into  the  cinema — something  inde- 
finable because  it  eludes  words,  but  which  is 
very  much  akin  to  soul.  In  my  own  mind 
there  is  only  Boyer — strange,  composite  blend 
of  fire  and  music,  cool  logic,  delightful  whimsy, 
arrogance  and  gentleness,  half-sophisticate  and 
half-pagan — who  deserves  to  be  ranked  with 
the  incomparable  and  never-forgettable  Val- 
entino. 

Evelyn  Pierce,  Champaign,  Illinois 
[  please  turn  to  page  11  ] 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


PAGE     MISS     GLORY 


...and  you'll  find  magical 
Marion  Davies  in  her  first 
picture  for  Warner  Bros, 
—her  finest  for  anybody! 


Look  who's  Marion's  new  screen 
sweetheart .  .  .  Yessir,  it's  "Dick 
Powell!  And  when  he  sings  to  Marion 
he  does  things  to  her  —  and  you! 


SHE'S  back,  boys  and  girls!  Back  with  that  glamorous  gleam 
in  her  eye  .  .  .  that  laughing  lilt  in  her  voice  .  .  .  that 
merry,  magical  something  that  makes  herthefavorite  of  millions. 

Of  course  you  read  the  headlines  a  few  months  ago  about 
Marion  Davies'  new  producing  alliance  with  Warner  Bros., 
famous  makers  of  "G-Men,"  and  other  great  hits.  Well,  'Page 
Miss  Glory'  is  the  first  result  of  that  union — and  it's  everything 
you'd  expect  from  such  a  thrilling  combination  of  screen  talent! 

It's  from  the  stage  hit  that  made  Broadway's  White  Way  gay — a 
delirious  story  of  Hollywood's  'Composite  Beauty'  who  rose 
from  a  chambermaid  to  a  national  institution  overnight  .  •  . 

It  has  a  12-star  cast  that  makes  you  chuckle  with  antici- 
pation just  to  read  the  names  ... 

It  has  hit-maker  Mervyn  LeRoy's  direction,  and  Warren  & 
Dubin's  famous  song,  'Page  Miss  Glory'.  .  . 

It  has  'Picture-of-the-Month'  written  all  over  it!' 


Don't  think  you're  dreaming!  All  these  celebrated 
stars  really  are  in  the  cast  of  Marion's  first 
Cosmopolitan  production  for  Warners:— Pat  O'Brien, 
Dick  Powell,  Frank  McHugh,  Mary  Astor,  Allen 
Jenkins,  LyleTalbot,  Patsy  Kelly,  and  a  dozen  others. 


BRIEF  REVIEWS 

OF      CURRENT       PICTURES 


CONSULT  THIS  PICTURE 
SHOPPING  GUIDE  AND  SAVE 
YOUR   TIME,    MONEY   AND    DISPOSITION 


•  INDICATES      PICTURE     WAS     NAMED     AS     ONE     OF    THE     BEST     UPON     ITS     MONTH     OF     REVIEW 


•  ACCENT  ON  YOUTH— Paramount.— A  most 
delightful  comedy-romance,  with  Herbert  Mar- 
shall the  playwright  in  his  forties  devotedly  but  un- 
knowingly loved  by  his  young  secretary,  Sylvia 
Sidney.  Phillip  Reed  is  the  other  man.  Excellently 
acted.     (Sept.) 

AFTER  OFFICE  HOURS  —  M-G-M.-Smart 
lines  and  clever  situations,  with  Constance  Bennett 
as  the  would-be  reporter  in  satin  trains  and  furbelows, 
and  Clark  Gable  her  hard-boiled  managing  editor. 
(Apr.) 

AGE    OF    INDISCRETION— M-G-M.— The   old 

divorce  question  all  over  again,  with  David  Jack  Holt 
stealing  the  picture  as  the  child  victim.  Paul  Lukas, 
Madge  Evans,  Helen  Vinson,  May  Robson.     (Aug.) 

ALL  THE  KING'S  HORSES— Paramount.— An 
entertaining  but  familiar  story  of  the  king  and  the 
commoner  who  look  alike  and  change  places.  Carl 
Brisson  is  charming,  and  Mary  Ellis,  in  her  screen 
debut,  delightful.      (May) 

ALIAS  MARY  DOW— Universal.— A  clean  and 
amusing  little  picture  with  Sally  Eilersat  her  best  as  a 
tough  babe  suddenly  dropped  into  the  midst  of  riches 
when  she  impersonates  a  kidnapped  daughter.  Ray 
Milland.     (Aug.) 

ANNA  KARENINA— M-G-M.— The  persuasive 
genius  of  Greta  Garbo  raises  this  rather  weak  picture 
into  the  class  of  art.  Fredric  March  is  unconvincing 
i-  the  lover  for  whom  Greta  sacrifices  everything. 
Freddie  Bartholomew  delightful  as  her  young  son. 
(Sept.) 

ARIZONIAN,  THE— RKO-Radio.— A  perfectly 
swell  Western,  with  all  the  trimmings  and  Richard 
Dix  a  real  villain-scafing  he-man.  Margot  Grahame 
is  lovely  as  the  leading  lady.  Preston  Foster,  Louis 
Calhern.     (Aug.) 

BABY     FACE    HARRINGTON— M-G-M— An 

amusing  enough  little  picture  with  Charles  Butter- 
worth  as  the  timid  soul  mistaken  for  a  big-shot 
gangster.  Una  Merkel,  Nat  Pendleton,  Donald 
Meek.   (June) 

•  BECKY  SHARP— Pioneer-RKO  Release.— In 
this  gorgeous  symphony  of  color  an  excellent 
comedy  drama  has  been  drawn  from  Thackeray's  lead- 
ing character  in  "Vanity  Fair,"  and  Miriam  Hopkins 
gives  a  sparkling  performance  as  the  conniving  flirt. 
Excellent  cast.     (Sept.) 

•  BLACK  FURY— First  National— A  saga  of 
the  coal  mines  presenting  with  intense  realism 
and  power  the  elemental  problems  of  the  miners. 
Paul  Muni  gives  a  memorable  performance,  and 
Karen   Morley   lends  excellent   support.      (June) 

BLACK  SHEEP— Fox.— A  cleverly  concocted 
story,  with  Edmund  Lowe  in  top  form  as  a  shipboard 
card-sharp  who  tries  to  save  his  son,  Tom  Brown, 
from  the  foils  of  lady  thief  Adrienne  Ames  and  loses 
his  own  heart  to  Claire  Trevor.  Nice  direction  by 
Allan  Dwan.     (Aug.) 

BORDERTOWN  —  Warners.— Outstanding  per- 
lormances  by  Bette  Davis  and  Paul  Muni  make  this 
one  worthwhile.  The  story  is  of  the  bitter  disil- 
lusionment of  a  young  attorney  who  loses  his  first 
case,  then  falls  prey  to  the  schemings  of  a  jealous 
woman.  Not  altogether  pleasant,  but  gripping. 
(Apr.) 

BREWSTER'S  MILLIONS— United  Artists- 
Jack  Buchanan  and  Lili  Damita  in  a  fairly  entertain- 
ing musical  comedy  version  of  the  familiar  story  of 
a  young  man  who  must  spend  millions  in  order  to 
inherit  a  still  greater  fortune.      (July) 

•  BREAK  OF  HEARTS— RKO-Radio.— Per- 
formances of  sterling  merit  by  Katharine  Hep- 
burn and  Charles  Boyer  place  this  on  the  "Don't 
miss  it  "  list  in  spite  of  a  rather  thin  modern-Cinder- 
i  Hi  love  story.  Excellent  support  by  John  Beal,  Jean 
Hersholt  and  others.  (  Aug.) 

8 


BRIDE  OF  FRANKENSTEIN,  THE— Universal. 

— Boris  Karloff  rises  from  the  flames  again  to  seek 
a  mate  and  one  is  created  for  him.  Lots  of  chills,  and 
a  new  high  in  fantastic  horror      Good  cast.     (July) 

BROADWAY  GONDOLIER  —  Warners.  — 
Laughter  and  sweet  music,  with  Dick  Powell  a  cabbie 
who  gondolas  his  way  to  radio  fame,  and  Joan 
Blondell,  Louise  Fazenda,  Adolphe  Menjou  and 
Grant  Mitchell  to  help  him.      (Sept.) 

•  CALL  OF  THE  WILD  — 20th  Century- 
United  Artists. — A  vigorous,  red-blooded  screen 
version  of  Jack  London's  novel  that  you  are  sure  to 
enjoy.  Clark  Gable,  Loretta  Young,  Jack  Oakie, 
Reginald  Owen,  and  the  great  dog,  Buck.     (July) 


Caught  high!  And  is  little  Sybil 
Jason's  face  red!  Newest  of  the 
child  stars,  Sybil  plays  the  lead 
in   Warners'  "The   Little   Big-shot" 


CALM  YOURSELF— M-G-M.— A  good  cast  in  a 
weak  story,  with  Robert  Young  the  enterprising  ad- 
man who  gets  mixed  up  in  a  lot  of  grief,  and  Madge 
Evans,  Betty  Furness,  Nat  Pendleton  and  others 
struggling  through  the  melodramatic  situations  with 
him.     (Sept.) 

CAPTAIN  HURRICANE— RKO-Radio.— A  dull 
story  with  a  grand  cast.  Too  bad  they  didn't  find 
a  better  vehicle  for  stage  star  James  Barton's  screen 
debut.  Helen  Westley.  Henry  Travers,  Gene  Lock- 
hart.      (May) 

CAR  99 — Paramount. — An  entertaining  and  ex- 
citing picture  which  Junior  will  want  to  see  twice,  with 
Sir  Guy  Standing  good  as  the  master  mind  of  a  bank 
robbing  gang,  protecting  himsell  by  masquerading  as 
a  professor.      (May) 

•  CARDINAL  RICHELIEU— 20th  Century- 
United  Artists.  —  A  beautiful  historical  drama 
with  George  Arliss  at  his  best  as  the  great  Cardinal 
of  France.  Maureen  O'Sullivan,  Edward  Arnold. 
(June) 


CARNIVAL — Columbia. —  The  experiences — some 
funny,  many  sad — of  an  anxious  father  whose  mother- 
less baby  is  constantly  in  danger  of  being  snatched 
from  him  by  the  Children's  Welfare  Association.  Lee 
Tracy,  Sally  Eilers,  Jimmy  Durante.     (Apr.) 

CASE  OF  THE  CURIOUS  BRIDE,  THE— First 

National. — A  mystery  handled  in  the  casual  manner 
movie  audiences  love,  with  Warren  William  as  the 
amateur  sleuth  and  Margaret  Lindsay  the  bride 
whose  curiosity  is  aroused.  Murder  thrills.  Good. 
(July) 

CASINO  MURDER  CASE,  THE— M-G-M.— 
Paul  Lukas  is  the  Philo  Vance  who  steps  in  and  solves 
the  mystery,  with  Alison  Skipworth,  charming  Rosa- 
lind Russell,  Ted  Healy  and  Louise  Fazenda  lending 
good  support.      (May) 

CHARLIE  CHAN  IN  EGYPT— Fox.— Warner 
Oland,  as  the  Chinese  philosopher-detective,  goes  to 
the  tombs  of  the  Pharaohs  this  time  to  encounter 
murder  and  unravel  the  mysteries.  Pat  Patterson, 
Thomas  Beck,  Stepin  Fetchit.  A-l  for  Chan  fans. 
(Sept.) 

CHASING  YESTERDAY— RKO-Radio.— Ana 
tole  France's  "The  Crime  of  Sylvestre  Bonnard' 
loses  importance  in  the  screen  telling.  Good  per- 
formances by  Anne  Shirley,  O.  P.  Heggie,  Helen 
Westley  and  Elizabeth  Patterson.  But  the  film  story 
is  pallid.      (June) 

CHINATOWN  SQUAD.— Universal.— Speedy  di- 
rection and  a  competent  cast  make  good  entertain- 
ment of  this  mystery  wherein  Lyle  Talbot,  who  drives 
a  sightseeing  bus  through  Chinatown,  solves  two 
murders  and  wins  Valerie  Hobson.    (Aug.) 

CLAIRVOYANT,  THE— GB.— An  absorbing  film 
with  Claude  Rains  excellent  as  a  fake  fortune  teller 
who  discovers  he  has  real  clairvoyant  powers  when  in 
the  presence  of  Jane  Baxter.  Fay  Wray  good  as  his 
wife.     (Sept.) 

COLLEGE  SCANDAL— Paramount.— A  clever 
double  murder  mystery  played  against  a  breezy  col- 
lege backdrop  makes  this  a  great  evening  for  amateur 
sleuths.  Arline  Judge,  Kent  Taylor,  Wendy  Barrie, 
Edward  Nugent,  Mary  Nash.     (Aug.) 

COWBOY      MILLIONAIRE,      THE— Fox.— A 

Western  for  sophisticates,  and  an  hilarious  comedy. 
George  O'Brien  and  Edgar  Kennedy  tops  as  "local 
color"  on  a  dude  ranch.  Evalyn  Bostock,  Maude 
Allan.     (July) 

•  DARING  YOUNG  MAN.  THE— Fox.— Re- 
freshingly different  material  and  clever  dialogue 
distinguish  this  picture  about  two  young  people 
(Jimmy  Dunn  and  Mae  Clarke)  who  are  good  re- 
porters on  rival  papers  and  constantly  getting  them- 
selves into  mad  situations  trying  to  outwit  each 
other  on  hot  tips.     (July) 

DEATH  FLIES  EAST— Columbia.— A  rather  dull 
and  illogical  picture  with  Conrad  Nagel  and  Florence 
Rice  rising  above  screen-story  difficulties  and  Oscar 
Apfel,  Raymond  Walburn  and  Irene  Franklin  strug- 
gling for  laughs  with  un-funny  material.     (June) 

DEVIL  IS  A  WOMAN,  THE— Paramount.— 
Marlene  Dietrich  in  a  series  of  static  and  exquisite 
views.  The  story  lacks  motivation  and  Von  Stern- 
berg's direction  has  drained  all  animation  from  the 
cast.  Cesar  Romero,  Edward  Everett  Horton. 
Lionel  Atwill.      (May) 

DINKY — Warners. — The  youngsters  will  enjoy 
Jackie  Cooper  as  the  boy  who  is  sent  to  an  orphanage 
when  his  mother  (Mary  Astor)  goes  to  prison  falsely 
accused.     Roger  Pryor,   Henry  Armetta.     (July) 

DOG  OF  FLANDERS,  A— RKO-Radio.— Fine 
performances  by  young  Frankie  Thomas  and  O.  P. 
Heggie  make  this  Ouida  classic  really  live  on  the 
screen.  It's  a  film  children  will  love  and  parents  will 
enjoy.      (May) 

•  DOUBTING  THOMAS— Fox.— One  of  the 
best  Will  Rogers'  pictures  This  time  Will's 
wife  (Billie  Burke)  gets  the  acting  bug.  and  Will 
turns  crooner  to  cure  her.  Alison  Skipworth,  Sterling 
Holloway.      (July) 

[  PLEASE  TURN  TO  PAGE  10  ] 


PHOTOPLAY   MAGAZINE   FOR  OCTOBER,    1935 


TRAPPED  IN  THE  HEl I. OF  MODERN  LIFE 


they  fiqht..  AS  YOU  DO ..  for  the  riq^to  love  I 

ENTHRALLED-you'//  watch  this 


BLAZING   SPECTACLE   OF  TODAY   TORTURE 
THE   BEAUTIFUL   AND   THE    DAMNED! 

See  this  man  and  woman  living  your 
dreams,  your  despairs.  Fascinated  .  .  . 
behold  the  raging  spectacle  of  hell  here 
and  hereafter  ...  of  Inferno  created  by 
Man  and  Inferno  conceived  by  Dante! 
This  drama  blazes  with  such  titanic 
power  that  it  will  burn  itself  into 

YOUR   MEMORY  FOREVER! 


Brief  Reviews  of  Current  Pictures 


[  CONTINUED  FROM  PAGE  8 


EIGHT  BELLS— Columbia.— A  fairly  entertain- 
ing boat  trip  with  Ralph  Bellamy,  a  demoted  sea 
captain,  saving  the  day  in  a  maritime  crisis.  Ann 
Sothern  is  the  romantic  prize.     (July) 

ESCAPADE— M-G-M.—  Miscast  as  a  lady-killer 
artist.  William  Powell  is  sacrificed  to  the  American 
film  debut  of  Luise  Rainer.  Rainer  is  very  interesting, 
a  new  screen  personality,  and  may  make  you  forget 
the  sex-melodramatics  of  the  weak  story.      (Sept.) 

•  ESCAPE  ME  NEVER— British  &  Dominions- 
United  Artists. — A  magnificent  screen  ver- 
sion of  the  stage  success,  with  Elisabeth  Bergner 
giving  one  of  the  finest  performances  ever  recorded. 
as  the  waif  who  is  "adopted"  by  a  young  madcap 
musical  genius.  Excellent  support  by  Hugh  Sinclair 
and  Griffith  Jones.     (Aug.) 

FLAME  WITHIN,  THE— M-G-M— A  triangle 
romance,  with  psychiatrist  Ann  Harding  being  forced 
to  choose  between  a  dipsomaniac  patient  she  has 
cured,  Louis  Hayward,  and  sober,  industrious  Herbert 
Marshall.  Outstanding  performance  by  Maureen 
O'Sullivan  as  a  neurotic  heiress.     (Aug.) 

FOLIES  BERGERE— 20th  Century-United  Ar- 
tists.— Disregard  the  story  and  give  yourself  up  to 
Maurice  Chevalier's  charm,  the  music,  singing  and 
dancing.  Ann  Sothern  and  Merle  Oberon  good. 
(Apr.) 

•  FOUR  HOURS  TO  KILL— Paramount.— 
Tense  and  compelling  screen  entertainment 
with  Richard  Barthelmess,  in  the  finest  character 
opportunity  of  his  career,  as  the  doomed  killer  hand- 
cuffed to  a  guard  in  a  theater  lobby  for  four  hours. 
Skilful  support  by  Roscoe  Karns.  Helen  Mack,  Joe 
Morrison,  Gertrude  Michael  and  others.     (June) 

FRANKIE  AND  JOHNNIE— Select-RKO  Re- 
lease.— The  American  classic  suffers  from  the  censor's 
scissors  on  the  screen,  but  you'll  enjoy  seeing  Helen 
Morgan  as  the  notorious  Frankie,  Chester  Morris 
as  the  great  lover,  and  the  late  Lilyan  Tashman  as 
Nellie  Bly.     (Aug.) 

FRONT  PAGE  WOMAN  —  Warners.  —  Crisp, 
crackling  newspaper  drama,  with  the  battle  on  be- 
tween reporter  George  Brent  and  sob  sister  Bette 
Davis.  Rapid  fire  humor  is  helped  by  Roscoe  Karns' 
comedy.    Good  entertainment.      (Sept.) 

*G  MEN — First  National. — Government  heroes 
at  work.  Lots  of  shooting  and  excellent 
acting.  Fast-moving  and  packs  a  wallop.  Jimmy 
Cagney  at  his  best.  Ann  Dvorak,  Margaret  Lindsay, 
Bob  Armstrong.     Not  for  the  kiddies.     (July) 

GEORGE  WHITE'S  1935  SCANDALS— Fox  — 

A  clean  Scandals.  Jimmy  Dunn  and  Alice  Faye  are 
the  small-time  team  who  let  success  go  to  their  heads. 
Ned  Sparks  gets  most  of  the  laughs.  And  Eleanor 
Powell  is  a  tap  dancer  so  good  you  can  hardly  believe 
it  I      (June) 

GHOST  WALKS,  THE— Invincible.— A  theatri- 
cal group  rehearses  a  melodrama  in  a  haunted  house, 
and  when  a  real  maniac  slips  in,  things  happen.  A 
unique  story,  with  John  Miljan,  Richard  Carle.  June 
Coliyer.     (Apr.) 

GINGER— Fox.— Jane  Withers,  as  a  little  slum 
girl  who  humanizes  a  Park  Avenue  family,  is  your 
reason  for  seeing  this  one.  Good  cast  includes  O.  P. 
Heggie,  Walter  King,  and  Jackie  Searl.     (Aug.) 

GIRL  FROM  10th  AVENUE,  THE— First 
National. — The  old  story  of  a  drunken  millionaire 
marrying  a  poor  little  shop  girl.  Bette  Davis  is  good 
as  the  girl  who  tries  to  win  her  husband's  love  while 
braving  his  snobbish  friends.  Just  so-so  entertain- 
ment. Colin  Clive,  Alison  Skipworth,  Ian  Hunter. 
(Aug.) 

GLASS  KEY,  THE— Paramount.— A  murder 
mystery  with  George  Raft,  as  the  loyal  Man  Friday 
of  political  boss  Edward  Arnold,  solving  things  in  a 
suave  but  exciting  manner.  Capable  cast  also  in- 
cludes Claire  Dodd,  Ray  Milland,  and  others.    (Aug.) 

*GO  INTO  YOUR  DANCE— First  National. 
— A  grand  evening  for  those  who  like  singing 
and  dancing  with  a  plausible  story  sandwiched  in. 
Al  Jolson  better  than  ever;  Ruby  Keeler  good  as 
always;   Glenda  Farrell  in  top  support.      (June) 

GOIN'  TO  TOWN— Paramount.— Mae  West, 
pursuing  the  man  instead  of  being  pursued,  in  a  fast- 
moving,  wise-cracking  film,  that  will  keep  you  laugh- 
ing.     (May) 

GOLD  DIGGERS  OF  1935—  First  National.— 
Good  tunes,  talented  cast  make  this  one  enjoyable 
entertainment  for  those  who  like  big.  splashy  musicals. 
Dick  Powell,  Gloria  Stuart,  Alice  Brady,  Adolphe 
Menjou,  Glenda  Farrell,  and  others.     (July) 


GREAT  GOD  GOLD— Monogram.— The  story 
promises  to  be  an  exciting  expose  on  the  receivership 
racket,  but  it  becomes  stupid.  Martha  Sleeper  does 
as  well  by  her  part  as  possible.  Regis  Toomey  gets 
nowhere.      (May) 

GREAT  HOTEL   MURDER,   THE-Fox—  Old 

reliable  sure-fire  Edmund  Lowe-Victor  McLaglen 
stuff,  with  Vic  as  a  dumb  house  detective  and  Eddie 
the  guest  who  writes  mystery  stories,  both  trying 
to  discover  who  poisoned  the  victim.  Mary  Carlisle. 
C.  Henry  Gordon.      {May) 

HARD  ROCK  HARRIGAN— Fox— A  virile, 
pleasantly  humorous  drama  with  George  O'Brien  and 
Fred  Kohler,  rock  tunnel  drillers,  shaking  fists  over 
a  job  and  a  girl,  Irene  Hervey.      (Sept.) 

HEADLINE  WOMAN.  THE— Mascot— A  well- 
paced,  entertaining  newspaper  yarn  with  Roger 
Pryor,  Heather  Angel,  Jack  LaRue,  old-timer  Ford 
Sterling,  and  others  handling  well  the  amusing  dia- 
logue and  neat  situations.     (Aug.) 

HEALER,  THE — Monogram. — A  somewhat  la- 
bored and  obvious  film,  with  Ralph  Bellamy  as  the 
healer  who  works  miracles  with  .crippled  children, 
Judith  Allen,  the  villainess  who  tries  to  lure  him  to 


Half-nudist,  is  Mr.  Gable.  Clark 
acquired  a  beautiful  fan  while 
on  locafion  making  the  outdoor 
scenes  of  "Mutiny  on  the  Bounty" 


the  big  city,  and  Karen  Morley,  the  heroine,  who 
comes  to  the  rescue.     (Aug.) 

HELL  DORA  DO—  Fox—  A  hollow  story  in  a 
mining  town  setting  which  fails  to  give  Richard 
Arlen  the  kind  of  part  he  deserves.  (March) 

HOLD  'EM  YALE — Paramount. — A  weak  but 
pleasant  little  picture  about  four  thugs  who  inherit 
a  lady.  Patricia  Ellis  is  the  lady.  Cesar  Romero, 
Larry  Crabbe,  Andy  Devine,  William  Frawley, 
George  E.  Stone.     {June) 

HONEYMOON  LIMITED  —  Monogram.  —  Neil 
Hamilton's  bright  banter  may  amuse  you,  but  other- 
wise this  adventure  story,  with  Irene  Hervey  and 
Lloyd  Hughes  helping  thicken  the  plot,  fails  to  rise 
above  ordinary  entertainment.      (Sept.) 

HONGKONG  NIGHTS— Futter  Prod.— A  highly 
implausible  story  about  a  Chinese  gun-runner  and  an 
American  Secret  Service  man.  Production  and 
photography  superb,  dialogue  and  story  poor.  Tom 
Keene,  Wera  Engels,  Warren  Hymer.      (May) 

HOORAY  FOR  LOVE— RKO-Radio.— A  fuzzy 
carbon-copy  of  the  original  "42nd  Street"  formula 
for  musicals.  Ann  Sothern  and  Gene  Raymond  carry 
the  luke-warm  love  story.  Bill  Robinson  and  "Fats" 
Waller  top  the  talent  in  a  Harlem  song  and  dance. 
(Aug.) 

HOOSIER  SCHOOLMASTER.  THE— Mono- 
pram. — Norman  Foster  is  the  schoolmaster  in  the 
screen  version  of  this  old-time  favorite,  with  Charlotte 


Henry  as  the  girl  he  loves.  Fred  Kohler,  Jr..  Wallace 
Reid,  Jr.,  Dorothy  Libaire.     (June) 

I'LL  LOVE  YOU  ALWAYS— Columbia.— An  un- 
inspired production,  with  Nancy  Carroll  and  George 
Murphy  unable  to  overcome  the  disadvantages  of 
mediocre  material  and  direction.     (July) 

•  IN  CALIENTE— First  National.— Musical 
comedy  in  a  Mexican  setting,  with  Dolores  Del 
Rio,  Eddie  Horton,  Pat  O'Brien,  Glenda  Farrell. 
Lots  of  laughs,  good  dancing.  A  bright  evening's 
entertainment.     (Aug.) 

•  THE  INFORMER —  RKO-Radio.— Motion 
picture  drama  at  its  best.  Victor  McLaglen 
gives  an  unforgettable  performance  as  the  slow-witted 
Irish  giant  who  betrays  his  pal  to  the  British  for  a 
twenty  pound  reward.  Margot  Grahame,  Heather 
Angel,  Preston  Foster,  Wallace  Ford,  Una  O'Connor, 
top  excellent  support      Don't  miss  this  one      {July) 

*IN  OLD  KENTUCKY— Fox— Will  Rogers  in 
one  of  his  best  films  to  date,  handing  out  a 
laugh  a  minute,  against  a  race-track  background. 
Dorothy  Wilson,  Louise  Henry,  Russell  Hardie  top 
support.  And  Bill  Robinson,  colored  tap-dancer, 
does  his  stuff  as  only  he  can  do  it.     (Sept.) 

•  IRON  DUKE,  THE— Gaumont  British.— An 
interesting  picture  with  George  Arliss  as  Well- 
ington, and  the  Duke's  triumphs  told  in  a  careful, 
thoughtful,  if  not  brilliant  manner.     (Apr.) 

IT  HAPPENED  IN  NEW  YORK— Universal.— 

You'll  be  amused  by  press-agent  Hugh  O  Connell's 
tricks  to  get  movie  star  Gertrude  Michael  into  the 
limelight,  and  the  interference  of  a  taxi  driver,  Lyle 
Talbot  and  his  sweetie.  Heather  Angel.  Lots  of 
laughs.      (May) 

IT'S  A  SMALL  WORLD— Fox.— Gay  dialogue 
in  a  wisp  of  a  story,  with  Spencer  Tracy  and  Wendy 
Barrie.     Lots  of  laughs.     (June) 

JACK  AHOY — Gaumont  British. — If  you  can 
laugh  at  old  jokes,  this  isn't  bad.  However.  Eng- 
land's comedian,  Jack  Hulburt,  deserves  better  treat- 
ment.    {Apr.) 

KEEPER  OF  THE  BEES,  THE— Monogram.— 
A  satisfactory  screen  version  of  the  Gene  Stratton- 
Porter  story,  with  Neil  Hamilton  good  as  the  ex- 
soldier  who  takes  a  new  lease  on  life  among  the  bee 
hives.  Betty  Furness,  Edith  Fellowes,  Hobart  Bos- 
worth.     For  the  family.      (Sept.) 

KENTUCKY  BLUE  STREAK— Talisman.— Some 
interesting  photography  of  a  horse  race,  done  with 
a  small  camera,  is  the  highlight  in  this  one.  Eddie 
Nugent,  Junior  Coghlan,   Patricia  Scott.      (July) 

KLIOU — Bennett  Pictures. — A  fresh  and  charm- 
ing travelogue  type  picture  drama,  with  the  primitive 
tribesmen  of  Indio-China  the  main  actors.  It's  the 
film  result  of  the  Marquis  de  la  Falaise's  latest  jungle 
journey.  You'll  enjoy  it.  Gorgeous  scenery  in 
Technicolor.     (Aug.) 

LADDIE— RKO-Radio.— Old  fashioned,  homey, 
but  a  grand  picture  is  this  love  story  of  Laddie  (John 
Beal)  and  Pamela  (Gloria  Stuart)  whose  romance  is 
bitterly  opposed  by  her  father  (Donald  Crisp). 
Excellent   direction  by  George  Stevens.      (May) 

LADIES  CRAVE  EXCITEMENT— Monogram. 
— Rapidly  paced,  well  acted,  this  one  gives  the  low- 
down  on  the  news-reel  cameraman.  Norman  Foster 
is  the  specific  dare-devil.  Evalyn  Knapp  the  girl. 
Never  a  dull  moment.      (Sept.) 

LADIES  LOVE  DANGER— Fox.— A  murder 
mystery  with  lots  of  fun  sandwiched  between  the 
thrills.  Gilbert  Roland.  Mona  Barrie,  Adrienne 
Ames.      (July) 

LADY  TUBBS — Universal. — Alice  Brady  excellent 
in  a  part  tailor-made  for  her,  that  of  a  railroad  camp 
cook  who  inherits  a  fortune  and  poses  as  a  lady. 
Douglass  Montgomery,  Anita  Louise,  Alan  Mowbray. 
Heartily  recommended.     (Sept.) 

•  LES  MISERABLES— 20th  Century-United 
Artists. — A  close-knit  and  powerful  screen  re- 
countal  of  t  he  Victor  H  ugo  classic.  Fredric  March  and 
Charles  Laughton  give  memorable  performances. 
(May) 

LET  'EM  HAVE  IT— Reliance-United  Artists.— 
All  the  thrills  of  the  old  gangster  pictures,  but  your 
sympathy  is  with  the  heroic  G-men  sleuths.  Richard 
Arlen,  Harvey  Stephens.  Eric  Linden  for  bravery, 
Virginia  Bruce  and  Alice  Brady  for  sentiment  and 
comedy.     (Aug.) 

[  PLEASE  TURN  TO  PAGE  12  ] 


10 


Yes,  indeed,  from  this  shot 
at  the  Club  La  Maze,  Peggy 
Watters  and  Lyle  Talbot 
are    still    much    romancing! 


[  CONTINUED  FROM  PAGE    6   1 

NO  HEPBURN  FAN 

THERE  may  be  something  wrong  with  my 
'  head — but  I  am  not  a  Hepburn  fan.  Her 
strident,  raucous  voice  and  lamentable  over- 
acting in  "Spitfire"  made  me  suspect  that 
there  must  have  been  plenty  of  smart  ex- 
ploitation behind  her  sudden  leap  to  fame. 

Glenda  Farrell  is  a  sincere,  natural  girl 
and  a  fine  actress.  Ditto  Myrna  Loy.  Also  it 
is  indeed  gratifying  to  see  Pat  O'Brien  get 
recognition  at  last  and  screen  material  worthy 
of  his   ability. 

He  belongs  in  a  class  with  Lionel  Barry- 
more,  Will  Rogers,  Wallace  Beery,  and 
Charles  Laughton. 

And  I'm  betting  he'll  get  there  without 
much  trouble. 

Mrs.  A.  J.  Nelson,  Gary,  Minnesota 

GILBERT  AS  ROMEO? 

I  'VE  heard  of  Norma  Shearer's  desire  to  play 
'Juliet  and  of  the  futile  attempts  to  get  a 
suitable  Romeo. 

M-G-M  is  making  a  great  mistake  in 
overlooking  John  Gilbert.  He  is  the  only 
actor  who  can  play  the  lover  in  such  a  charm- 
ing, convincing,  and  tender  manner  as 
would   befit  Romeo. 

S.  Bardach,  New  York  City 


Director  Woody  Van   Dyke  at  his  party  posted  marines  to  see 
that  all  came  stag.     Isabel  Jewel  fooled  him,  she  brought  her  own! 


baritone,"  Nelson  Eddy,  was  subjected  by 
our  students. 

Anyway,  for  another  half  of  Indiana  Uni- 
versity, all  honors  to  Nelson  Eddy  for  his 
performance  and  his  magnificent  singing  in 
"Naughty  Marietta."  Perhaps  that  is  the 
reason  I  sat  through  two  performances. 

VVrLBUR  F.  Pell,  Indiana  University,  Ind. 

TO  OUR  AUTHOR  COLLINS 

"THE  interesting  article  by  Frederick  L.  Col- 
'  lins  in  the  July  Photoplay  leaves  little  to  be 
said  about  Nelson  Eddy.  I  might  add  that 
during  a  discussion  of  the  super-star  this  re- 
mark was  made:  "He's  so  wholesome  there's 
no  one  like  him  in  Hollywood." 

Mary  Marshall,  New  York  City 

I  HAVE  just  read  the  very  fine  story  in  the 
'  July  Photoplay  on  Nelson  Eddy,  written 
by  Frederick  L.  Collins.  I  heartily  agree  with 
him  in  everything  he  says  with  the  exception  of 
"  Naughty  Marietta"  being  a  good  play  with- 
out Nelson  Eddy. 

I  couldn't  see  Carl  Brisson  in  it;  Dennis 
King  would  have  been  fine,  but  Lawrence 
Tibbett  would  have  been  terrible. 

Jenny  L.  M.,  Cincinnati,  Ohio 

THANKS  for  that  article  on  Nelson  Eddy. 
'  He  didn't  need  it,  but  we — his  fans — cer- 
tainly did  enjoy  it.  Now,  could  something  be 
done  for  a  friend  of  his?  I  mean  the  friend 
mentioned  in  Frederick  L.  Collins'  article- 
Gene  Raymond. 

Being  merely  a  fan  I  can't  put  my  finger 
on  what  is  happening,  but  I  do  know  that  if 
there  was  a  conscious,  concentrated  move- 
ment with  a  slogan  of  "Ruin  Raymond," 
it  couldn't  be  more  successful. 

M.  K.,  Concord,  N.  H. 

[  PLEASE  TURN  TO  PAGE  13  ] 

II 


The  movie-going  pub- 
lic determines  the 
trend  of  the  screen 

WORLD'S  GREATEST 

CO  much  has  been  said  and  written  of  Eliza - 
^beth  Bergner  that  I  began  to  wonder.  Not 
that  I'm  a  "doubting  Thomas,"  but  "The 
World's  Greatest  Actress"  is  a  tall  order!  But 
"Escape  Me  Never"  leaves  nothing  to  be 
desired.  Elizabeth  Bergner,  of  a  truth,  is  the 
world's  greatest  actress. 
Marie-Bernadotte  Moran,  Baltimore,  Md. 

MORE  "LES  MISERABLES" 

\  V/E,  the  public,  are  asking  for  more  pictures 
"  like  "Les  Miserables."  A  preview,  for 
the  benefit  of  clergymen  and  teachers,  was 
shown  at  our  local  theater.  In  my  opinion, 
no  picture  was  paid  a  greater  tribute. 

A.  E.  Vincelette,  North  Adams,  Mass. 

THE  OTHER  SIDE 

K  A-W  I  take  issue  with  critic  Giacoletti,  erst- 
'  "  'while  student  at  Indiana  University.  Un- 
fortunately, I  had  not  made  the  acquaintance 
of  either  this  representative  of  our  institu- 
tion or  the  "boos"   to  which  "the  bellering 


Brief  Reviews  of  Current  Pictures 


I  CONTINUED  FROM  PAGE  10 


LET'S  LIVE  TONIGHT— Columbia.— A  wabblv 
story  gives  Tullio  Carminati  and  Lilian  Harvey  an 
opportunity  to  be  romantic  in  a  gauzy,  waltzy  man- 
ner. Film  lacks  emotional  warmth,  but  cast,  includ- 
ing Hugh  Williams,  Janet  Beecher,  Tala  Birell.  is 
good.      (May) 

LIFE  BEGINS  AT  40— Fox.— You'll  enjoy  this 
film  with  Will  Rogers  in  the  human,  sympathetic 
role  of  a  small  town  editor,  Richard  Cromwell  and 
Rochelle  Hudson  for  romance;  and  Slim  Summerville 
and  Sterling  Holloway  to  keep  you  laughing  when 
Will  isn't  on  the  screen.      (.May) 

LIFE  RETURNS— Universal.— The  miraculous 
operation  that  Dr.  Robert  E.  Cornish  performs  on  a 
dog,  restoring  his  life  after  death  was  pronounced, 
would  make  a  worthwhile  short  subject.  But  the 
long  introduction  is  boring.     (Apr.) 

LITTLE  COLONEL,  THE— Fox.— Shirley  Tem- 
ple cuter  than  ever  as  the  famous  story  book  char- 
acter. Lionel  Barrymore  is  the  testy  old  grandfather. 
Evelyn  Venable  and  John  Lodge  the  child's  parents. 
Tap  dancer  Bill  Robinson  nearly  steals  the  picture. 
(May) 

LIVING  ON  VELVET— Warners.— Every  woman 
loves  to  get  her  hands  on  a  terribly  attractive  man 
and  reform  him.  And  when  Kay  Francis  is  the  re- 
former, what  man  has  a  chance?  George  Brent 
didn't.  Warren  William,  Helen  Lowell  help  a  lot. 
Smart  dialogue,  well  done  picture.      (May) 

LOVE  IN  BLOOM— Paramount.— Catchy  songs 
admirably  sung  by  Dixie  Lee  (Mrs.  Bing  Crosby, 
you  know)  and  Joe  Morrison,  plus  the  mad  antics  of 
George  Burns  and  Gracie  Allen,  make  this  bright, 
light  entertainment.      (May) 

•  LOVE  ME  FOREVER— Columbia.— A  film 
you  won't  want  to  miss,  with  Grace  Moore 
singing  more  gloriously  than  ever,  and  Leo  Carrillo 
magnificent  as  the  gambler  who  loves  the  beautiful 
song-bird.  Excellently  directed,  photographed  and 
acted.     And  the  music  is  supurb.      (Sept.) 

LOVES  OF  A  DICTATOR— GB.— An  historical 
drama,  well  cast  and  beautifully  presented,  telling 
the  romantic  story  of  Struensee  (Clive  Brook)  who 
was  taken  into  the  Court  of  Denmark  as  dictator 
and  fell  in  love  with  the  bride-queen  (Madeleine 
Carroll).     (June) 

MAD  LOVE  —  M-G-M.  —  Tedious  stuff,  with 
Europe's  excellent  actor,  Peter  Lorre,  wasted  in  the 
role  of  a  mad  super-surgeon  who  resorts  to  fiendish 
cunning  to  get  Frances  Drake  from  Colin  Clive.  Ted 
Healy  lightens  the  horror.    Not  for  children.     (Sepl.) 

MAKE  A  MILLION — Monogram. — Preposterous 
but  amusing  is  this  film  about  a  professor  (Charles 
Starrett)  who  starts  a  million  dollar  chain  letter  plan 
to  carry  out  his  radical  economic  schemes.  Pauline 
Brooke,  George  E.  Stone.     (Sept.) 

MAN    ON   THE   FLYING   TRAPEZE,   THE— 

Paramount. — W.  C.  Fields  is  funny  as  the  meek  man 
who  lies  himself  out  of  an  afternoon  at  the  office  to 
go  to  the  wrestling  matches,  and  gets  in  a  peck  of 
trouble.     But  there  is  no  story.     (Sepl.) 

MAN  WHO  KNEW  TOO  MUCH,  THE— G.  B.— 

A  neat  and  exciting  little  melodrama  that  keeps  you 
hanging  on  your  chair  every  minute  of  the  way. 
Nova  Pilbeam  (of  "Little  Friend"  fame),  Edna 
Best,   Leslie   Banks  and  Peter  Lorre.      (May) 

MARK  OF  THE  VAMPIRE— M-G-M.— A  con- 
fused and  incoherent  mystery  which  has  as  its  only 
virtue  some  fine  acting  by  Lionel  Barrymore.    (June) 


MARY  JANE'S  PA— First  National.— Just  aver- 
age. Over-sentimental  entertainment,  with  Guy 
Kibbee  as  Pa  who  deserts  his  family  but  is  eventually 
led  back,  by  a  little  child,  to  rescue  wife  Aline  Mac- 
Mahon.      (July) 

McFADDEN'S  FLATS— Paramount.— Plenty  of 
laughs  and  maybe  a  sniffle  in  this  story  of  the  girl 
(Betty  Furness)  who  goes  away  to  school  and  comes 
back  high-hatting  her  family  and  neighbors.  Walter 
C.  Kelly  is  grand  as  the  hod-carrier  king,  Dick 
Cromwell  is  the  sweetheart.      (May) 

MEN  OF  TOMORROW— London  Films— Film 
version  of  Anthony  Gibb's  novel,  "The  Young 
Apollo,"  with  Merle  Oberon  and  Robert  Donat.  But 
in  spite  of  cast  and  story  advantages,  this  is  a  jerky, 
incoherent  picture.     (July) 

MEN  WITHOUT  NAMES— Paramount.— Not 
the  best  of  the  G-men  films,  but  good  entertainment. 
Fred  MacMurray  sleuths,  assisted  by  Lynne  Over- 
man, Madge  Evans  and  David  Holt.  Leslie  Fenton 
heads  the  gang  of  crooks.  Good  performances. 
(Sept.) 

MILLION  DOLLAR  BABY— Monogram— Little 
Jimmy  Fay  is  cute  as  the  youngster  whose  parents 
dress  him  in  skirts  and  a  wig  and  put  him  under  con- 
tract to  a  movie  studio  a-  a  second  Shirley  Temple. 
(March) 

MISSISSIPPI— Paramount.— Plenty  of,  music, 
lavish  sets,  a  romantic  story  and  picturesque  southern 
atmosphere  make  this  pleasant  entertainment  with 
Bing  Crosby,  W.  C.  Fields,  Joan  Bennett  and  Gail 
Patrick.      (Apr.) 

MISTER  DYNAMITE— Universal.— Eddie  Lowe 
rides  to  glory  in  this  Dashiell  Hammett  yarn  as  the 
slick  detective  who  is  interested  in  justice  principally 
because  it  pays  him  fat  fees.  A  beautifully  paced 
story  that  keeps  you  baffled  and  makes  you  laugh. 
Jean  Dixon,  Esther  Ralston,  Victor  Varconi.      (June) 

MURDER  IN  THE  FLEET— M-G-M  —An  un- 
believable yarn  aboard  one  of  Uncle  Sam's  battleships, 
with  Robert  Taylor,  Jean  Parker,  Una  Merkel  and 
others  wasted.  Ted  Healy,  master  comedian,  and 
Nat  Pendleton  lend   the  only  bright  spots.      (Aug.) 

MURDER  ON  A  HONEYMOON— RKO-Radio. 

— An  amusing  and  intriguing  mystery,  with  Edna 
May  Oliver  as  the  intrepid  female  amateur  detective 
and  Jimmy  Gleason  the  slow  witted  inspector.  Good 
entertainment.     (Apr.) 

MUTINY  AHEAD — Majestic— Just  an  average 
picture,  a  hybrid  sea-and-crook  drama  with  Neil 
Hamilton's  regeneration  as  the  main  story  thread, 
and  Kathleen  Burke  and  Leon  Ames  in  fair  suopor:. 

(May) 

MY  HEART  IS  CALLING— Gaumont  British  — 
If  you  like  singing — lots  of  it — you  will  find  this  mu- 
sical film  a  treat.  Jan  Kiepura,  famous  European 
tenor,  has  a  grand  voice.  But  why  didn't  they  let 
Marta  Eggerth  sing  more'     Sonnie  Hale  good.  (Apr.) 

MYSTERY  MAN,  THE— Monogram.— Pretty 
meaty,  and  a  good  picture  idea.  But  you  have  to 
like  newspaper  atmosphere  with  hard-drinking  re- 
porters who  can  always  solve  the  mystery.  Maxine 
Doyle  and  Robert  Armstrong.      (May) 

NAUGHTY  MARIETTA— M-G-M.— A  thunder- 
ing big  melodious  adventure  picture,  with  lots  of 
romance  and  a  story-book  plot.  You've  never  heard 
einging  lovelier  than  Jeanette  MacDonald  and  Nelson 
Eddy  give  you  in  this  Victor  Herbert  musical.    (Apr.) 


NIT  WITS,  THE— RKO-Radio.— Wheeler  and 
Woolsey  mixed  up  in  a  murder  case,  at  their  funniest. 
Rowdy,  hilarious,  without  a  dull  moment.  Good 
supporting  cast  includes  Betty  Grable,  Evelyn  Brent, 
Hale   Hamilton,   Fred    Keating  and  others.      (Aug.) 

•  NO  MORE  LADIES— M-G-M.— A  perfect 
darb  of  a  flossy  comedy,  with  Joan  Crawford, 
Robert  Montgomery  and  Franchot  Tone  the  wise- 
cracking, sophisticated  triangle.  Charlie  Ruggles, 
Edna  May  Oliver,  Arthur  Treacher,  Reginald  Denny, 
and  the  rest  of  the  brilliant  cast,  cooperate  to  give 
you  a  laugh  a  minute.     (Aug.) 

NOTORIOUS  GENTLEMAN,  A— Universal.— 
Top  entertainment,  and  full  of  suspense,  is  this  story 
of  a  murderer  (Charles  Bickford)  who  lets  suspicion 
fall  upon  a  woman  (Helen  Vinson)  until  he  is  trapped 
by  Attorney  Onslow  Stevens.     (Apr.) 

NUT  FARM,  THE— Monogram.— What  happens 
when  hicks  arrive  in  the  movie-city  and  outslick  the 
Hollywood  slicker.  Funny  at  times.  Wallace  Ford, 
Betty  Alden,  Florence  Roberts,  Oscar  Apfel.    (Apr.) 

•  OIL  FOR  THE  LAMPS  OF  CHINA— First 
National. — This  fine,  sincere  story  of  an  ideal- 
ist's unwavering  faith  in  his  job  will  remain  long  in 
your  memory.  Pat  O'Brien  is  the  American  oil  com- 
pany's employee  in  China,  Josephine  Hutchinson  his 
wife.  Arthur  Byron,  Jean  Muir.  Excellent  cast. 
A-l  direction       (July) 

OLD  CURIOSITY  SHOP  —  B.I.P.-Alliance.  — 

Worthwhile  entertainment  as  a  faithful  screen  trans- 
lation of  Dickens'  novel.  Hay  Petrie,  of  English 
stage  fame,  gives  a  magnificent  portrayal  of  the 
villainous  Quilp.     (Sept.) 

ONE,  FRIGHTENED  NIGHT— Mascot.— Creepy 
music,  banging  doors  and  all  the  usual  fol-de-rol  of 
mysteries.  Charley  Grapewin's  acting  is  the  only 
attraction.     (July) 

ONE  MORE  SPRING— Fox.— A  too-sweet  screen 
adaptation  of  Robert  Nathan's  novel  about  three 
depression  victims  (Warner  Baxter,  Janet  Gaynor 
and  Walter  King)  who  live  happily  together  in  a  too 
barn  in  Central  Park.      (May) 

ONE  NEW  YORK   NIGHT— M-G-M.— A  last, 

entertaining  mystery-comedy-drama,  played  in  a 
breezy,  highly  enjoyable  manner  by  Franchot  Tone, 
Una  Merkel,  Conrad  Nagel  and  Steffi  Duna.     (June) 

•  OUR  LITTLE  GIRL— Fox.— Made  to  order 
for  Shirley  Temple  fans  with  Shirley  cuter  than 
ever,  and  talented  enough  to  carry  the  trite  story. 
Joel  McCrea  and  Rosemary  Ames  are  the  parents, 
Lyle  Talbot  the  other  man.  A  human,  pleasant 
picture — and  it's  all  Shirley's.     (Aug.) 

•  PAGE  MISS  GLORY— Warners.— Marion 
Davies,  at  her  best,  romps  through  half  the 
picture  as  a  homely  little  chambermaid,  then  blos- 
soms out  as  beauty  contest  winner,  Dawn  Glory, 
promoted  by  press  agent  Pat  O'Brien.  Patsy  Kelly, 
Dick  Powell,  Frank  McHugh.  Top-notch  comedy. 
(.Sept.) 

PARIS  IN  SPRING— Paramount.— Tuneful  and 
colorful,  this  presents  the  lovely  voice  of  Mary  Ellis 
and  the  Latin  fretfulness  of  Tullio  Carminati,  in  a 
series  of  lovers  quarrels  and  mix-ups,  which  are 
finally  ironed  out  by  grandmother  Jessie  Ralph. 
Good  supporting  cast.     (Aug.) 

PARTY  WIRE— Columbia.— Lots  of  healthy 
laughs  in  this  little  picture  about  the  havoc  small- 
town gossips  stir  up  by  listening  in  on  party  lines. 
Jean  Arthur,  Victor  Jory,  Charley  Grapewin  head  a 
well  chosen  cast.      (July) 

[  PLEASE  TURN  TO  PAGE  16  ] 


Photoplays     Reviewed     in    the     Shadow    Stage    This     Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out  your  evening's  entertainment      Ma\e  this  your  reference  list. 


Page 

Alibi  Ike — Warners Ill 

Black  Room,  The — Columbia Ill 

Born  for  Glory— GB 68 

Bright  Lights — First  National 69 

Cheers  of  the  Crowd — Monogram Ill 

China  Seas— M-G-M 67 

Crusades,  The — Paramount 66 

Dante's  Inferno — Fox 68 

Diamond  Jim — Universal 68 

Don't  Bet  on  Blondes — Warners Ill 


Page 
111 

.   69 

66 

111 


Dressed  to  Thrill — Fox 

Every  Night  at  Eight — Paramount . . . 

Farmer  Takes  a  Wife — Fox 

Goose  and  the  Gander,  The — Warners 

Here  Comes  the  Band— M-G-M Ill 

Irish  in  Us,  The — First  National 67 

Jalna— RKO-Radio 68 

Java  Head — First  Division Ill 

Keystone  Hotel — Warners- Vitaphone.   Ill 
Little  Big  Shot— Warners 68 


Page 

Manhattan  Moon — Universal Ill 

Murder  Man,  The— M-G-M 69 

Pursuit— M-G-M Ill 

Return  of  Peter  Grimm,  The— RKO- 
Radio  69 

Shanghai — Walter  Wanger-Paramount .    68 

She  Gets  Her  Man— Universal Ill 

Steamboat  Round  the  Bend — Fox 66 

We're  in  the  Money — Warners 69 

Westward  Ho! — Republic 69 

Woman  Wanted— M-G-M 67 


12 


Opinions  on  stars  and  their 
pictures  from  all  over  the 
world  appear  on  these  pages 
and   Hollywood   notes  them 


[  CONTINUED  FROM  PAGE  1 1  ] 

THANKS  to  Mr.  Frederick  L.  Collins  for  the 
'  very  interesting  article  on  the  new  screen 
sensation,  Nelson  Eddy,  in  the  July  Photo- 
play. Mr.  Collins  enumerates  three  other 
singers  who  would  have  been  equally  im- 
pressive as  Captain  Richard  Warrington  in 
"Naughty  Marietta."  Permit  me  to  disagree 
on  that  point.  Brisson  might  do,  Dennis 
King  is  too  old  to  appeal  to  the  younger  gen- 
eration, Lawrence  Tibbett  also  is  too  old  and 
not  handsome,  not  romantic  enough;  I  like 
Eddy's  voice  better,  too.  But  you're  right, 
Mr.  Collins,  about  Nelson  Eddy — "He  really 
has  what  it  takes" — he  is  here  to  stay. 
Margaret  Stuart,  Washington,  D.  C. 

MORRIS  VS.  TAYLOR 

I  THINK  leading  men  who  are  as  good  as 
'  Robert  Taylor  is,  who  serve  as  an  effective 
foil  for  the  feminine  stars  they  play  with, 
without  overshadowing  them,  or  trying  to 
steal  the  show,  are  really  quite  rare.  Robert 
Taylor  is  versatile,  charming,  magnetic.  He 
literally  stole  "Society  Doctor"  from  Chester 
Morris — one  gathered  that  from  listening  to 
the  audience  as  it  emerged  from  the  theater. 
Carroll  Costello,  Asheville,  N.  C. 

BOOST  LEE  TRACY 

1  THINK  it  is  high  time  someone  gave  a 
'  boost  to  Lee  Tracy.  There  must  be  some 
old  veterans  who  remember  way  back  last 
year  when  "  Blessed  Event"  brought  them 
more  laughs  than  they  had  in  a  decade. 

In  his  last  three  pictures,  "You  Belong  to 
Me,"  "The  Lemon  Drop  Kid,"  and  "Carni- 
val" Tracy  has  been  allowed  to  moon  over 
motherless  kids.  The  plots  were  all  like  a 
slap  in  the  face — each  the  same.  Is  Tracy 
to  go  on  running  a  day  nursery? 

James  Whitsett,  Reidsville,  N.  C. 

THREE  OPINIONS 

COR  graceful  dancing,  Carl  Brisson's  is  the 
'  top  on  the  screen  today.  For  good  looks  and 
singing,  he  is  crowding  what  the  studios  deem 
their  best  off  the  top  round  of  fame's  ladder. 

Will  Rogers  will  have  to  start  chawing 
around  for  something  new  or  he  will  be  as 
typed  as  ZaSu  Pitt's  hands. 

But  here's  to  Joe  E.  Brown. 

Bertha  P.  Cogan,  Stevenson,  Wash. 


Farewell  party 
aboard  H.M.S.  Donae: 
Maureen  O'Sullivan, 
Jean  Muir,  Paul  Cav- 
anagh,  C  a  p  t .  Knox 
Little,  June  Lang, 
Alan  Mowbray,  and 
Katherine    Williams 


Otto  Kruger  enter- 
tains his  daughter 
Ottilie  (right)  and 
her  friend,  Cora  Sue 
Collins,  in  the  garden 


ON   PRONUNCIATION 

THE  title  "Sequoia"  was  easier  for  us  to  pro- 
'  nounce  because  the  key  to  its  pronunciation 
always  accompanied  the  title. 

Why  isn't  such  a  method  followed  with  all 
difficult  titles?  Such  as  "Les  Miserables,"  and 
other  difficult  titles. 
It's  a  good  idea. 
Catherine  A.  Whittier,  Kaukauna,  Wis. 


A  LL  this  talk  about  Gable  and  Powell  and 
'  mever  a  word  about  Gene  Raymond  who 
beats  them  all  every  time.  Cooper  and  Gable 
and  all  the  rest  of  them  were  showing  in  our 
city,  but  did  we  go?  No!  We  saw  Gene 
three  times  in  "Behold  My  Wife,"  instead, 
and  it  was  worth  it. 

Ritsh  and  Ann,  Melbourne,  Australia 


ANNA  STEN   PERFECT 

I  SAW  Anna  Sten  in  "Nana,"  "We  Live 
'  Again,"  and  "The  Wedding  Night."  I 
watched  each  picture  with  much  interest  be- 
cause she  was  new,  and  I  tried  to  find  a  flaw 
in  her  acting,  but  she  was  perfect.  She  held 
me  spell-bound  from  start  to  finish. 

Francis  Phelps,  Hopkinsville,  Ky. 

TAKES  ISSUE 

CUPREME  indignation  prompts  me  to  write 
^this  letter — on  the  deprecating  statements 
made  against  "One  More  Spring"  in  a  letter  in 
the  June  Photoplay.  "One  More  Spring" 
was  one  of  the  finest  pictures  I  ever  saw, 
Fifteen  years  ago  I  witnessed  "One  More 
Spring"  in  reality,  therefore  it  is  probable  and 
not  "utterly  improbable." 

Joseph  Linsley,  Madison,  Wisconsin 
[  please  turn  to  page  108  ] 

13 


FAREWELL 


9i&] 


<c 


m 


/r' 


\K 


Va 


m 


vvi 


^ar«MS- 


&* 


; 


The  beloved  Will  Rogers  and 
his  friend  Wiley  Post  as  they 
were  about  to  start  the  ill- 
fated  journey.  The  family 
he  was  so  proud  of:  Will, 
Mrs.  Rogers,  and  Will,  Jr., 
Mary  and  Jimmy.  Center, 
Will  in  his  first  movie — 
made  at  Ft.  Lee,  New  Jer- 
sey, eighteen  years  ago — 
"Laughing  Bill  Hyde."  Low- 
er Left,  in  his  last  picture, 
with  Irvin  S.  Cobb,  noted 
humorist,  "Steamboat  Round 
the  Bend,"  probably  his 
greatest  picture.  He  had 
just  signed  a  new  contract 
for  ten  pictures.  Right,  in 
"Doubting  Thomas,"  with 
Billie  Burke,  widow  of  Flor- 
enz  Ziegfeld  in  whose  noted 
"Follies"  Will  went  to  his 
greatest  stage  comedy  fame 


*#*% 


*  , 


f  *»&«  i 


'#%\ 


TO  A  GREAT  MAN 


Brief  Reviews  of  Current  Pictures 


I  CONTINUED  FROM   PAGE  12  I 


PEOPLE'S    ENEMY,     THE— RKO-Radio.— An 
.  out-dated    melodrama    with    Preston    Foster   as   the 
gangster  sent  up  for  income  tax  evasion  and  Melvyn 
Douglas,  the  attorney,  whom  he  suspects  of  double- 
crossing.      (July) 

PEOPLE  WILL  TALK— Paramount. — One  of 
of  the  most  charming  of  the  Charlie  Ruggles-Mary 
Boland  comedies.  Leila  Hyams,  Dean  Jagger.  It's 
deft,  human  comedy  for  the  whole  family.     (June) 

PHANTOM  FIEND,  THE— Twickenham.— A 
real  horror  thriller  based  on  England's  famous  "Jack 
the  Ripper"  crimes.  Ivor  Novello  and  Elizabeth 
Allan.     Not  for  the  children.     (July) 

PRINCESS  O'HARA— Universal— Nice  enter- 
tainment, with  Jean  Parker  as  the  girl  who  becomes  a 
hack  driver  after  her  father  is  killed,  and  Chester 
Morris  the  racketeer  boy-friend.     (June) 

•  PRIVATE  WORLDS— Walter  Wanger  Par- 
amount.— A  triumph  in  adult  entertainment 
this  film  radiates  skill  and  understanding.  Claudette 
Colbert  and  Charles  Boyer  give  superb  performances 
as  two  psychiatrists  in  a  hospital  for  mental  cases 
who  suddenly  discover  their  own  lives  tangled  and 
warped.  Excellent  performances,  too,  by  Joan 
Bennett  and  Joel  McCrea.     (June) 

•  PUBLIC  HERO  No.  1— M-G-M— Another 
G-men  picture  with  a  well  knit  story,  lots  of 
grand  humor  and  plenty  happening.  Chester  Morris 
and  Jean  Arthur  are  excellent  in  the  leads.  Joseph 
Calleia,  Lionel  Barrymore,  Lewis  Stone  and  Paul 
Kelly  top  A-l  support.     (Aug.) 

RAVEN,  THE  —  Universal.  —  Absurd  melange 
tacked  onto  the  name  of  Edgar  Allan  Poe's  great 
poem.  Bela  Lugosi,  Boris  Karloff  supply  plenty  of 
horror,  but  cannot  do  much  with  this  plot.     (Sepl.) 

RECKLESS— M-G-M.— The  clever  talents  of 
.Jean  Harlow,  William  Powell  and  Franchot  Tone, 
pooled  for  the  story  of  a  show  -girl  who  marries  a 
millionaire  and  comes  to  grief  when  his  suicide  leaves 
her  with  a  ruined  reputation  and  a  baby  to  take  care 
of.      (June) 

RED  HOT  TIRES— First  National.— If  you  care 
for  automobile  racing,  with  crack-ups,  there's  plenty 
of  it.  Lyle  Talbot  is  the  racing  driver.  Mary  Astor, 
Frankie  Darro,  Roscoe  Karns.     (Apr.) 

RIGHT  TO  LIVE,  THE— Warners.— Colin  Clive, 
Josephine  Hutchinson  and  George  Brent  capably 
present  Somerset  Maugham's  drama  of  a  crippled 
husband  whose  wife  falls  in  love  with  his  brother. 
A-l   direction  by  William   Keighley.     (May) 

ROBERTA— RKO-Radio.— A  film  treat  you 
shouldn't  miss,  with  Fred  Astaire  really  coming  into 
his  own  as  a  top-notch  entertainer.  An  excellent 
cast,  including  Ginger  Rogers,  Irene  Dunne,  Randy 
Scott,  combined  with  gorgeous  gowns,  excellent 
direction  and  grand  settings,  make  this  one  of  the 
most  delightful  experiences  you've  ever  had  in  a 
theater.     (May) 

RUMBA — Paramount. — You'll  like  the  native 
rumba  dancers,  and  George  Raft  and  Carole  Lom- 
bard do  some  smooth  stepping.  But  the  story  is 
obvious.     (Apr.) 

SANDERS  OF  THE  RIVER— London  Films- 
United  Artists. — Paul  Robeson's  singing,  Leslie 
Banks'  acting,  and  the  true  portrayal  of  cannibalistic 
tribes  of  the  African  interior,  make  this  an  interesting 
film.    Lots  of  excitement. 

•  SCARLET  PIMPERNEL,  THE  —  United 
Artists. — Leslie  Howard  at  his  best  as  a  coura- 
geous young  Englishman  posing  as  a  fop  in  order  to 
rescue  French  noblemen  from  the  guillotine.  Merle 
Oberon  lovely  as  his  wife.  A  swift,  colorful  adventure 
film.     (Apr.) 

•  THE  SCOUNDREL  — Hecht- MacArthur- 
Paramount. — Noel  Coward  in  the  cold  role  of 
a  heartless,  philandering  publisher  gives  one  of  the 
greatest  performances  ever  recorded  in  this  mag- 
nificently executed  character  study.  Julie  Haydon, 
Hope  Williams,  Alexander  Woollcott,  Stanley  Ridges, 
Martha  Sleeper.     (July) 

SHADOW    OF    DOUBT— M-G-M.— A    bow   to 

Constance  Collier,  a  grand  old  actress  who  gives  a  lift 
to  this  involved  murder  mystery.  Ricardo  Cortez, 
Virginia  Bruce,  Isabel  Jewell,  Regis  Toomey,  Arthur 
Byron,  Betty  Furness  and  others  lend  good  support 
(Apr.) 

•  SHE— RKO-Radio.— Helen  Gahagan  makes 
her  film  debut  as  the  magnificent  immortal 
ruler  of  the  mythical  kingdom  of  Kor.  Randy  Scott, 
Nigel  Bruce  and  Helen  Mack  find  her  when  they 
travel  beyond  the  Arctic  searching  for  "the  flame  of 
life."  Mystical,  eerie,  but  interesting,  and  well  acted. 
(Sept.) 

SPRING  TONIC— Fox.— Spotty  entertainment, 
witli  Claire  Trevor  running  away  from  Lew  Ayres  on 
their  wedding  eve,  and  getting  mixed  up  with  animal 
trainers   and   bootleggers   in   the  persons   of  Walter 


King,  Tala  Birell.  ZaSu  Pitts  and  others.     Good  cast 
is  whipped  by  unconvincing  situations.     (July) 

•  STAR  OF  MIDNIGHT— RKO-Radio.— Wil- 
liam Powell  and  Ginger  Rogers  banter  through 
out  this  sparkling,  guaranteed-to-baffle  mystery. 
Irresistible  wit  eases  the  tension  of  the  drama;  win- 
ning performances  by  all  concerned.      (June) 

STOLEN  HARMONY  —  Paramount.  —  George 
Raft  and  Ben  Bernie  (with  the  boys)  pool  their 
talents  happily  to  make  this  a  thoroughly  enjoyable 
film.  Breezy  dialogue,  catchy  songs,  snappy  dances. 
Watch  for  newcomer  Lloyd  Nolan.  Grace  Bradley. 
Goodee  Montgomery.   Charles  Arnt.      (June) 

STRAIGHT  FROM  THE  HEART— Universal.— 
Baby  Jane  Quigley,  Roger  Pryor  and  Mary  Astor 
in  a  trite  and  obvious  story  concerning  a  young 
politician  who  discovers  love  means  more  to  him 
than  being  mayor.      (May) 

STRANDED— Warners.— You're  partly  bored, 
partly  amused,  by  the  struggle  which  ensues  when 
social  service  worker  Kay  Francis  refuses  to  marry 
he-man   engineer    George    Brent    because   he   is   an- 


Ann  Loring  is  the  lucky  little  lady 
who  won  M-G-M's  talent  train  con- 
test. You'll  see  Miss  Loring  soon 
in     "Broadway     Melody    of    1936" 


tagonistic  to  her  work  and  its  ideals.  Direction  good, 
but  story  is  unconvincing.     (Sept.) 

STRANGERS  ALL— RKO-Radio.— A  pip  of  a 
simple  little  family  picture.  May  Robson  is  the  mother 
who  has  four  children,  all  as  different  as  the  seasons. 
Preston  Foster,  James  Bush,  William  Bakewell, 
Florine  McKinney.  Bakewell's  performance  is  aces 
high.      (June) 

STRUGGLE  FOR  LIFE,  THE— Foy  Prod— A 

spotty  film  with  a  cast  of  native  African  tribesmen 
acting  out  their  struggle  for  existence.  Some  good 
photography.      (Sept.) 

SWELL-HEAD— Columbia.— Okay  for  baseball 
fans.  But  aside  from  the  diamond  stuff,  this  is 
pretty  hackneyed.  Wallace  Ford,  Barbara  Kent, 
and  old-timers  Sammy  Cohen,  the  late  Mike  Donlin 
and  Bryant  Washburn.     (July) 

SWEET  MUSIC— Warners.— Disregard  the  story 
and  enjoy  Rudy  Vallee,  debunked,  and  Ann  Dvorak 
who  is  sensationally  good  at.  dancing,  singing  and 
acting.  Helen  Morgan,  Alice  White.  Ned  Spark?. 
(May) 

SYMPHONY  OF  LIVING— Invincible.— Certain 
emotional  power  and  good  music  relieve  the  tedium 
and  pathos  of  this  story  of  a  thwarted  genius  who 
finds  triumph  in  the  glories  of  his  prodigy.  AI  Shean. 
Charles  Judels,  Lester  Lee,  Evelyn  Brent,  John 
Darrow.      (May) 

$10  RAISE — Fox. — The  saga  of  the  routine  clerk 
who  can't  get  married  without  a  ten  dollar  raise  is  a 
delightful  story  in  the  capable  hands  of  Edward 
Everett  Horton.  Karen  Morley  is  his  romance; 
Alan  Dinehart  the  villain.     (June) 

*39  STEPS,  THE— GB.— Exciting  entertain- 
ment when  Robert  Donat,  falsely  accused  of 
murder,  must  uncover  a  treacherous  spy  ring' in  order 
to  save  hinself  and,  by  coincidence,  Madeleine 
Carroll  is  forced  to  accompany  him  on  the  perilous 
adventure.  Grand  acting,  good  comedy,  suspense. 
You'll  like  it.      (Sept.) 


TIMES  SQUARE  LADY— M-G-M— Virginia 
Bruce  moves  another  notch  toward  stardom  as  the 
Iowa  girl  who  goes  to  Broadway  to  manage  some 
shady  enterprises  she's  inherited.  Newcomer  Robert 
Taylor  and  Pinky  Tomlin  are  grand!     (May) 

TRANSIENT  LADY— Universal.— A  murder 
and  a  lynching  for  excitement.  Gene  Raymond  for 
romance,  June  Clayworth  and  Henry  Hull  for  acting, 
but  this  story  lacks  the  necessary  direction  to  make 
it  the  really  powerful  stuff  it  might  have  been.  (May) 

TRAVELING  SALESLADY— First  National  — 
A  light,  airy  little  comedy  at  which  you  can  just 
relax  and  look  and  laugh.  Joan  Blondell,  Glenda 
Farrell,  Hugh  Herbert,  William  Gargan  and  Ruth 
Donnelly.      (June) 

UNDER  PRESSURE— Fox.— Victor  McLaglen 
and  Edmund  Lowe  as  sand  hogs  engaged  in  the  dan- 
gerous business  of  cutting  a  tunnel  under  the  East 
River.     Exciting  entertainment.     (Apr.) 

UNDER  THE  PAMPAS  MOON— Fox— A  fast 
romantic  comedy  with  Warner  Baxter  in  Gaucho 
garb  searching  for  a  stolen  race  horse  and  finding 
lovely  Ketti  Gallian  instead.  Jack  LaRue,  John 
Miljan,  Rita  Cansino,  Armida.     (Aug.) 

UNWELCOME  STRANGER,  THE— Columbia. 
— Little  Jackie  Searl  is  the  crippled  child  around  a 
race-track  on  whom  Jack  Holt  blames  a  streak  of 
bad  racing  luck.  Just  so-so  entertainment,  but 
Jackie,  Holt,  and  Mona  Barrie  are  good.     (July) 

•  VAGABOND  LADY— Hal  Roach-M-G-M.— 
A  spirited,  delightfuly  mad,  and  most  enjoyable 
comedy  with  Robert  Young  really  coming  into  his 
own  as  the  captivating  scape-grace  son  of  a  too,  too 
dignified  family.  Evelyn  Venable  is  the  romantic 
prize.  Good  performances,  too,  by  Reginald  Denny 
Frank  Craven.      (June) 

VANESSA— HER    LOVE    STORY— M-G-M.— 

Helen  Hayes  is  excellent  as  Walpole's  lovely  heroine, 
but  the  film  as  a  whole  leaves  something  to  be  de- 
sired. Good  portrayals  by  May  Robson  and  Otto 
Kruger.  Robert  Montgomery  is  inadequate  as 
Benjie.     (May) 

VILLAGE  TALE— RKO-Radio.— A  somewhat 
sordid  drama  of  rural  hates,  jealousies  and  thwarted 
loves,  with  Randolph  Scott.  Robert  Barrat,  Kay 
Johnson,  and  a  good  supporting  cast.     (July) 

WEDDING    NIGHT,    THE  —  Sam  Goldwyn- 

United  Artists. — A  tragic  story,  beautifully  told,  with 
a  powerful  love  theme  concerning  a  Polish  farm  girl 
and  sensitive  young  novelist.  Anna  Sten  and  Gary 
Cooper  superb  in  the  leads.  Excellent  support. 
(Apr.) 

WELCOME  HOME— Fox.— Jimmy  Dunn  is  the 
romantic  grafter  who  feels  the  call  of  home,  and  pro- 
tects the  old  home  town  from  the  hoaxes  of  his  gilt- 
edged  partners.  Arline  Judge  is  romantic  prize. 
Whimsical,  sentimental  and  rather  meager  entertain- 
ment.    (Sept.) 

WEREWOLF  OF  LONDON,  THE— Universal. 
— If  you  like  blood-curdling  excitement,  chills  and 
creeps,  you'll  enjoy  shivering  to  this  shocker  with 
Henry  Hull  as  the  werewolf  who  becomes  bestial 
when  the  moon  is  full.  Warner  Oland,  Valerie  Hob- 
son,  Spring  Byington.  Leave  the  children  at  home. 
(July) 

WEST  POINT  OF  THE  AIR— M-G-M— A 
father-son  story,  with  Wallace  Beery  as  an  old  Army 
sergeant  and  Robert  Young  his  son  who  returns  from 
West  Point,  his  father's  superior  officer.  In  addition 
to  an  appealing  story,  there  are  some  of  the  most 
thrilling  flight  sequences  you've  ever  seen.  Maureen 
O'Sullivan  is  romantic  prize.      (May) 

WHILE  THE  PATIENT  SLEPT— First  National 
— Just  another  murder  mystery,  thin  in  spots.  Aline 
MacMahon  and  Guy  Kibbee  are  in  top  form;  Allen 
Jenkins,  Robert  Barrat,  Lyle  Ta(bot  and  Patricia 
Ellis  hold  up  support.     But  the  story  sags.     (June) 

•  WHOLE  TOWN'S  TALKING,  THE— Co- 
lumbia.— Edward  G.  Robinson,  as  two  other 
men,  gives  his  finest  performance  in  a  brilliant  picture. 
Excellent  support  by  Jean  Arthur.     (Apr.) 

WINGS  IN  THE  DARK— Paramount  —An  avia- 
tion story  with  a  heart.  Grand  performances  by 
Myrna  Loy  as  a  stunt  flyer,  and  Gary  Grant,  her 
blind  aviator  lover.     (Apr.) 

WINNING  TICKET,  THE— M-G-M.— Comedy 

capers  cut  by  Ted  Healy,  Leo  Carrillo  and  Louise 
Fazenda  over  the  disappearance  of  a  winning  sweep- 
stakes ticket.     (Apr.) 

WOMAN  IN  RED.  THE— First  National.— 
Sparkling  dialogue  freshens  up  this  old  story  of  the 
poor  girl  married  into  society.  Good  performances 
by  Barbara  Stanwyck.  Gene  Raymond  and  Genevieve 
Tobin.      (May) 

WOMEN  MUST  DRESS— Monogram.— A  nice 
little  domestic  drama  by  Dorothv  Reid,  widow  of  the 
still-beloved  Wally.  Interestingly  handled;  Minna 
Gombell's  performance  is  outstanding.     (Apr.) 


16 


TOM  EVANS 


Jean  Parker  has  got  that  prize  of 
the  Summer,  a  rich,  even  tan.  And 
does  that  golden-yellow  bathing  suit 
set  it  off  I     The  object  of  attention! 


WEIBOURNE 


Truly  here's  "The  Pay  Off"  in  spar- 
kling appeal,  Claire  Dodd,  in  First 
National's  picture  of  that  title. 
James  Dunn  is  playing  opposite  her 


Blonde  charmer  Adrienne  Ames  is  the 
"other  woman"  in  M-G-M's  picture  of 
"Woman  Wanted."  With  her  you'll 
see  Maureen  O'Sullivan,  Joel  McCrea 


Could  you  imagine  this  bit  of  sheer 
sweetness,  Sally  Eilers,  could  be  in 
a  murder  mystery?  Well,  she  is.  It's 
Universale  "The   Hangover   Murder" 


PHOTOPLAY   MAGAZINE   FOR  OCTOBER,    1935 

4* 


presents 


...  a    dramatically    different,   new   type    face    powder 


A    NEW   FACE    POWDER   by    Coty!     Just    8ix 

words... but  millions  of  women  instantly 
will  realize  the  importance  of  this  news. 

For  "Coty"  has  for  years  meant  the  per- 
fect beauty  powder... adored  by  women  for 
its  flattering  qualities. ..respected  by  chem- 
ists for  its  purity.  And,  indeed,  no  lovelier 
powder  could  be  produced  by  any  method 
known  ...  up  to  this  day. 

Until  now,  all  face  powders  have  been 
made  by  "mechanical  methods" — simply 
by  grinding  and  sifting. 

But  now  from  Coty  ateliers  comes  a 
startling  discovery.  .  .an  exciting  new  tech- 
nique . . .  the  Air  Spun  method ! 

Imagine  a  powder  actually  spun  by  air! 
Swirled  in  a  fantastic  snowstorm  at  greater 
than  cyclone  speed!  Buffed  and  driven  — 


until  a  new  kind  of  powder  is  created. 
The  result  is  smoothness  and  softness 
never  even  approached  by  any  other  pow- 
der. A  texture  so  tender  that  it  seems  twin 
to  fresh  young  skin  itself.  Shades  that  are 
alive  with  warmer,  younger  tones.  Scents 
enchantingly  subtle... yet  long-lasting.  And 
the  smoother  Air  Spun  particles  are 
"friendlier"  to  the  skin.  They  cling  longer. 

A  New,  Larger  Box  $1.00 

Coty  Air  Spun  Powder — in  its  famous 
odeurs,  L'Origan,  L'Aimant,  "Paris,"  Eme- 
raude,Chypre — now  comes  in  a  new,  larger 
box . . .  almost  half  again  as  large. 

Come  with  Coty  to  a  new  world  of  beauty! 

Listen  to  Ray  Noble  and  his  music,  Wednesday 
10:30  P.  M.,  New  York  time,  NBC  Red  Network. 


NEW,  Tiviu.it  i  i:\n  in 

because  it  is  Air  Spun 

The  moment  you  touch  Air  Spun  Pow- 
der you  can  tell  the  difference  .  . .  the 
texture  is  so  smooth.  This  smoother 
powder  lies  even  and  flat  on  the  skin 
. .  .and  hides  tiny  lines  and  blemishes. 


WARMER,  VOIWGER  SHADES 

because  it  is  Air  Spun 

Each  of  Coty's  1 2  shades  is  matched  to 
a  perfect  debutante  complexion.  Then 
the  tints  are  air  spun  into  the  powder 
...smoothly,  subtly  blended.  In  this 
way  Coty  brings  new  warmth . .  .truer, 
younger  tones  to  face  powder. 


LOYAL-IT  <IIV(.S   I  OX4.I  l£ 

because  it  is  Air  Spun 

It  is  a  scientific  fact  that  the  smoother 
the  powder,  the  better  it  "holds. "Chem- 
ists say  "Air  Spun  particles  ate  friend- 
lier to  your  skin."  They  cling  longer. 


JUDGING  from  the  majority  of  his  roles,  you'd  hardly  expect  James 
Cagney  to  take  to  the  milder  arts,  such  as  piano  playing.  But 
James  can  do  a  right  mean  job  of  tickling  the  ivories.  He  likes  this 
so-called  jazz  piano  best.    And  note  the  soulful  concentration  of  him! 


22 


P  H  O  T  O  P  L  AY 

CLOSE-UPS 

AND    LONG-SHOTS 


BY  KATHRYN  DOUGHERTY 


RUSSIA  speaks.  Or  at  least,  Russia's  representative,  Boris  Z.  Shumiatsky,  does. 
Mr.  Shumiatsky,  president  and  general  manager  of  the  Soviet  motion  picture 
industry,  conies  direct  from  a  visit  to  Hollywood,  and  like  other  intelligent 
sojourners  there,  he  has  brought  back  well-defined  impressions.  He  gently  chides 
us  for  not  taking  our  picture-making  more  seriously.  Not  in  just  that  phrasing,  of 
course,  but  the  inference  is  there.  For  one  thing,  our  pictures  lack  propaganda — 
"message,"  Mr.  Shumiatsky  calls  it,  openly  repudiating  the  offensive  connotation 
of  the  longer  word. 

I  think  that  what  lie  considers  a  fault  is  the  reason  for  our  success — why  American 
films  blaze  on  the  marquees  of  the  world. 


HOLLYWOOD  is  not  trying  to  cram  a  "message"  down  the  throats  of  a  more  or 
less  patient  audience.  If  our  movies  were  as  propaganda-ridden  as  those  of 
two  or  three  other  nations,  the  industry  would  dwindle.  First,  last  and  all  the  time 
people  go  to  pictures  for  entertainment,  relaxation,  diversion. 

In  newspapers,  political  weeklies,  in  Congress,  in  "movements,"  and  in  "causes" 
we  are  deluged  with  propaganda.  But  Hollywood  has  rarely  yielded  to  the  "duty 
of  delivering  a  message."  Already  there  are  too  many  messengers  galloping  up  to 
our  doors  in  the  belief  that  we  are  Garcia.  Thank  heaven,  we  don't  have  to  bring 
that  charge  against  our  motion  picture  industry. 

Let  Hollywood  continue  going  about  its  business  of  making  movies  as  we  like  'em. 


THINK  the  Ethiopians  in  Addis  Ababa  must  have  learned  something  about 
Western  civilization  from  motion  pictures.  I  don't  know  where  their  films  come 
from — whether  they  are  entirely  European  or  whether  they  find  their  way  from 
America  into  that  last  stronghold  of  primitive  man,  but  have  them  they  must,  for 
a  town  that  is  connected  with  the  coast  by  rail,  that  is  familiar  with  the  sight  of 
automobiles  on  the  streets,  and  boasts  a  mixed  population  of  Arabs,  Hindus,  and 
Europeans  cannot  have  escaped  the  motion  picture.  Picture  houses  are  common 
all  over  India,  in  the  interior  of  China  and  in  some  unexpected  places  in  Africa. 

Undoubtedly  many  of  Ethiopia's  manpower  have  seen  the  military  maneuvers  of 
the  Italian  or  other  armies  in  the  newsreels,  and  have  watched  bombing  planes  in 
action.  Probably  World  War  pictures  have  circulated  there.  To  that  extent,  at 
least,  the  terrors  of  modern  battle  are  familiar  to  the  Ethiopians. 


IN  one  of  our  biggest  cities  the  manager  of  a  movie  theater  pulled  off  a  film  before 
its  first  afternoon  run  was  finished.     But  he  offered  to  run  it  for  three  days  and 

23 


nights  if  he  could  advertise  it  as  "The  World's  Worst  Picture — So  Some  Say." 
The  distributor  said  he  didn't  know  .   .   .  he'd  find  out.     He  did.     Yes,  it  was 

okay.    The  crowds  came,  too. 

Who  says  that  truth  in  advertising  doesn't  pay? 


THERE  are  today  more  than  twenty  important  child  actors  listed  in  films,  work- 
'  ing  about  as  regularly  as  the  four  hundred  adult  contract  players.  This  battalion 
of  youth  is  indispensable  to  picture  production. 

How  much  of  sentiment,  pathos  and  innocent  laughter  their  precocious  ability 
supplies ! 

In  this  present  generation  of  the  infant  brigade  Shirley  Temple  is  top  sergeant. 
Yesterday,  it  was  Jackie  Cooper;  and  only  a  few  short  years  ago,  Jackie  Coogan. 

Jane  Withers'  performances  in  "Bright  Eyes"  and  "Ginger"  marked  her  as 
another  prodigy.  The  inimitable  Freddie  Bartholomew,  the  crowning  glory  of 
"David  Copperfield,"  is  already  a  stellar  fixture. 

Mickey  Rooney,  who  struggled  up  through  comic  shorts  to  a  role  in  "Midsummer 
Night's  Dream,"  reveals  a  streak  of  genius  in  his  interpretation  of  the  mischievous 
sprite,  Puck,  in  Reinhardt's  rendering  of  that  play.  The  lad  contributes  rich  humor, 
and  reads  his  lines  most  understandingly.     He's  the  ace  of  that  show. 

When  it  comes  to  true  mimicry  and  debunking  a  situation,  leave  it  to  a  child. 


I IANDS  across  the  sea  are  becoming  more  tightly  clasped.     M-G-M  and,  prob- 

'  'ably,  20th  Century-Fox  are  off  to  London  to  turn  out  films  in  England.  British- 
made  pictures  that  have  been  big  successes  in  America  have  attracted  the  watchful 
eyes  of  Hollywood  executives  this  year  or  two.  "  The  Private  Life  of  Henry  VIII," 
for  example,  is  still  bringing  in  money  for  London  Films,  who  made  the  picture.  Of 
course,  these  canny  Americans  have  an  eye  for  all  British  markets,  including  the 
Dominions. 

By  producing  on   English  soil,  they'll  appeal  to  English  patriotism  without  in 
any  way  interfering  with  the  American  draw. 


REVIVALS  are  being  advertised^and  heavily — not  merely  in  the  local  papers  of 
'Miouses  in  the  cities  where  they're  showing,  but  in  the  film  trade  publications  that 
are  bought  and  read  by  theater  managers.  Box-office  figures  on  return  engagements 
of  "It  Happened  One  Night"  ran  up  to  an  impressive  amount.  M-G-M,  producers 
of  "Smilin'  Through,"  expect  that  picture  to  make  a  very  satisfactory  showing  in 
its  present  come-back  circuit. 

It  ought  to.  It  was  a  grand  picture  and  won  the  Photoplay  Gold  Medal  award 
for  1932.  "The  Virginian,"  with  Gary  Cooper  and  Mary  Brian,  can  also  be  seen 
in  many  places.  I  prophesy  a  return  sooner  or  later  of  "Little  Women,"  also  a 
Gold  Medal  film. 

And  upon  the  greatest  hit  of  all  time,  "The  Birth  of  a  Nation,"  the  moon  never 
sets.  Somewhere  in  the  world  every  night  it  is  said  to  be  still  showing,  though  it's 
now  twenty  years  since  its  first  release.  Evidently  there's  gold  in  every  can  of 
stored  film,  if  it's  an  exceptional  film. 


MANY  of  the  scenes  you  see  in  photoplays  cast  on  the  screen  of  your  local 
theater  could  easily  happen  to  the  participants  in  the  drama. 
Life's  tragedies  have  again  and  again  struck  in  Hollywood  just  as  in  New  York, 
Chicago  or  South  Bend.    There  may  be  reality  then — even  in  fiction — about  Holly- 
wood and  its  picture  people. 

I  recommend  to  you,  in  this  issue,  the  first  installment  of  a  splendid  serial — full 
of  speed,  thrills  and  tense  with  suspense. 

Read  these  opening  chapters  of  "Face  Down"  and  you'll  agree  with  me.   You'll 
find  it  hard  to  wait  for  the  next  installment. 


24 


THE  noted  Dietrich  legs  are  unmasked  for  the  first 
'  time  in  a  long  while  as  Marlene  calmly  poses  for 
stills,  while  the  world  eagerly  awaits  "The  Pearl 
Necklace,"    under    her    new    director,    Frank    Borzage 


25 


The  Bia  Broadcast 


w 


..,v<r*5"w«<* 


More  stars  in  this  picture  than  there 
are  in  heaven!  And  more  fun  than 
you'll  find  anywhere  else  on  earth! 


Bing  looks  skyward  to 
croon,  "I  Wished  on 
the  Moon."  Come  back 
down,  Bing!  That's  far 
too  far  away!  The 
girls    won't    like    it! 


Right.  You  might  not 
believe  it  to  look  at 
her,  but  Ethel  Merman's 
hit  song  in  "The  Big 
Broadcast"  is  entitled, 
"It's  the  Animal  in  Me" 


Mary  Boland  is  about  to 
make  a  thermometer  hit  c 
new  high,  taking  Charlie 
Ruggles'    temperature! 


Left.  A  bigger  and  better 
chorus.  Easier  to  train 
than  girls,  too,  'cause 
elephants    never    forget 

isemenl 


Sweet  music  and  plenty  of  hot-cha  are 
supplied  by  Ray  Noble  and  his  lads.  He 
wrote,  for  the  Paramount  film,  a  new 
hit  song,  "Why  Stars  Come  Out  at  Night" 


Bill  Robinson  does  some  of  his  most 
spectacular  tapping  in  "The  Big  Broad- 
cast." He  struts  his  stuff  to  the  rhythm 
of  a  little  ditty,  "Miss  Brown  to  You" 


* 


Advertisement 


27 


WHAT  LOVE  HAS 


WHAT  love  has  done  to  Charlie  Chaplin  has  always 
made  Hollywood  gasp — and  now  what  love  has  done 
for  Charlie  Chaplin  is  making  Hollywood  gasp  anew. 
It  really  is  the  story  behind  the  recent  announcement  that 
Charlie  hereafter  will  make  two  pictures  a  year,  although  it 
has  been  four  years  since  his  last  cne. 

Mildred  Harris,  the  first  love  Charlie  married,  kept  him  in 
bitterly  fought  litigation  for  two  years  and  cost  him  plenty. 

Lita  Grey,  his  second  wife  and  the  mother  of  his  two  children, 
added  some  more  grey  hairs  to  the  little  comic's  head  by  an- 
other knock-down-and-drag-out  legal  battle  which  extended 
its  vigorously  unpleasant  ramifications  even  to  the  two  kids. 

Hollywood  wondered  how  Charlie  managed  to  "  take  it "  and 
come  back  for  more — keep  coming  back  and  at  the  same  time 
find  it  in  his  heart  to  be  creative;  to  keep  on,  even  with  the 
matrimonial  guns  banging  to  the  left  and  to  the  right  of  him, 
giving  the  world  such  pictures  as  "The  Kid,"  "The  Pilgrim," 
"City  Lights." 

There  have  been  other  women  in  Charlie's  life,  too;  women 
whom  he  didn't  marry,  perhaps,  but  most  of  whom  added  their 
bit  to  his  troubles.  Hollywood  knows  all  about  all  of  them, 
and  what  they  did  to  Charlie. 

But,  at  last,  it  looks  as  though  love  is  doing  something  for 
Charlie. 

Hollywood  looks  at  him  amazed  as  he  goes  on  his  light- 
hearted  way  with  his  latest  love — Paulette  Goddard.  Holly- 
wood can  see  that  Charlie's  feet  are  skipping  along  on  air.  No 
more  the  sad-faced,  lonely  clown,  haunting  odd  corners  by 
himself,  Charlie  is  going  places  and  doing  things  with  all  the 
abandon  of  a  youngster  with  his  first  sweetheart. 

All  Hollywood  believes  that  Paulette  and  Charlie  are  mar- 
ried. No  one  at  Charlie's  studio  will  confirm  that,  but,  most 
significantly,  no  one  will  deny  it  either.  Certain  it  is  that 
Charlie  and  Paulette  are  never  seen  without  each  other,  and 
they  present  a  picture  of  content- 
ment and  happiness. 

The  years  seem  to  have  dropped 
from  Charlie's  face  and  from  his 
figure.  The  smile  which  Hollywood 
remembers  now,  but  had  forgotten 
for  lo!  these  many  years  past,  is 
back  upon  his  face.  And  as  for  the 
creative  Charlie — well,  Hollywood 
never  recalls,  even  in  the  old  days, 
when  Charlie  was  as  enthused  about 
anything  he  was  doing  as  about  the 
picture  he  is  making  now. 

Charlie's  loves  in  real  life  have 
been  very  closely  paralleled  by  his 
pictures.  And  because  of  the  per- 
formance which  Paulette  Goddard 
— at  least  according  to  Charlie — 
gives  in  his  current  film,  Hollywood 
is  beginning  to  remark  that  the 
genius  of  comedy's  name  isn't  Charles  Spencer  Chaplin  at  all. 

The  "S,"  Hollywood  is  beginning  to  think,  stands  for 
Svcngali. 

Of  course,  Hollywood  got  pretty  well  fed  up  with  that  Svcn- 
gali act  of  Marlene  and  Joe's,  with  or  without  the  "von" — 
Hollywood  says  that  the  only  real  Svcngali  who  exists  around 
the  studios  is  the  same  Charlie  Chaplin. 

That,  too,  has  a  lot  to  do  with  Charlie's  loves. 

If  you  look  back  a  way  you  will  recall,  as  Hollywood  does, 

28 


Lita  Grey's  and  Char- 
lie's legal  battle  ex- 
tended to  their  two 
children  (left,  Char- 
lie, Jr.,  Lita,  and 
Sydney),  making 
Charlie    more    grey 


that  Charlie  has  had  three  Trilbies  so  far  who  could  give  a 
performance  for  him  but  couldn't  for  anybody  else;  and  Paulette 
Goddard  is  his  fourth  Trilby,  Hollywood  says,  largely  because 
she's  his  current  love. 

Charlie's  about  the  last  guy  in  the  world  you'd  expect  to  be 
a  real  honest-to-gosh  Svcngali,  too,  whether  he  actually  mes- 
merizes 'em  or  not.  Looking  at  Joe  Sternberg  you  could  believe 
it,  what  with  those  droopy  moustaches  and  all,  even  though  it 
wasn't  so;  but  looking  at  this  little  guy,  with  his  quiet  little 


DONE  for  CHAPLIN 


The  effect  Paillette 
Goddard  has  had  on 
the  genius  of  comedy 
still  has  the  whole 
of  Hollywood  amazed 

BY  REGINALD 
TAVINER 


Charlie's  present  picture, 
"Modern  Times,"  has  been 
completed  in  record  time. 
Paulette  again  is  the  rea- 
son, and  Charlie  gives  the 
explanation  for  that,  too 


Mildred  Harris,  the  first 
love  Charlie  married,  had 
him  in  bitterly  fought  liti- 
gation for  two  years,  and 
it  cost  him  plenty.  But  now 
a  new  Chaplin  is  at  work 


smile  and  his  funny  antics  you'd 
never  suspect  it  on  earth. 

You'd  be  more  likely  to  pick 
him  for  Trilby  .  .  .  especially 
with  that  old  bowler  hat  and 
those  baggy  pants  and  those 
enormous  shoes,  shuffling  his  way  through  the  alleys  of  life  .  .  . 

But  Svengali  is  all  hopped  up  about  the  real  Trilby — this  one 
— and  has  more  elaborate  plans  for  her  than  he  ever  had  for      racket  by  themselves,  ever  got    [  please  turn  to  page  100 

29 


any  of  the  others.  Unheard  of  before  he 
found  them,  all  four  were  lifted  to  fame  bv 
being  in  a  picture  with  him:  it  was  Merna 
Kennedy  in  "The  Circus,"  Georgia  Hale 
in  "The  Goldrush,"  Virginia  Cherrill  in 
"  City  Lights,"  and  now  it  is  Paulette  God- 
dard in  his  latest  feature,  "Modern  Times." 

None  of  the  other  three,  after  leaving  him  to  buck  the  movie 


Don't  Talk  To  Me  About  Diets— I've 


"\    /OU  see  that  little  blonde  girl  over  there?"  I  asked  the 

Y    headwaiter  at  the  Beverly  Hills  Brown  Derby. 

The  elegant  John  Portilla  fixed  his  fine  eyes  on  the  girl 
in  question,  who  wore  a  sports  hat,  a  gray  sweater,  a  pair  of 
white  flannel  slacks  and  no  make-up  at  all. 

"Yes,   I   see   her." 

"  What  is  that  huge  dish  she  is  eating?    I  notice  she's  had 
two  helpings." 

"That's  boiled  brisket  of  beef,"  he  replied. 

"A  dainty  dish,"  I  observed.     "Who  is  the  child  that's 
putting  it  away  so  enthusiastically?" 

"Jean  Harlow.    Whenever  we  have  brisket  of  beef,  I  have  to 
telephone  the  studio  and  let  her  know  about  it." 

I  admit  I  was  surprised.     IVly  life  has  been  one  long  gas- 
tronomic pilgrimage.    Every  three  or  four  months,  I  run  down 

30 


town  and  book  my  passage  to  Europe.  If  it  is  in  Summer,  I 
rush  to  Ciro's  in  Deauville.  Raymonde — ebon-eyed,  golden- 
toothed  little  Raymonde,  who  hails  from  the  terraced  hills 
back  of  Bordighera — dishes  up  his  native  ravioli,  bulging  with 
minced  meat,  sunk  with  cheese;  and  my  native  strawberry 
tartlet,  dripping  with  syrup.  I  protest.  Next  day,  he  makes 
a  simple  dish;  eggs,  scrambled  before  my  eyes  in  butter  and 
parmesan,  mixed  at  the  last  moment  with  a  panful  of  snapping 
hot  alurnette,  potatoes  and  more  butter — always  more  butter. 
I  flee  to  Paris. 

Celestin,  the  tall  headwaiter  at  Fouguet's  on  the  Champs 
Elysees  mixes  me  a  salad  melange  with  special  dressing,  his 
own,  in  which  I  distinguish  faint  traces  of  white  wine  vinegar 
and  garlic — the  latter  not  so  faint.  I  am  suddenly  smitten  with 
memories  of  the  huge  portions  of  pate  dc  foics  gras  that  Vienna 


Spaghetti,  yards  and  yards  of  it, 
can  make  George  Raft  late  getting 
back   to    work   any   noon    in   the    week 


The  Weissmuilers  are  Eiaving  an  eat- 
ng  contest,  and  Lupe  wins  be- 
cause   she    bites    bigger   than    Johnny 


Seen  What  The  Stars  Really  Eat 

Put  on   that  surprised  look  for  you'll  scarcely  be- 
lieve the  incredible  but  true  things  you'll  find  here 

By  FREDERICK  L  COLLINS 

PHOTOS  BY  HYMAN  FINK 


served  us  in  the  starvation  days  that  followed  the  war;  and  I 
seek  out  Viel's  on  the  Boulevard,  where  they  have  the  best 
pate  in  Paris.  At  night,  I  try  Foyot's  duck  or  Frederic's,  the 
former  with  oranges,  the  latter  with  blood;  or  toy  with  ecrcvisse 
at  the  restaurant  of  that  name.    I  am  happy. 

I  eat  everything,  and  I  digest  everything — ultimately.    But 
latterly,   there   has   been  an   intervening  period   of   extreme 


anguish.  You  might  call  it  a  stomach  ache.  Yes,  I  think  it  is 
just  that.  I  have  had  a  thousand  of  them  in  the  past  three 
years.  And  my  doctors  have  told  me  that  I  will  have  other 
thousands,  increasing  in  length  and  depth,  until  I  die,  unless  I 
give  my  stomach  a  rest.  That's  why  I  have  come  to  Holly- 
wood, the  land  of  diets,  the  place  where  everybody  stays 
slender,  beautiful  and  well.  [  please  turn  to  page  106  | 

31 


Close  friends  know  and  love 
the  Crawford  that  is  gay, 
affectionate,  charming.  Her 
escort   here   is   Franchot  Tone 


Joan,  the  brooding  trage- 
dienne, is  a  character  from  her 
past.  Above,  a  scene  from 
"Glitter,"    with    Fred    Keating 


THE  GIRL 


IF  for  no  other  reason  this  interview  should  be  unique  for  the 
reason  that  I  am  probably  the  only  writer  in  Hollywood  who 
has  not  talked  with  Joan  Crawford  in  six  years! 
Along  with  Norma  Shearer,  Joan  has  earned  the  gratitude  of 
the  local  scribes  by  always  being  helpful  and  available  at  difficult 
times  when  the  Hepburns  and  Ann  Hardings  are  kicking  up  the 
dust  of  their  heels  to  the  press,  behaving  as  much  like  Garbo  as 
possible. 

But  for  some  inexplicable  reason  Joan  and  I  have  not  crossed 
paths  since  that  day,  long  ago,  when  Joan  and  Doug  Fairbanks, 
Jr.,  and  I  lunched  at  the  Roosevelt  soon  after  their  marriage. 
The  proverbial  water  has  flowed  under  the  bridge,  the  New 


32 


Joan  Crawford  here  re- 
veals secrets  that  will 
prove  invaluable  to  you  if 
you  are  earnestly  seeking 
the   road    to    happiness 

By   DOROTHY 
MANNERS 


Joan  and  Clark  Gable  meet 
and  exchange  a  laugh  on 
the  set.  Her  laughter  to- 
day   has    a    new    ring    to    it 


Her  case  is  the  strangest 
ever  known  in  the  history 
of  Hollywood.  No  one  can 
recall    Joan's    yesterdays 


WITHOUT  A  PAST 


Dealers  have  dealt,  the  box-office  has  written  new  destinies  in 
Hollywood,  famous  loves  have  been  born,  and  died,  and  even 
the  weather  has  changed  since  those  throbbing  days  when  Joan 
and  Doug  wrote  love  letters  on  the  backs  of  hotel  menus. 

So,  the  obvious,  if  hackneyed,  approach  to  this  new  meeting 
with  Joan  was  a  comparison  of  the  past  with  the  present. 

But  Joan  had  no  more  than  walked  onto  the  set  of  her  new 
picture,  her  slim  figure  tailored  to  a  wraith  in  a  black-velvet 
suit,  a  close-fitting  hat  nearly  covering  her  new,  shorter  hair- 
cut, that  I  knew  my  stereotyped  angle  had  gone  up  in  smoke. 

An  hour  or  so  later,  I  knew  that  every  phase  of  Joan  is  a 
stranger  to  the  last  one. 


Before  I  left  I  realized  that  she  is  the  only  woman  I  have  ever 
known  •without  a  past! 

For  Joan,  like  Emerson's  "great  man,"  has  caused  the  past  to 
drop  away  from  her:  The  great  man  is  not  a  slave  to  his  develop- 
ment .  .  .  when  we  see  the  conqueror  we  do  not  think  of  any  one 
particular  battle  or  success  .  .  .  for  he  has  caused  the  past  to  fade 
and  disappear  as  an  early  cloud  of  insignificant  result  in  a  history 
so  large  and  advancing. 

It  would  no  more  be  possible  to  look  into  the  clear,  polite  eyes 
Joan  turns  on  you,  and  say:  "Do  you  remember  when  you  were 
the  best  Charleston  dancer  in  town;  or  remember  the  crazy 
laugh  you  used  to  have,  or  the  way  [  please  turn  to  page  86  J 

33 


Down 


Hollywood — life  itself — 
streamed  past  the  narrow 
alley  opening,  and  in  the 
darkness,  Death  brooded! 

By  CHARLES 
J.  KENNY 


IT  WAS  the  first  rain  of  the  season. 
The  parched  hills  back  of  Hollywood  drank  the  moisture 
eagerly.     Grass  which  had  been  baked  brown  and  brittle  by 
the  summer  sun  slowly  became  soggy. 

The  hour  was  late  twilight.  Wet  streets  reflected  lights  in 
shimmering  ribbons.  Slow  moving  streams  of  traffic  crept 
cautiously  along  slippery  pavements.  Pedestrians  scuttled  for 
the  shelter  of  awnings,  where  they  huddled  in  bedraggled 
groups,  waiting  for  street  cars. 

34 


Fenton   had    come   from    seeing   the   body — face   down 


A  woman,  crossing  a  street,  emitted  a  little  shriek  as  a 
passing  automobile  splashed  water  against  her  ankles. 

In  a  blind  alleyway  between  two  buildings  a  body  lay — 
face  down. 

Only    straggling   illumination    from    the   street    light 
seeped  into  this  dark  oblong  between  an  apartment  hotel 
on  the  one  side  and  a  towering  office  building  on  the 
other.     Not  a  hundred  feet  away,  the  pavement  echoed 
to  the  nervous  click  of  high-heeled  shoes,  as  throngs  of 
pedestrians  streamed  past  the  narrow  opening,  street  cars  rum- 
bled by,  gongs  clanging,  automobiles  blared  impatient  horns. 
These  sounds  were  all  muffled  as  they  penetrated  to  the 
place  where  the  body  lay.    Like  the  illumination  of  the  street 
lights,  the  sounds  seemed  to  seep  through  the  wet  darkness, 
muffled  and  remote. 

From  the  street  a  woman  laughed,  with  that  shrill  half- 
hysterical  laughter  which  is  induced  by  more  than  one  cocktail. 
Yet,  as  the  sound  of  that  laughter  penetrated  the  space  between 


MacFadden  Studios 

rom  the  doorway,  he  looked  at  Vilma   Fenton,  the  movie  star.  There  could  be   no   mistaking   her  dismay  at  his  silent  accusation 


the  two  buildings,  it  did  not  seem  out  of  place.  Life  flowed 
through  the  street.  Death  brooded  in  the  darkness.  The  line 
of  demarkation  was  sharply  drawn. 

Gradually  the  rush  hour,  when  workers  sought  their  homes, 
gave  place  to  that  slack  in  traffic  which  marks  the  interim 
before  the  theater  rush. 

Comparative  silence  descended  upon  the  spacg  between  the 
buildings — a  silence  broken  only  by  the  steady  drip,  drip,  drip 
of  the  gentle  rain. 

CHAPTER  II 

FRANK  ALTER,  the  lawyer,  paced  nervously  up  and  down 
his  office.  From  time  to  time  he  snapped  his  wrist  watch  into 
position  before  his  eyes.    Invariably  he  frowned. 

The  woman  sat  in  the  corner,  slightly  in  the  shadow.  The 
hem  of  her  skirt  over  her  crossed  knees  disclosed  a  pair  of  legs 
and  ankles  which  caught  the  light  from  the  floor  lamp  near 


the  desk.  Her  face  and  the  rest  of  her  figure  were  in 
shadow. 

Alter  ceased  his  pacing,  cocked  his  head  to  one  side,  like  a 
dog  listening  to  some  faintly  familiar  sound. 

"That's  the  door  of  the  elevator,"  he  said.  "Remember, 
now,  I'll  do  the  talking." 

The  woman  continued  to  sit  motionless,  moving  not  so  much 
as  a  muscle. 

Alter  surveyed  her  with  a  critical  eye. 

"Push  your  chair  back,"  he  said.  "Get  those  legs  in  the 
shadow.  Pull  your  skirt  down.  I  don't  want  him  to  even 
suspect  the  truth — anyone  would  know  those  legs  were  never 
born  to  remain  undiscovered.  Remember,  he's  the  best  de- 
tective in  the  business." 

She  pushed  her  chair  back  an  inch  or  two,  pulled  at  the  hem 
cf  the  skirt.  She  laughed,  and  her  laugh  was  harsh  with  nerve 
tension. 

Fingernails  made  a  gently   tapping  sound  on  the  frosted 


35 


glass  of  the  door  marked  "FRANK  ALTER,  ATTORNEY 
AT  LAW.     PRIVATE." 

Alter  stepped  to  the  door,  his  thumb  and  finger  holding  the 
knurled  knob  of  the  spring  lock. 

"Who  is  it?"  he  asked. 

"Brent  "  said  a  muffled  voice. 

The  lawyer  twisted  the  knob  opened  the  door  a  crack. 
"  Come  in,"  he  said.  "  Make  it  snappy.  My  God,  you've  been 
long  enough  getting  here." 

Dick  Brent,  one  of  those  men  who  swing  between  extremes 
of  motionless  placidity  on  the  one  hand,  and  explosive  action  on 
the  other,  pushed  the  door  open  with  what  seemed  to  be  a 
casual  motion,  yet  the  paunchy  attorney  was  thrown  off  balance 
and  staggered  back  several  steps  as  though  he  had  been  struck. 

"Well,  open  the  door,"  Brent  grinned.  "How  the  hell  can 
I  .  .  ."  He  broke  off  as  he  saw  the  shadowy  form  of  the 
woman,  and  said,  "I  beg  your  pardon,  ma'am.  I  thought 
Alter  was  alone." 

The  woman  said  nothing. 

Alter  pushed  in  front  of  the  detective  like  some  important 
switch  engine  puffing  about  in  front  of  a  lirnited  train,  pulling 
cars  about  on  a  side  track.  He  thrust  his  hands  against  Brent's 
elbows,  shoving  him  backward  and  to  one  side.  At  the  same 
time  he  kicked  the  door  shut  with  his  right  heel. 

"  Right  over  here,  Dick.  Sit  down  in  this  chair — no,  not  in 
that  one — this  one." 

He  pushed  the  detective  into  a  chair  which  had  been  care- 
fully arranged  so  that  light  from  a  floor  lamp  dazzled  his  eyes 
and  made  it  difficult  for  him  to  see  into  the  dark  corners  of 
the  room. 

"Dick,"  he  said,  "we're  in  a  spot,  an  awful  spot.  You've 
got  to  help  us  out." 

"Who's  we?"  Brent  asked. 

"My  client,"  Alter  said  hastily. 

"That's  only  one.    Who's  the  other?" 

"No  other.  Just  my  client.  But  I  have  made  her  interests 
mine,  of  course." 

The  detective's  eyes  fought  against  the  illumination  of  the 
floor  lamp,  as  he  tried  to  see  into  the  shadows. 

"Who's  the  client?"  he  asked. 

"  Miss  Smith,"  the  lawyer  responded  with  nervous  readiness, 
"Miss  Mary  Smith." 

"What's  her  trouble?" 

"I'm  going  to  let  her  tell  her  own  story,"  the  lawyer  an- 
swered. "Then  you'll  realize  how  much  we  need  your  help. 
Don't  worry  about  money.  You'll  be  well  compensated,  but 
you  can't  turn  us  down." 

Brent's  face  was  without  expression  as  he  digested  the  full 
significance  of  that  statement.  The  light  beat  down  upon  a 
square  forehead  surmounted  by  glossy  black  hair,  keen  blue 
eyes  which  surveyed  life  speculatively  from  under  smoothly 
shaped  brows,  high  cheekbones,  a  long,  straight  nose,  a  mouth 
which  tilted  slightly  upward  at  the  corners,  but  only  needed  to 
straighten  a  mere  fraction  of  an  inch  in  order  to  become  a  firm 
line  of  uncompromising  determination,  a  jaw  which  was  not 
too  prominent  but  which  contained  no  hint  of  vacillation. 

Alter  watched  the  man  as  a  duck  hunter  watches  a  lone 
Mallard  circling  in  toward  the  blinds. 

"Dr.  Copeland  is  dead,"  he  said. 

Brent's  face  showed  interest,  then  once  more  became  a  mask. 

"What  caused  his  death?"  he  asked,  in  a  voice  that  was  a 
cautious  monotone. 

Alter,  with  eyes  staring  steadily  at  the  detective  said,  "Two 
shots  at  the  base  of  the  skull,  as  nearly  as  I  can  tell." 

There  was  a  moment  of  silence.  The  shadowy  form  of  the 
voung  woman  stirred  into  restless  motion,  as  she  clasped  her 
hands  together  and  recrossed  her  knees.  It  was  the  first  time 
she  had  moved  since  Brent  had  entered  the  office. 

Brent  seemed  to  settle  back  in  his  chair.    His  muscles  relaxed. 

"Tell  me  about  it,"  he  said. 

The  attorney  looked  across  at  the  woman  and  nodded  his 
head. 

She  started  to  cry,  a  low,  gentle  sobbing,  and  placed  her 
handkerchief  to  her  eves,  then  to  her  nose. 


"That  isn't  going  to  help  any,"  Alter  said.  "You  must  tell 
your  story." 

He  spoke  smoothly,  without  expression,  as  though  he  had 
been  reciting  carefully  rehearsed  lines. 

The  woman  took  a  deep  breath  which  she  exhaled  in  little 
broken  sobs,  then,  with  her  handkerchief  held  to  her  nose  in 
such  a  manner  that  it  muffled  her  voice  she  said,  "I  had  an 
appointment  with  Dr.  Copeland.  I  parked  my  car  in  the  blind 
alley  between  the  two  buildings.  That's  where  Dr.  Copeland 
kept  his  car  parked.  He  was  going  to  drive  to  a  certain  place. 
I  was  to  follow  his  car.  I  found  a  space,  parked  my  car  and 
went  to  his  office." 

"What  time  was  that?"  Brent  asked. 

"That  was  about  five-thirty." 

"Go  through  his  outer  office?" 

"No.    I  went  to  his  private  office.    He  let  me  in." 

"Then  what?" 

"We  were  there  a  few  minutes.  We  had  a  drink.  Then  he 
went  out  first.  He  told  me  to  follow  in  five  minutes.  That 
would  give  him  time  to  get  his  car  started  and  the  motor 
warmed. 

"  I  waited  five  minutes  and  walked  down  the  stairs  to  .  .  ." 

"You  didn't  use  the  elevator?"  Brent  interrupted. 

"No,  I  had  plenty  of  time.  It's  only  two  flights  down. 
I  walked  through  the  corridor  to  the  door  which  opens  on  the 
alley.  I  started  toward  my  car,  and  had  almost  reached  it 
when  I  saw  something  lying  on  the  pavement  in  the  rain.  It 
was  a  body  sprawled  almost  under  the  running-board  of  my 
car.  ...  It  was  ...  it  was  Dr.  Copeland." 

"What  did  you  do?"  Brent  asked  in  a  calmly  conversational 
tone  of  voice,  as  though  he  had  been  discussing  a  matter  of  no 
particular  moment. 

"I  didn't  want  anyone  to  know  I  had  been  consulting  Dr. 
Copeland.  I  thought  his  body  would  be  discovered  soon 
enough,  anyway.  I  backed  my  car  out  and  got  away  from 
there." 

"Then  what?" 

"Then  I  got  in  touch  with  Mr.  Alter." 

Alter  said  hastily,  "You  see,  Dick,  Miss  Smith  can't  afford 
to  be  dragged  into  the  inquiry  the  police  will  make." 

"How  you  going  to  keep  her  out  of  it?"  Brent  inquired. 

"You're  going  to  keep  her  out  of  it." 

"How?" 

"That's  up  to  you.  Now,  those  are  the  highlights  of  the 
case.  You  can  see  Miss  Smith  is  upset.  I  don't  want  her  to 
talk  any  more.  She's  given  you  a  general  idea  of  what  hap- 
pened.    Now  it's  up  to  you,  Dick." 

Brent  looked  over  at  the  woman. 

"Any  other  cars  parked  in  the  alleyway  when  you  took  yours 
out?"  he  asked. 

Alter  said  hurriedly,  "I  can  answer  that  question,  Dick. 
You  see,  I've  gone  over  all  this  with  her  before  I  called  you. 
There  weren't  any  other  cars  in  there — just  Dr.  Copeland's 
and  hers.  When  she  parked  her  car  there  were  one  or  two  other 
machines  in  the  alley,  but  not  when  she  came  out.  Parking  in 
that  alley  space  is  reserved  for  tenants  of  the  office  building, 
and  for  the  most  part  these  tenants  leave  around  five  o'clock." 

"  Then,"  Brent  said,  "if  there  were  one  or  two  other  machines 
in  the  alley  when  this  young  woman  parked  her  car,  and  none 
when  she  came  out,  other  people  must  have  been  leaving  their 
offices  about  the  time  of  the  murder — unless  she  was  there 
longer  than  she's  admitted." 

"We  had  a  couple  of  drinks,' 
quite  a  little  .  .  ." 

"Shut  up,  Miss  .  .  .  Smith!' 

"Did  anyone  see  you  go  out 
asked  her. 

Alter  motioned  her  to  silence  and  answered  the  question 
for  her. 

"No  one,  unless  perhaps  someone  in  the  Pixley  Paper  Prod- 
ucts Company  did.  That  office  is  on  the  short  corridor  which 
runs  to  the  alley.  Miss  Smith  remembers  that  someone  was 
working  in  the  office  as  she  went  by.  She  could  hear  the  clack 
of  the  typewriter,  and  the  door    [  please  turn*  to  page  90  ] 


the  woman  said.    "I  was  there 

the  lawyer  interrupted, 
through  that  corridor?"  Brent 


36 


Warren  okays  spotlights  and  cameras  for  make-believe  romances  only.     He's  about  to  play  a  love 
scene,  above,  with  Claire  Dodd  for  "Don't  Bet  On   Blondes."    Director  Robert  Florey  is  seated,  right 

Don't  Try  To   Explain  Warren  William 

Warren  is  Hollywood's  puzzle — and  even  his  best 
friend   will   tell   you   he   is   downright   peculiar 

By   BEN   MADDOX 


EVERYONE  in  Hollywood  feels  sorry  for  Warren  William, 
including  his  own  wife. 
But  he  is  quite  content.  To  be  more  accurate  still,  he 
is  positively  incapable  of  raising  a  single  healthy  holler  at  being 
Overlooked  Star  Number  One.  He  has  no  "flair"  and  he  doesn't 
care. 

You  practically  never  see  any  interviews  with  Warren.  The 
gossip  columnists  long  ago  dismissed  him  as  impossible;  he 
doesn't  Go  Places  and  Do  Things.  Pictures  of  him  on  his  trim 
little  yacht,  informal  snapshots  of  him  at  his  spacious  country 
home  at  Encino  occasionally  appear.  And  that's  just  abcu': 
all  the  spotlighting  he  gets. 

Yet  he  is  certainly  one  of  the  very  busiest  players.  He  could 
rate  so  much  more  attention,  for  his  life  is  a  lead  in  this  and  a 
lead  in  that.  Each  Spring  his  studio  has  upped  his  salary 
appreciably.  This  has  been  going  on  for  five  years  in  a  row, 
so  his  weekly  income  is  now  tidy. 

He  intended  to  be  an  architect  or  an  engineer,  but  was  rotten 


at  figures.  Likely  there's  a  direct  connection  to  his  being 
equally  inept  at  angles,  even  when  they're  the  intangible  pub- 
licity sort  which  his  competitors  think  necessary. 

His  friends  keep  lecturing  him.  Warren's  wife  Helen  is  per- 
turbed when  she  observes  how  the  rest  of  the  big  shots  parade. 
She  is  so  whole-heartedly  wrapped  up  in  his  career  and  she 
knows  Hollywood  is  unanimously  agreed  that  a  glittery  front 
is  good  business.  It  oughtn't  to  be  blandly  regarded  as  irrele- 
vant. 

Which  is  precisely  what  it  is  to  Warren.  He  is  a  flop  at  self- 
advertising.  When  this  is  pointed  out  again  and  again  he 
doesn't  even  bother  to  retort,  "So  what?" 

He  isn't  coy,  nor  is  he  nourishing  illusions  of  grandeur  which 
might  persuade  him  to  cling  to  a  privacy  excluding  the  public. 
Nor  is  he  the  least  scornful  or  envious  of  those  who  sparkle 
determinedly.  His  philosophy  is  that  you're  what  you  are, 
and  so  why  fume?    He  isn't  worrying. 

There  is  nothing  of  the  recluse  [please  turn  to  page  104] 

37 


Why  Male 

Stars  Marry 

Plain  Girls 


Explaining  a  mystery  that  has  long 
baffled  the  curious — inside  informa- 
tion well  worth  knowing  and  using 

By   KAY   PROCTOR 


vM*¥ 


N  %r* 


1 


C 


43 


If  you  were  Ria 
Gable  could  you  re- 
main serenely  un- 
disturbed by  the 
gorgeous  ladies  to 
whom  Clark  makes 
such  telling  love 
on    the    screen  ? 


To  hold  a  man  like 
F  r  e  d  r  i  c  March, 
Florence  Eldridge 
has  to  have  some- 
thing more  than 
mere  glamour  or 
physicalbeauty.  She 
knows    the    answer 


A    DAB  of  fine  caviar  is 
appetites;  a  heaping 
An  hour  of  glamou 
deadly  dull. 

Perhaps  that  explains  one 


Bob's  had  his  pick  of 
the  loveliest.  But 
you've  never  heard  a 
rumor  of  a  divorce 
in  the  Montgomery 
family.  It's  a  secret 
you      may      share 


a  morsel  tempting  to  the  most  jaded  of 
platter  of  it  is  a  sickening  sight. 

is  swell;  twenty-four  and  it  becomes 

of  the  seemingly  mad  contradictions  of 
Hollywood — the  marriage  of  the  hand- 
somest and  most  eligible  men  to 
women  who  have  more  charm  and 
personality  than  physical  beauty. 

They  have  held  close  in  their  arms 
the  majestic  loveliness  of  Norma 
Shearer,  the  seductive  glamour  of 
Garbo,  the  Dresden  Loretta  Young, 


38 


Ruth  Howard  keeps 
within  the  hollow  of 
her  hand  the  magic 
formula  that  firmly 
hoidsthe  woman-wor- 
shiped Leslie.  Many 
stars  would  like  to 
know     what     it     is 


Richard  Dix'  good 
looks  led  him  a  merry 
chase  among  film- 
land's beauties  until 
he  realized  Virginia 
had  what  it  took  to 
tie  his  wandering  af- 
fections       securely 


the  sensuous  Jean  Harlow  and  the  vivid  flame  that  is 
Joan  Crawford. 

They  have  shared,  on  the  screen,  the  glories  of  love 
with  each  of  the  lovely  ladies  whose  faces,  more  than 
launching  a  thousand  ships,  have  filled  a  thousand 
box-offices  with  gold,  a  thousand  men  with  vague 
yearnings  and  a  thousand  women  with  much  envy  and  despair. 

Yet  when  the  day's  work  is  done,  wdien  the  arms  of  these 
handsome  stars  and  leading  men  are  unclasped  from  the 
Colberts,  the  Hardings  and  the  Bennetts,  they  rush  home  to 
the  "little  woman." 

Who  are  the  "little  women"  of  these  Apollos  of  the  screen? 

They  are  women  whose  beauty  stands  no  comparison  with 
the  breath-taking  loveliness  of  the  charmers  of  the  silver  screen. 

They  are  women  with  emotional  stability,  mental  balance, 
a  sense  of  humor,  and  the  knack  of  making  their  men  believe 
they  are  indeed  kings  in  fact  as  well  as  fancy.  But  almost 
without  exception  they  are  "plain  girls." 

They  are,  most  often,  home-bodies.  Women  who  are  rich 
in  the  old-fashioned  ability  of  real  home-making.  They  are 
women  who  have  mastered  subjugation  of  self  in  the  interest 
of  a  better  whole. 

They  are  the  women  whom  everyone  calls  "grand  persons" 


and  "swell  girls."  They  seldom  rate  the  descriptive  ad- 
jectives of  "ravishing,"  "glorious,"  or  "gorgeous."  What  care 
they?     Such  names,  for  them,  are  superfluous. 

They  are  the  happy  women  of  Hollywood. 

Their  glamorous  sisters  are  the  lonely  ones. 

Who,  by  name,  are  these  happy  women  whom  the  kingpins  of 
masculine  appearance  and  appeal  have  made  them  glad  not  to 
be  troubled  with  beauty?     Their  name  is  legion. 

Clark  Gable  represents  to  the  average  woman  in  America 
the  nc  plus  ultra  in  good  looks,  appeal  and  virility. 

Ria  Gable  his  wife,  remains  serenely  undisturbed  by  the 
ladies  to  whom  Clark  makes  such  telling  love  on  the  screen. 

She  has  something  more  than  mere  physical  beauty.  Far 
more.  She  has  charm,  poise  and  culture.  She  has  the  ability 
to  overshadow  younger,  brilliantly  lovely  young  women.  She 
has  all  Clark  wants.  He  gets  too  much  screen  sex  every 
working  day  and  Mrs.    Gable's   [  please  turn  to  page  105  ] 

39 


p^til91 


Gaily  off  to  see  the  wonders  of  California's  exposition  at  San   Diego.     Left  to  right:  Henry  Wadsworth,  Patricia  Ellis,   Her 

CAL  YORK'S  GOSSIP 


N.  IIGHT  clubbing  Hollywood  almost  fainted 
1  nhe  other  night  when  Mae  West  appeared, 
en  tourage  at  the  Troc. 

Mae,  whose  sole  night  appearances  have 
heretofore  been  at  the  fights,  had  a  reason, 
however,  for  the  unwonted  display  of  frivolity. 
One  of  her  loyal  police  guards,  who  has  been 
dogging  her  every  footstep  since  she  was 
threatened  by  gangdom,  had  just  been  pro- 
moted up  on  the  force.  So  Mae  thought  it 
called  for  a  celebration. 

All  of  the  guards  joined  in  the  fun. 

f\RDINARILY  Bing  the  Crosby 
*~*is  a  docile  soul. 

But  have  you  ever  been  squirted 
square  in  the  face  with  a  stream 
of  seltzer  water? 

Bing  took  such  tormenting  pun- 
ishment for  about  eight  or  ten 
scenes  from  the  assistant  direc- 
tor in  "Two  For  Tonight." 
Finally  the  scene  was  over. 

40 


"Gimme  one  of  those,"  said 
Bing  grimly.  From  then  on,  un- 
til the  array  of  bottles  was  dry, 
the  set  was  a  squirting  shambles. 
Bing  chased  the  assistant  director 
around  until  he  shouted  "Un- 
cle"— and  then  thought  the  idea 
was  so  swell  that  he  anointed 
every  one  in  the  cast. 

He  felt  much  better  then. 

CO  you  thought  Shirley  Temple  was  six  years 
^old,  did  you? 

Well — she's  about  nine  and  a  half — that  is, 
in  mental  ability.  If  it  means  anything  to  you, 
Shirley  is  a  perfect  "I.  Q. — 155."  The  "I.  Q." 
stands  for  "Intelligence  Quotient" — and  the 
average  adult's  rating,  according  to  years,  is 
supposed  to  run  around  100.  So  you  see — 
just  what  we  told  you — that  Shirley  Temple  is 
a  smart  kid.  But  ten-to-one  she  doesn't  have 
the  faintest  idea  what  "Intelligence  Quotient" 
means! 


THKY  have  been  taking  some  time  scoring 
'  the  elaborate  musical  accompaniment  for 
"The  Crusades." 

The  other  day,  Cecil  B.  DeMille,  unex- 
pected, walked  to  the  recording  stage.  The 
red  light  was  burning.  He  waited  five  minutes. 
He  waited  ten  minutes,  fifteen  minutes.  When 
no  less  than  twenty-five  minutes  had  passed, 
and  the  red  light  was  still  burning,  he  cau- 
tiously opened  the  door,  wondering  how  any 
recording  scene  could  take  that  long. 

The  whole  crew  were  sitting  about  on  the 
floor  swapping  jokes.  They  had  put  the  red 
light  on  to  keep  out  curious  studio  wanderers — 
but  they  hadn't  expected  the  big  boss. 

CEVENTY-SIX  men  sat  in  the  bright  glare 
*^of  a  Hollywood  set. 

Seventy-five  were  blind.  One  could  see — 
Fredric  March,  starring  in  "  The  Dark  Angel." 

The  rest  were  extras  from  the  Braille  Insti- 
tute. 


ielson,  Paula  Stone,   Ben  Alexander,  Grace  Durkin,  Hayden  Lucid,  Richard  Brodus,  Gertrude  Durkin,  Bob  Hoover,  Toby  Wing 

OF   HOLLYWOOD 


Sitting  in  a  room  with  blind  men  does  some- 
thing to  you.  It  makes  you  realize  just  how- 
lucky  you  are  to  be  able  to  see.  It  did  some- 
thing to  Freddie. 

Before  the  picture  was  finished  he  had 
written  out  a  sizeable  check  payable  to  the 
Braille  Institute.  And  he  didn't  tell  us  about 
it,  either.    He's  that  kind. 

P\ON'T  worry  about  losing  Clark  Gable.  He 
•"Ms  not  going  to  turn  evangelist.  In  fact,  the 
enterprising  young  preacher  who  came  out  to 
lure  him  away  from  the  fleshpots  of  Holly- 
wood never  got  to  see  Clark. 

The  idea  was  very  intriguing  to  the  news- 
papers, but  soon  it  became  a  bit  too  evident 
that  the  crusader  was  over-anxious  to  see  his 
name  in  print.  Clark  offered  to  see  him — 
under  his  own  conditions — which  were,  to  see 
him  without  his  press  agent  and  with  a  stenog- 
rapher to  take  down  every  word  uttered.  But 
the  minister  declined. 


TJ/'HAT  celebrated  director  of 
*'  smart  drawing  room  persi- 
flage is  rapidly  being  bossed  right 
out  of  the  business  by  his  wife? 
The  lady,  a  Continental,  got  her- 
self the  job  of  technical  adviser  in 
one  of  his  recent  pictures,  and  he 
didn't  make  a  single  shot  the  way 
he  wanted  it! 

And  the  set  is  so  populated  by 
her  friends  that  practically  no 
English  is  spoken. 

THE  last  day  on  the  set  of  "Anna  Kerenina," 
'  Greta  Garbo  bent  her  head  and  implanted  a 
very  nice  kiss  upon  the  cheek  of  Freddie 
Bartholomew. 

Just  like  that ! 

Whereupon  Freddie  went  right  home  and 
wrote  about  it  in  his  diary  which  he  kept  all 
through  the  picture. 

"I  hope,"  concluded  Freddie's  pen,  "that 
people  don't  write  any  more  bad  notices  or 


think  anything  bad  about  her  (Garbo)  or  do 
anything  because  she  is  sweet." 

Freddie,  Old  Bean,  if  you  could  persuade 
Greta  to  give  us  a  kiss,  I'm  sure  we  would 
never,  never  write,  think,  or  even  faintly 
imagine  anything  bad  about  Garbo. 

Never! 

Slip  her  the  idea,  will  you  Freddie — go  on — 

THE  betting  in  Hollywood  is  now  two-to-one 
1  that  the  first  words  little  Katharine  Thal- 
berg  (Norma  Shearer's  new  baby)  will  utter 
will  be,  "Romeo,  Romeo — wherefore  art  thou, 
Romeo?" 

Never  has  Norma  been  as  completely  hipped 
on  a  picture  as  she  is  on  "  Romeo  and  Juliet." 
You  know,  only  a  few  days  before  it  was  time 
to  go  to  the  hospital  she  was  down  at  the 
studio  making  recording  tests  for  the  Shakes- 
perean  play. 

And  the  first  thing  she  asked  for  when  she 
came  home  was  the  script ! 

41 


The  gallant  Fredric  March 
and  his  wife  (Florence  El- 
dridge)  enjoy  a  tete-a-tete 
at    the    Trocadero     (above) 


(""RACE  MOORE  is  a  girl  who  knows  her 
^-"rights  and  insists  on  them.  This  has  given 
rise  to  stories  of  "temperament"  recently. 
But  'tisn't  so — Grace  just  picks  on  the  big- 
wigs.   She's  peaches  and  cream  on  the  set. 

Not  long  ago  Harry  Cohn,  big  boss  of  Co- 
lumbia studios,  where  Grace  earns  her  weekly 
stipend,  was  berating  his  under-executives  for 
being  unable  to  "handle"  Grace. 

"You  don't  use  any  finesse,"  he  explained. 
"I'm  going  to  call  her  now — watch  me." 

He  picked  up  the  telephone.  The  conversa- 
tion started  out  very  sweetly.  But  before  it 
was  over,  head  man  Cohn  was  shouting,  ges- 
ticulating, threatening  and  pounding  the  table! 
And  Grace  was  talking  right  back. 

The  under-executives  discreetly  left. 

\  V/ITH  her  customary  dignity,  Irene  Dunne 
"*  informed  boss  John  M.  Stahl  and  her 
colleagues  in  "  Magnificent  Obsession"  that 
she  intended  to  knit  an  entire  dress  during 
the  making  of  the  picture.  (Stahl  is  known 
for  his  long-lived  shooting  schedules.) 

The  next  day  she  arrived  carrying  a  large 
bag  bulging  at  the  sides. 

"What's  that?"  they  asked. 

"I  told  you  I  was  going  to  knit  a  dress," 
said  Irene,  " — that's  my  yarn,  and  I'm  stuck 
with  it." 

"  Xft)  Visitors" — that  ominous 
1  '  ban,  not  this  time  placed  on 
the  set  of  a  temperamental  star, 
but  on  a  room  in  the  house  of 
W.  C.  Fields — saddens  everyone. 

42 


Things  are  looking  up 
at  the  Walter  Wanger 
party,  above.  Left  to 
right.  Bill  Wellman, 
Patsy  Kelly,  Alice 
Faye  and  host  Wan- 
ger (holding  hands!), 
Gail  Patrick,  Henry 
Fonda,  Frances  Lang- 
ford,  and  George  Raft 


The  George  J  ess  els 
(Norma  T  a  I  ■ 
madge),  with  host 
Eddie  Lowe,  as 
Eddie  opened  his 
Malibu  Beach 
home  with  a  big 
dinner    party 

A  birthday  cake  of 
gardenias!  Jean 
Hersholt  (right), 
Ryas  Asger  Grut, 
Danish  vice-consul 
(left),  Princess 
Bernadotte,  cele- 
brate their  natal 
day,  as  Frank  Mor- 
gan, Frank  Capra, 
and  Edward  G. 
Robinson    look    on 


"Bill,"  universally  beloved,  sits 
in  that  room  in  a  barber's  chair, 
especially  rigged  up  to  allow  him 
some  quota  of  comfort.  He  is  very 
sick,  Bill  is,  with  a  back  ailment, 
which  makes  it  impossible  for 
him    to   sit   down    or    lie   down. 


Three  doctors  are  in  consultation, 
and  day  and  night  nurses  attend 
him  constantly.  •  No  one  can  see 
him  to  cheer  him  up  or  help  ease 
his  steady  pain. 

The  barber's  chair  supports  him 
and  doesn't  press  on   his   back. 


It's  good  to  see  John 
Gilbert  about  again. 
And  here's  a  group  of 
friends  of  long  stand- 
ing: Monte  Blue, 
Raquel  Torres,  Mrs. 
Blue,  John,  Renee  Tor- 
res, and  Stephen 
Ames,  all  gath- 
ered    at     Raquel' s 


He  has  been  in  it  some  weeks 
now,  and  while  there  is  some  im- 
provement, it  looks  as  if  a  Ions, 
time  will  roll  around  before  Bill 
can  come  back  to  bring  laughter 
to  the  world — 
//  ever. 


Estelle  Taylor  and 
Lee  Tracy,  above, 
'tis  reported,  are 
oneof  Hollywood's 
big  romances. 
They're  at  all  the 
places     together 

Gene  Raymond, 
that  gay  cavalier, 
Cal  is  told,  takes 
all  his  girl  friends 
to  the  Cocoanut 
Grove.  That  in- 
imitable shadow, 
cameraman  H  y  - 
man  Fink,  snapped 
Gene  with  the 
gorgeous  Jea- 
nette     MacDonald 


REPORTS  from  advance  color  tests  at  Para- 
mount studios  seem  to  indicate  that  you're 
going  to  have  a  whole  screenload  of  fresh  new 
stars.  Claudette  Colbert  and  Marlene  Diet- 
rich, particularly,  have  drawn  good  old  fash- 
ioned raves  from  everyone  with  their  tinted 


Rumor  says  they  are  mar- 
ried— anyhow,  Gertrude 
Michael  and  director  Rouben 
Mamoulian  officially  admit 
that     they     are     engaged 


tests.  Color  tests  are  the  current  vogue  now 
in  Hollywood.  If  you  haven't  had  one,  you 
try  to  arrange  one  and  then  bite  your  finger- 
nails until  it  is  run  off.  Of  course,  the  only 
ones  you  hear  about  are  the  good  ones. 

HACK  in  1907  an  actress  named  Gertrude 
^Norman  started  her  picture  career  with 
D.  W.  Griffith.  For  years  she  played  mother 
roles.  She  was  Mary  Pickford's  mother,  Mar- 
guerite Clark's  mother. 

Then  Hollywood  forgot  about  her.  The  other 
day  she  started  a  come-back  with  the  role  of  a 
maid  in  "Peter  Ibbetson."  Today  she  is 
eighty-three  years  old — which  is  something  of 
a  record  for  come-backs,  what? 

A  GUSHY  type  of  sob-sister  writer  ap- 
*  proached  Margaret  Sullavan  on  the  set  of 
"So  Red  the  Rose"  at  Paramount.  It  was 
when  the  air  was  first  full  of  rumors  about 
Margaret's  separation  from  her  husband,  Wil- 
liam Wyler. 

"Now  Miss  Sullavan,"  oozed  the  lady,  "just 
tell  me  all  about  this  trouble  of  yours." 

"Why  don't  you  tell  me  all  about  your 
trouble?"  said  Margaret. 

The  writer  staggered.  "Uh — "  she  said, 
"don't  you  love  your  husband?" 

"Don't  you  love  yours?"  said  Margaret. 

"Uh — would  you  rather  live  alone?" 

"Would  you?"  countered  Maggie. 

It  wasn't  long  before  the  writer  left — with 
no  story. 

[  PLEASE  TURN  TO  PAGE   78  1 


43 


Know 

Luise 

Rainer 


The  tiny  Viennese  lovely 
is  a  whole  lot  of  exciting 
something  Hollywood 
never  experienced  before 

By    KIRTLEY    BASKETTE 


The   Rainer  nature  is   such   that  there   are  no   halfway 
measures   with   her — even   to   her  apple-pie   adventure 


SHE  isn't  much  bigger  than  a  minute  hand  on  a  Swiss 
watch,  but  that  doesn't  keep  Luise  Rainer  from  being  the 
current  "it"  of  Hollywood. 

Luise  Rainer  (if  you  say  "  Ry-ner"  you  go  to  the  head  of  the 
class,  and  if  you  say  "Ry-nah,"  as  they  do  on  the  dear  old 
I  (anube,  you  get  a  gold  star  to  paste  in  your  notebook)  is,  of 
course,  the  little  windblown,  elfin  actress  whose  big  brown 
provocative  eyes  flashed  the  danger  signal  in  "Escapade"  as 
she  doubtless  hummed  "Who  Walks  In  When  You  Walk  Out" 
over  her  shoulder  to  Myrna  Loy. 

And  now  that  everyone  is  hailing  this  tiny  Austrian  lovely 
as  the  latest  exotic  and  the  new  super  star  from  across  the 
Pond,  the  "going  Garbo"  game  has  started. 

Only  little  Fraulein  Luise  is  proving  pesky  to  pick  on  for 
three  good  reasons. 

Because  first,  she  used  up  practically  all  of  her  fear  com- 
plexes before  she  ever  got  to  Hollywood;  because  second,  the 
pack  waited  a  bit  too  long  to  waggle  the  old  familiar  scarecrow; 
and  because  third,  Die  Rainer  is  something  the  like  of  which 

44 


the  old  town  has  never  run  up  against  before. 
And  when  I  say  something,  I  mean  a  bit  of  a 
whole  lot,  in  spite  of  her  half  pint  dimensions. 
About  this  scare  business — maybe  Luise  read 
too  many  stories  and  believed  that  Hollywood 
should  be  taken  by  storm.  Anyway,  before 
being  duly  discovered  as  a  screen  bet  by  super 
talent  scouts  Robert  Ritchie,  Rufus  LeMaire 
and  Director  Clarence  Brown,  she  set  out  from 
Berlin  by  automobile  on  the  first  leg  of  her 
Hollywood  hegira. 

A  snowstorm  blew  up  and  the  automobile 

promptly   dived   over  an   embankment    when 

Luise  left  it  for  a  minute  to  brush  the  snow  off 

a  road  sign.    Profoundly  unnerved,  she  mushed 

back  to  Berlin  and  boarded  a  plane  for  the  seacoast  only  to  slither 

and  sideslip  through  a  gale  into  a  series  of  forced  landings. 

No  sooner  had  she  bid  the  home  shores  of  Europe  good-bye 
than  the  steamship  got  the  idea  too,  proceeding  to  nose  into 
one  of  the  worst  Atlantic  storms  of  the  season  so  that  they 
trundled  Luise,  the  shade  of  an  unripe  olive,  down  the  gang- 
plank at  New  York  and  right  into  a  hospital  on  the  fringe  of 
Harlem. 

Darktown  "hi-de-hoes"  and  "yeah  mans"  which  floated  up 
through  her  window  failed  to  have  the  expected  tonic  effect 
on  her  chart  since  Luise  harbored  a  definite  suspicion  that  all 
colored  folk  were  cannibals.  She  was  sure  of  it  later  when  she 
boarded  the  transcontinental  train  and  was  confronted  by  a 
huge  ebon  porter  flashing  two  rows  of  expansive  ivory  choppers 
at  her.    She  knew  they  were  designed  to  devour  her. 

After  four  days  locked  in  her  compartment  in  mortal  horror 

of  impending  consumption,   Hollywood   held   no   terrors   for 

Luise — not  even  the  terror  of  being  tagged  a  Garbo  copy  cat. 

As  a  matter  of  fact,  no  one    [  please  turn  to  page  102  ] 


PHOTOPLAY'S 
MEMORY  ALBUM 

edited  by 
FREDERICK  L  COLLINS 

QICTURES  came  to  California  on  the  installment  plan. 
'  Colonel  Selig,  picturesque  Chicago  pioneer,  was  the 
first  important  film  man  to  realize  the  state's  pictorial 
potentialities.  His  initial  California  production,  a  great 
success,  was  "The  Count  of  Monte  Cristo,"  released  in 
1908.  Straggling  producers  followed;  and  finally,  in 
January,  1910,  Griffith  himself  made  his  first  winter  visit 
to  Los  Angeles.  Soon  he  was  an  all-year  resident.  The 
California  era  in  picture-making  had  gotten  under  way. 


1 .  Griffith's  (center)  interest 
in  his  youthful  caravan  was 
more  that  of  the  head  of  a 
family  than  the  head  of  a 
company.  He  was  never  too 
busy  to  help  Bobby  Harron 
(above)  with  his  make-up  or 
to  assist  Miriam  Cooper 
(upper  left)  in  her  emoting. 


3.  His  first  studios  were  little  more  than  aggregations  of  sheds 


45 


46 


47 


• 


RAJl 


22.  Marie  Dressier  hit  the  Keystone  trail. 
23.  So  did  Mack  Sennett. 


24.  And  so  did  Fatty  Arbuckle  and  Luke. 


>w- 


M 


■\. 


25.  Every  scenario  young  Sen- 
nett wrote  had  a  cop  in  it. 

26.  Fatty  and  Mabel  were 
the  greatest  man-and-woman 
comedy  team  of  all  time. 


27. Two  of  the  most  promising  actors  in 
Sennett's  Keystone  troupe  were  Gloria 
Swanson     and     Mack's     dog,     Teddy. 


3     i 


28.  Slim    Summerville    made 
"hot"  love  to  Louise  Fazenda. 


war 


29.  While  Charlie  Murray 
did  the  family  chores. 


f'rwrfi 


-JRJBI 


->*?' 


30.  Mabel  Normand  (above)  soon 
became  the  comedy  queen;  with 
Ford  Sterling  and  Sennett  himself 
(left)  she  appeared  in  the  first  Key- 
stones, and  continued  triumphantly 
in  inspired  partnership  with  Fatty. 


N\i 


y- 


V 


L/ 


Under  Sennett's  refining  influence 
the  bathing  suit  replaced  the  cus- 
tard pie  as  first  aid  to  polite  com- 
edy. His  girls  were  as  famous 
as  his  cops — and  much  prettier. 


48 


40.  Four  good  comedians  were  Buster,  Fatty,  Luke  and  Al  St.  John. 


49 


42.  The  most  popular  cow- 
boy actor  was  G.  M. 
(Broncho  Billy)  Anderson, 
former  artist's  model,  until- 


41 .  One  thing  of  which  the  early  picture  fans  never  seemed  to  tire,  was 
the  "Western."  Cecil  DeMille's  first  picture  when  he  went  West  for 
Lasky  and  Goldwyn  was  "The  Squaw  Man,"  with  Dustin  Farnum. 


43.  Tom  Mix,  a  real 
cowboy,  joined  up 
and  made  the  whole 
world  horse  conscious. 


45.  "The  nicest  boy  in  the  movies,"  Harold  Lock- 
wood,  started  his   career   in   one-reel   Westerns. 


44.  Up  in  Santa  Bar- 
bara, where  the  Ameri- 
can Film  Company  had 
its  headquarters,  a  vivid 
actress,  Margarita  Fish- 
er (above)  was  achieving 
an  amazing  popularity. 


48.  Sarah  Bernhardt 
(right)  was  a  movie  star. 


J.  Warren  Kerrigan 


Arthur  Johnson 


King  Baggot 


Francis  X.  Bushman 


47.  Miss  Pauline 
Moran  won  a  beauty 
contest  an3  a  movie 
job.  (We  know  her 
now  as  Polly  Moran, 
the  late  Marie  Dress- 
ler's  uproarious  pal.) 


49.  Women  talked 
back  to  Jack  Holt 
then.  Not  even  Mary 
Maclaren  backed 
by  Phillips  Smallev, 
would    try    it    now! 


G.  M.  Anderson 


50.  In  1913-14,  Photoplay  ran  a  contest  to  determine  the  screen's  most  popular  actors  and  actresses.  Sixteen  million  votes  were  cast.  (Above 
are  the  men  in  the  order  in  which  they  finished.  The  women  are  at  the  top  of  the  opposite  page.)  It  is  interesting  to  note  that  the  early  favorites, 
for  the  most  part,  polled  the  largest  votes.    Mary  Pickford,  although  temporarily  absent  from  the  screen,  retained  much  of  her  early  popularity. 


50 


57.  Ruth  Roland, 
"The  Kalem  Girl," 
a  cute   little    thing. 


58.  Crane  Wilbur  and  Lew 
Cody — the  former  breaking 
in  with  Horsley,  the  latter 
with  Balboa — put  on  an  act 
which  later  became  famous 
on  the  radio.  You've  guessed 
it — check  and  double  check. 


59.  Fay  Tincher  was 
a  good  girl.  She  could 
"take  it" — and  plenty! 

60.  Another  mighty 
figure,  Thomas  H. 
Ince,  loomed  tall 
on  the  Pacific's  shore. 

Next  month:  The  most 
important  event  in 
pictures  since  Mary 
Piclcford's  arrival  at 
the     Biograph     studio. 


51 


WHAT  WAS  THE  BEST 


Picture  of  1934? 


Here  is  your  last  chance  to  help 
choose  the  winner 


FIFTY  OUTSTANDING  PICTURES 
OF  1934 


Previous  Winners  from    1920 
to   Now 

1920 

"HUMORESQUE" 

1921 

"TOL'ABLE  DAVID" 

1922 

"ROBIN   HOOD" 

1923 

"THE   COVERED   WAGON" 

1924 

"ABRAHAM   LINCOLN" 

1925 

"THE  BIG   PARADE" 

1926 

"BEAU   GESTE" 

1927 
"7TH  HEAVEN" 

1928 

"FOUR  SONS" 

1929 

"DISRAELI" 

1930 

'ALL  QUIET  ON  THE 

WESTERN   FRONT" 

1931 

"CIMARRON" 

1932 

"SMSLIN'    THROUGH" 

1933 

"LITTLE  WOMEN" 

52 


Affairs  of   Cellini,   The 
Age  of  Innocence,  The 
Barretts  of  Wimpole 

Street,  The 
Belle  of  the  Nineties 
British  Agent 


Broadway   Bill 
Bulldog    Drummond 

Strikes  Back 
Catherine  the  Great 
Chained 
Cleopatra 
Count  of  Monte  Cristo. 

The 
Death  Takes  a    Holiday 
Evelyn   Prentice 
Flying    Down  to   Rio 
Gallant   Lady 
Gay  Divorcee,  The 
George   White's  Scandals 
Great   Expectations 
Handy  Andy 
Here  Comes  the  Navy 
House  of  Rothschild,  The 
It  Happened  One  Night 
Judge   Priest 
Kid    Millions 
Life   of  Vergie  Winters, 

The 
Little    Miss   Marker 
Lost  Patrol,  The 


Madame    Du    Barry 
Men   in  White 
Merry   Widow,   The 
Mrs.    Wiggs   of   the 

Cabbage  Patch 
Music  in  the  Air 
Nana 

No  Greater  Glory 
Now   and    Forever 
Of  Human  Bondage 
One    Night   of   Love 
Operator    13 
Painted  Veil,  The 
Oueen   Christina 
Sadie   McKee 
She  Loves  Me  Not 
Thin   Man,  The 
Treasure    Island 
Twentieth  Century 
Viva  Villa 
We    Live  Again 
What    Every  Woman 

Knows 
Wild    Cargo 
Wonder   Bar 


Photoplay  Gold  Medal  balloting  is  almost  over.  Votes  are  pouring  in  faster  and 
faster.    If  you  have  not  already  sent  yours,  you  should  do  it  at  once. 

Everybody  who  has  enjoyed  a  motion  picture  during  the  past  year  will  want  to  take 
part  in  awarding  the  Medal  to  his  favorite  film.  The  Photoplay  Gold  Medal  is  the 
Nobel  Prize  of  the  motion  picture  world,  and  the  only  prize  that  you,  the  movie-goers 
of  the  nation,  have  a  chance  to  award. 

There  are  no  rules,  no  limitations.  Simply  write  the  name  of  the  1934  film  you  con- 
sider finest  on  a  scrap  of  paper,  a  postal  card,  or  the  ballot  printed  below.  But  you'll 
have  to  hurry,  or  the  polls  will  be  closed! 

Above  is  printed  a  list  of  fifty  outstanding  pictures  released  during  1934.  While  your 
choice  is  not  limited  to  these,  the  list  will  help  refresh  your  memory  of  the  pictures  seen 
during  the  last  year.  You  may  vote  for  a  picture  you  saw  in  1935  as  long  as  the  film 
was  made  and  released  during  1934. 

Hollywood  is  awaiting  eagerly  your  decision.  Stars  and  producers  are  anxious  to 
know  what  you  enjoyed  most  in  the  past  and  want  to  see  more  of  it  in  the  future. 

So  that  you  will  net  miss  cut  on  a  chance  to  voice  your  opinion,  send  in  your  vote 
today.    The  polls  close  Sept.  25.    Your  ballot  must  be  in  by  then. 


PHOTOPLAY 

MEDAL  OF 

HONOR 

BALLOT 

EDITOR,   PHOTOPLAY   MAGAZINE 
1926  BROADWAY,  NEW  YORK  CITY 

In    my   opinion   the    picture 
best  motion   picture  product 

named    below 
ion   released  in 

s  the 
1934 

NAME  OF 

PICTURE 

NAME 

ADDRESS 

BY  RENE   HUBERT 

FOX  FILM  STYLIST 


Fi 


"ASHIONS  of  Fall  1935"  is  an 
"historical  drama  with  its  locale 
pretty  much  the  wide  world. 
The  time  is  from  ancient  days  to 
the  present,  with  the  modern 
woman  playing  the  leading  role. 
The  lines  are  flared  for  action  but 
with  a  pleasing  restraint.  She 
picks  up  her  cues  with  the  opening 
scene: 

DAYTIME 

Colors:  Green  seems  the  high  point 
with  rust  and  brown  shades 
second  in  importance;  red  and 
blue  in  combination;  pottery 
tones;  grey,  from  light  to  ox- 
ford, in  fact  any  color  is  good 
if  it  is  deep  and  vibrant  rather 
than  brilliant.  All  colors  seem 
to  have  an  underpainting,  as 
the  artists  say,  to  give  them 
greater  depth. 

Fabrics:  Tweeds,  jersey  with  a 
hairy  surface,  sheer  wool  very 
much  like  what  is  usually 
shown  for  Spring  with  a  heavier 
version  of  the  same  fabric  for 
the  topcoat.  Velvet  trimming 
on  wool.  Two  fabrics  are  better 
than  one.  Silks  resemble  wool- 
ens and  woolens,  silks;  crepe 
and  satin. 

Silhouette:  There  is  a  tendency 
toward  the  slender  though  fuller 
silhouette  expressed  in  a  wider 
sweep  at  the  hemline  thirteen  to 
fifteen  inches  from  the  floor. 
Interpretations  may  be  through 
back-action  pleats,  gores  from 
the  waistline  evolving  into 
gentle  [please  turn  to  page  84] 


Silver  brocade  fashions  the  formal 
evening  coat  designed  by  Rene 
Hubert  for  Anita  Louise  in 
"Here's  to  Romance."  Russian 
ermine  forms  the  mobile  collar 
and  broad  cuffs.     Jewel  buttons 


FORECAST 

FROM  HOLLYWOOD 


BLACK 

VELVET 

AND 


The  dressmaker  suit  of  black  velvet  is  charming 
■for  Autumn  afternoons  or  informal  dining.  The 
skirt  evolves  into  a  gentle  flare  through  narrow 
gores  starting  at  the  molded  waistline.  Rene 
Hubert  designed  the  Eton  jacket  to  be  worn  over 
a  white  taffeta  blouse,  stitched  with  row  upon 
row  of  velvet  ribbon.  Pompon  tie-ends  finish 
the  neckline  and  are  repeated  on  Miss  Louise's 
chic    velvet    hat    worn     low    on    her    forehead 


White  furs  for  daytime  are  a 
new  story  this  season.  Miss 
Louise  shows  how  the  smart 
galyak  blouse  with  black  vel- 
vet skirt  makes  a  costume.  On 
cooler  days,  she  dons  the  top- 
coat, the  blouse  scarf  forming 
the  collar.  Matching  fur  hats 
will  be  seen  with  Fall  costumes 


d 


■I 


Rochelle  Hudson  expresses 
youthful  formality  in  shim- 
mering metal  cloth.  Crisp 
organdie  flowers  trim  the 
bodice,  while  the  suspen- 
der back  expands  into  a 
scarf  effect  tied  at  the 
throat.  Worn  in  "Curly 
Top"  a   Fox  Films  picture 


1935  INTERPRETATIONS  OF 
CLASSIC  MODES 


,;»^;V 


/ 


1 1 

i ) 

& 

The  rustle  of  the  past  is 
in  the  bouffant  creation 
worn  by  Jane  Hamilton  in 
RKO-Radio's  "The  Three 
Musketeers."  Shorter  in 
front,  the  petticoat  re- 
veals its  self-fringed  fluted 
ruffles  to   match   the   top 


Jean  Arthur,  Columbia 
star,  in  a  dinner  dress  of 
white  crinkly  crepe  with 
silver  coin  dots.  Skirt  ful- 
ness is  concentrated  at  the 
back.  Belt  of  silver  kid  is 
clasped  by  a  jeweled 
buckle.    Matching  sandals 


w         j*ifiKtt 


Greek  in  influence,  but 
featuring  the  loose  Wat- 
teau  back,  swung  from  a 
dropped  shoulder  line, 
this  hostess  gown  of  crepe 
roma  is  worn  by  Jane 
Hamilton.  To  the  front, 
sweeps  the  princess  theme 


Maxine  Jennings  models 
the  rose  crystal  velvet 
hostess  gown,  a  Walter 
Plunkett  design.  Arrest- 
ing treatment  is  seen  in 
the  formation  of  a  cowl  of 
fringe  which  crosses  to  the 
back   and   forms  a   girdle 


A  narrow  stripe  of  jet 
woven  into  this  stunning 
wool  fabric  gives  added 
sparkle  to  the  cocktail  en- 
semble designed  by  Mr. 
Plunkett.  When  the  jacket 
is  removed,  Virginia  Reid 
reveals  a  sleeveless  bodice 


EGE 
FASHIONS 


:;-''-' ,; 


The  "gondolier"  hat  will  draw 
all  eyes  when  you  appear  at 
the  games  this  Fall.  Lucille  Ball 
wears  it  in  white  felt  with  rib- 
bon contrast.  Style  inspiration 
from  RKO-Radio's  "Top  Hat" 


n                         Kay  Sutton  in  a  three-piece  en- 

B                           semble    developed    in     brown 

■                         and  coral  wool.  Sleeveless,  the 

B                        overblouse  is  pleated  to  form 

■                       an  all  coral  panel,  center  front. 

5|                     Back    action    pleats    for    ease 

HCeyv^fl      B                    Tweeds    are    everywhere    this 

S                  Fall,  even  in  shoes.     These  six- 

CjkI       \^f&m^^^\                  eyelet  ties  are  in  brown  tweed 

^jgjl       j|B                 and    calf    with    medium    high, 

SI0V                         B                built-up  heel  of  leather.    You'll 

Bl                                B              want  a  pair  to  match  your  suit 

Wmr 

'       ^3                       ^K 

atift* 


HI 


1 

wr\ 

> 

ITALIAN  HIGH  HATS 
A  FLARE  FOR  ACTION 
CAMPUS  FOOT-NOTES 
TWO-TO-ONE  ON  COATS 


r^&U<rris&t<t/l* 


* 


V 


The  plaid  coat  of  the  three- 
piece  ensemble  shows  interest- 
ing back  detail.  But  there  is 
extra  news.  It's  reversible — 
two-suits-in-one.  Designed  by 
Walter    Plunkett,    RKO-Radio 


In  a  colorful  season,  your  feet 
must  not  be  laggards.  Green 
is  a  fashion  leader  and  you 
may  choose  these  shoes  of 
brown  reversed  calf  with  green 
oval  trim  and   heels  of  green 


A  football  in  the  hand  is  worth 
two  in  the  field  according  to 
Jean  Parker,  M-G-M  featured 
player.  The  pouch  bag  with  its 
smart  initials  is  roomy  enough 
to   hold   innumerable  gadgets 


Mannish  for  the  street,  Helen  Gaha- 
gan,  glamorous  star  of  stage  and 
screen,  selects  dark  accessories  for  her 
misty  grey  tailleur.    Brooch  cut  steel 


Sweeping  lines  of  dramatic  simplicity 
characterize  the  evening  gown  worn 
by  Miss  Gahagan  who  made  her 
screen   debut   in    RKO-Radio's   "She" 


NTEREST  IN 
NECKLINES 


Necklines  are  of  paramount  importance. 
Jewel-trimmed,  they  show  the  influence 
of  the  Renaissance.  Gail  Patrick,  slated 
to  appear  in  Paramount's  "Smart  Girl" 


Needles  have  been  flying 
this  Fall,  shirring  fullness  into 
skirts  and  bodices.  Una  Mer- 
kel's  frock  by  Viola  Dimmitt 
shows  a  torsade  of  satin 
finishing    the    high     neckline 


Cut  with  a  circular  flare,  the 
short  skirt  and  peplum  blouse 
of  wool  with  satin  inserts 
make  a  tricky  frock  for  Ann 
Dvorak,  Warner  star.  Clips 
trim  the  cuffs  and  the  collar 


IxANDOLPH  SCOTT  and  Margaret  Sullavan,  in  a  scene 
from  Paramount's  adaptation  of  Stark  Young's  novel,  "So 
Red  the  Rose,"  a  tender,  yet  illuminating  story  of  the 
South  prior  to  and  during  the  Civil  War.  Included  are 
Walter  Connolly,  Elizabeth  Patterson,  and  Janet  Beecher 


W  ILL  ROGERS  must  be  getting  off  that  famous  line 
of  his  to  Dorothy  Wilson:  "All  I  know  is  what  I  read  in 
print,"  or  something  to  that  effect.  But  Dorothy  seems 
very,  very  skeptical  about  it.  This  was  while  they  were 
doing  "In  Old  Kentucky,"  which  you'll  be  seeing  any  day 


/\  DRAMATIC  scene  from  "The  Three  Muske- 
teers," between  Bernajou,  sinister  agent  of  Cardinal 
Richelieu,  and  Constance,  lady-in-waiting  to  Queen 
Anne  of  France.  In  RKO-Radio's  version,  Heather 
Angel   is    Cons/once,  and   Murray   Kinnell,  Bernajou 


Jack  Oakie 

Has 

Changed 


Life  is  no  longer  "a  mil- 
lion laughs"  to  the  comic 
with  the  infectious  grin 
who  joked  his  way  to  fame 

By  JULIE    LANG    HUNT 


AT  thirty-three,  Jack  Oakie  has  decided  to  grow  up. 
I  suppose  this  is  a  sensible  decision,  but  some- 
how it  makes  me  very  sad. 

You  see,  Jack  is  the  only  person  I  have  ever  known  who 
could  plunge  his  hands  deep  into  life  and  drag  out  only 
fun  and  laughter  and  gaiety.  Not  once  has  he  found  him- 
self with  a  fistful  of  regrets  or  disappointments  or 
tragedies  like  the  rest  of  us. 

And  sometimes  I  have  been  very  sure  that  Jack  Oakie 
was  the  only  completely  happy  man  I  have  ever  known  in 
Hollywood. 

My  first  meeting  with  Jack,  eight  years  ago,  etches,  I 
believe,  a  very  clear  portrait  of  him. 

He  had  been  in  our  film  city  exactly  forty-eight  hours. 
He  was  absolutely  unknown  and  his  bank  balance  (if  any) 
was  regrettable.  He  had  precisely  two  friends  in  town, 
Joan  Crawford  (and  he  refused  to  call  her  up  until  he 
landed  a  job)  and  Wesley  Ruggles,  the  director. 

Through  Ruggles'  efforts  he  was  about  to  make  a  test  for  a 
small  part  in  a  Universal  picture.  Now  everything  hinged  on 
that  test  for  Jack,  success,  wealth,  and  fame,  or  failure  and  an 
ignominious  return  to  the  vaudeville  grind. 

And  with  such  portentous  fates  swaying  over  his  head,  Jack 
sat  on  the  other  side  of  my  studio-press-department-fumed-oak 
desk  and  said: 

"  Nervous?  Who,  me?  Why,  sister,  I'll  wow  'em.  I'll  knock 
'em  kicking  in  the  aisles.  Say,  are  there  any  aisles  in  a  studio 
projection  room? 

"Do  I  like  Hollywood?  Sure,  sure,  brown  eyes,  I  like  any 
town.  There's  a  million  laughs  in  this  one  though,  a  million 
laughs.    I'm  the  only  guy  that  seems  to  find 'em.    Everybody's 


Jack  Oakie  says  he's  been  a  show-off  all  his 
life,  and  probably  will  always  be  one.  But — 
something    deep    has    hit    him — he's    different 


so  worried  around  here  about  getting  to  the  top  or  staying  there 
they've  forgotten  how  to  smile  outside  camera  range. 

"  Sure,  dearie,  Hollywood's  going  to  be  a  bucket-ful  of  fun  for 
Jack.  And  don't  go  wagging  your  head  at  me  either.  Don't 
you  know  that  life  is  fun?  Whether  you're  up  or  down,  kid,  it's 
just  a  swell  joke,  just  a  million  laughs." 

And  then  he  sauntered  (no,  swaggered  is  the  right  word)  out 
of  my  office  toward  his  first  scuffle  with  the  great  god  camera. 
His  face  was  all  puckered  up  in  one  of  his  amazing  cherubic 
smiles,  and  his  straw  hat  was  cocked  at  a  risky  tilt  over  one  eye. 
He  was  on  his  way  to  meet  destiny  and  to  get  a  million  laughs. 
He  got  them. 

For  eight  years,  and  in  spite  of    [  please  turn  to  page  113  ] 

65 


THE     NATIONAL    GUIDE    TO      MOTION     PICTURES 


it 


STEAMBOAT  ROUND  THE  BEND— Fox 


ROMANCE,  dramatic,  laugh-laden,  this  Will  Rogers  pic- 
ture is  perfect  entertainment.  It  is,  surprisingly  enough 
for  a  Rogers  vehicle,  actually  a  young  love  story,  and  even 
without  Will's  persuasive  wit,  it  could  stand  alone  as  a 
tender  romance. 

The  story  concerns  a  traveling  medicine  show  doctor  who 
yearns  to  be  a  Mississippi  river  captain  and  how  his  am- 
bitions get  entangled  when  his  young  nephew  falls  in  love 
with  a  swamp  girl  and  commits  murder  for  her  sake. 

It's  Will  to  the  rescue  and  he  makes  justice  triumph  and 
wins  a  river  race  all  at  the  same  time. 

Exquisitely  produced  against  the  glamorous  setting  of  the 
Old  South,  it's  beautifully  played  by  the  star,  Anne  Shirley, 
John  McGuire  (watch  him!)  and  a  large,  fine  cast. 


£ 


THE  FARMER  TAKES  A  WIFE— Fox 


.  .  .  and  he  certainly  has  a  tough  time  getting  her! 

Janet  Gaynor,  daughter  of  an  old-time  Erie  canal-boater, 
is  intrigued  by  Henry  Fonda  who  falls  heir  to  a  boat, 
but  is  a  farmer  at  heart.  It's  a  long  siege  to  get  Janet  off  a 
boat  and  onto  a  farm,  but  he  finally  makes  it.  The  time  is 
back  in  the  early  railroad  days  which  have  been  faithfully 
reproduced. 

Charles  Bickford  presents  the  opposition,  the  unwhipped 
fighter  of  the  territory,  until  Henry  "whops"  him  in  a  des- 
perate battle.  Slim  Summerville  make  an  amusing  char- 
acter  of  an  itinerant  dentist.  Janet  is  less  cute  and  more 
convincing  than  usual.  Henry  Fonda  who  created  the  role 
on  the  New  York  stage  is  a  leading-man  to  write  home 
about.     Good  cast  enlivens  the  proceedings. 

66 


Th 


ow 


Stage 

A  Review  of  the   New   Pictures 


* 


THE  CRUSADES— Paramount 


CONTAINING  all  the  spectacular  ingredients  of  past 
Cecil  B.  DeMille  pictures,  "The  Crusades"  is  lengthy 
yet  impressive  entertainment.  While  the  treatment  of 
religious  matter  is  histrionic  and  the  majestic  pageantry 
and  superb  camera  work  overshadow  the  players  and  the 
somewhat  trite  story,  this  is,  nevertheless,  a  production  of 
epic  proportions. 

Henry  Wilcoxon  is  Richard  the  Lion  Hearted  who  takes 
England's  host  of  Crusaders  to  the  Holy  Land  to  escape 
marriage  with  Katherine  DeMille,  playing  Alice  of  France. 

Lack  of  supplies  for  his  army  forces  him  to  barter  with  the 
A  ing  of  Navarre,  and  marry  Loretta  Young,  Princess  Beren- 
garia,  in  exchange  for  food.  Against  their  own  wishes,  the 
young  couple  fall  in  love  and  this  provides  the  human  drama 
of  the  picture,  as  the  outraged  Alice  plots  for  Richard's 
downfall.  The  Saracen  ruler,  Saladin,  falls  in  love  with  Bcren- 
garia  and  makes  her  his  captive.  This  leads  to  the  clash 
between  the  armies  and  between  sacred  and  profane  love. 

DeMille's  handling  of  the  clashing  battle  scenes  are  the 
high  spots  of  the  picture.  Loretta  Young  is  spiritually 
beautiful.  Henry  Wilcoxon  is  forthright  and  forceful  as 
Richard.  But  it  is  Ian  Keith  who  does  the  best  acting  as 
Saladin.  Strong  support  from  Alan  Hale,  Joseph  Schild- 
kraut,  Ramsey  Hill,  Montagu  Love,  George  Barbier,  Ho- 
bart  Bosworth,  Lumsden  Hare  and  William  P'arnum. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


THE  BEST  PICTURES  OF  THE  MONTH 

THE  CRUSADES  THE  FARMER  TAKES  A  WIFE 

CHINA  SEAS  WOMAN  WANTED 

STEAMBOAT  ROUND  THE  BEND  THE  IRISH  IN  US 

BEST  PERFORMANCES  OF  THE  MONTH 

Ian  Keith  in  "The  Crusades" 

Clark  Gable  in  "China  Seas" 

Wallace  Beery  in  "China  Seas" 

Will  Rogers  in  "Steamboat  Round  the  Bend" 

Anne  Shirley  in  "Steamboat  Round  the  Bend" 

Mary  Gordon  in  "The  Irish  In  Us" 

Charles  Bickford  in  "The  Farmer  Takes  a  Wife" 

Sybil  Jason  in  "The  Little  Big  Shot" 

Edward  Arnold  in  "Diamond  Jim" 

John  Mills  in  "Born  for  Glory" 

Harry  Holman  in  "Cheers  of  the  Crowd" 

Lionel  Barrymore  in  "The  Return  of  Peter  Grimm" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page  117 


* 


CHINA  SEAS— M-G-M 


WITH  Clark  Gable,  Jean  Harlow  and  Wallace  Beery 
heading  an  excellent  cast,  and  a  screen  story,  traveling 
at  lightning  speed,  packed  with  thrills  and  adventure,  here 
is  as  entertaining  and  exciting  a  film  as  you've  seen. 

The  action — and  there's  plenty  of  it — takes  place  aboard 
a  boat  carrying  a  load  of  gold  bullion  from  Shanghai  to 
Singapore  through  pirate-infested  waters.  The  story  re- 
volves about  Gable,  hard-boiled  captain  of  the  boat,  who 
is  in  a  dilemma  when  he  discovers,  shortly  after  the  boat 
sails,  that  on  board  are  Harlow,  an  entertainer  he  knew  in 
port,  and  Rosalind  Russell,  an  English  girl  he  has  loved  for 
years.  Harlow,  in  a  fit  of  fiendish  jealousy  after  Gable's 
engagement  to  Rosalind  is  rumored,  teams  up  with  Wallace 
Beery,   undercover  man  for  the  pirates,  to  seek  revenge. 

Gable  is  excellent  in  a  role  made  to  order  for  him,  and 
Harlow  gives  one  of  her  best  performances  to  date  as  the 
shady  lady  who  is  madly  in  love  with  him.  Beery  makes  a 
more  effective  villain  than  he  ever  did  a  hero,  which  is 
saying  a  lot.  Rosalind  Russell  is  lovely  and  letter-perfect 
as  the  English  girl  who  has  traveled  around  the  world 
searching  for  the  man  she  once  refused  to  marry.  And 
you'll  cheer  to  see  Lewis  Stone  in  a  role  that  is  worthy  of 
him.  And  sandwiched  in  between  all  the  dramatic  talent 
and  the  story's  suspense  are  plenty  of  laughs  dished  out  by 
Robert  Benchley  in  a  drunk  role  that  has  never  been  topped. 


* 


WOMAN  WANTED— M-G-M 


A  KNOCKOUT  melodrama  with  mystery  and  all  the 
trimmin's.  No  particularly  big  names  to  intrigue  you, 
but  this  one  doesn't  need  them. 

Maureen  O'Sullivan  is  a  good  girl  in  bad  company,  con- 
victed falsely  of  murder.  She  escapes  and  Joel  McCrea, 
lawyer,  falls  heir  to  her.  Adrienne  Ames  is  the  conflict, 
Louis  Calhern  a  swell  villain,  and  there's  plenty  action. 

Maureen  and  Joel  display  comedy  talent  as  well  as  emot- 
ing good  dramatics.  Robert  Grieg  is  a  superb  butler,  Lewis 
Stone  the  ubiquitous  D.A. 

The  story  has  been  constructed  with  thrills  topping 
thrills,  logical  sequences,  and  plenty  of  laughs.  You  will 
get  a  kick  out  of  the  hamburger  joint  situation,  the  butler's 
swell  answers,  and  the  menace  that    never  goes   hammy. 


* 


THE  IRISH  IN  US— First  National 


yOU  don't  have  to  be  Irish — just  human — to  laugh  your 
sides  out  one  minute  and  cry  your  eyes  out  the  next 
throughout  this  simple  but  sincere  story  of  a  mother  and 
her  three  sons.  It  isn't  a  great  picture  but  it's  recommended 
without  reservations.  You'll  succumb  to  its  homey  chuckles 
and  heart  jerks. 

James  Cagney,  Pat  O'Brien  and  Frank  McHugh  are  the 
Irish  brood  of  Mary  Gordon.  Jimmy  breaks  this  mother's 
heart  when  he  leaves  home  after  stealing  brother  Pat's  girl 
Olivia  de  Havilland.  But  blood  is  thicker  than  water  in 
the  slashing,  thrilling  prizefight  climax. 

Allen  Jenkins  as  a  punch  drunk  pugilist  is  pricelessly 
funny.  But  Mary  Gordon  steals  the  show  in  a  marvelously 
real  mother  role. 

67 


SELECT     YOUR      PICTURES     AND     YOU     WON'T 


DANTE'S 

inferno- 
Fox 


BORN  FOR 
GLORY— GB 


DANTE'S  ghost  will  be  as  amazed  as  you  at  what  Hollywood 
has  managed  from  his  great  poem.  One  allegorical  patch 
quite  satisfactorily  shows  Hades'  horrors.  The  rest  concerns 
Spencer  Tracy's  creating  a  hell  on  earth  as  a  ruthless  amuse- 
ment king  with  a  modern  Alexander  complex.  The  struggles 
of  the  cast  against  a  wandering,  contrived  story  are  colossal. 


A  DRAMA  of  heroism  on  the  high  seas  during  the  World 
War,  this  is  an  exciting  and  touching  picture.  You'll  thrill 
to  the  naval  battle  scenes.  And  you'll  weep  for  the  hero,  Able 
Seaman  Albert  Brown,  played  admirably  by  young  British  actor 
John  Mills  who,  with  Betty  Balfour  and  Barry  Mackay  heads 
a  capable  cast.     A  well  planned  and  directed  film. 


SHANGHAI— 
Walter 
Wanger 
Paramount 


LITTLE  BIG 

SHOT— 

Warners 


WALTER  WANGER,  who  dared  to  produce  "Private 
Worlds,"  out  dares  himself  in  this  picture  based  on  the 
question  of  marriage  between  a  Eurasian  and  a  white  girl.  In 
the  middle  he  discovers  he  has  bitten  off  more  than  he  can 
chew.  But  Charles  Boyer  is  magnificently  magnetic  and 
Loretta  Young  was  never  more  divinely  beautiful. 


NOW  Warners  have  a  child  star.  She  is  Sybil  Jason  and 
proves  in  this,  her  first  film,  to  be  a  cunning  infant  who 
puts  over  songs  nicely.  The  story  of  the  adoption  of  the  orphan 
of  a  gangster  by  a  Broadway  tinhorn  is  trite  and  weak,  but 
Sybil's  performance  erases  its  defects.  Robert  Armstrong, 
Glenda  Farrell,  Eddie  Horton. 


JALNA— 
RKO-Radio 


DIAMOND 

JIM— 

Universal 


THE  loves,  hates  and  prejudices  of  the  Whiteoakes  familv, 
screened  from  Mazo  de  la  Roche's  famous  novel,  are  hardly 
exciting,  but  somehow  the  sincerity  of  this  picture  makes  it 
satisfying  and  worth  while.  You'll  have  a  full  evening  as  Kay 
Johnson,  Ian  Hunter,  Nigel  Bruce,  David  Manners,  Peggv 
Wood  and  Jessie  Ralph  faithfully  act  out  the  book. 


N  a  story  weakened  by  the  padding  of  unimportant  details, 
.Edward  Arnold's  skilful  portrayal  of  Diamond  Jim  Brady, 
Broadway  character,  who  rose  from  baggage  smasher  to  affluent 
railroad  magnate,  makes  this  important  picture  entertainment. 
Binnie  Barnes  plays  an  ineffectual  Lillian  Russell.  Jean  Arthur 
does  brilliant  things  with  a  supporting  role. 


HAVE     TO      COMPLAIN       ABOUT     THE      BAD     ONES 


THE  RETURN 
OF  PETER 
GRIMM— 
RKO-Radio 


THE   MURDER 

MAN— 

M-G-M 


LIONEL  BARRYMORE  in  top  form,  a  fine  supporting  cast 
and  intelligent  artistic  treatment  make  this  old  favorite  well 
worth  its  screen  revival.  It's  about  the  old  man,  you  know, 
whose  spirit  struggles  to  repair  the  unhappiness  he  has  caused 
by  a  blind,  dying  wish.  Eerie  at  times,  but  leavened  by  humor 
and  in  perfect  taste  throughout.    Helen  Mack,  Edward  Ellis. 


A  MYSTERIOUS  murder  provides  the  problem  and  a  bus- 
tling newspaper  office  the  background  of  this  well-knit 
drama,  but  a  man's  struggle  for  his  soul  is  the  vital  theme. 
Spencer  Tracy,  super  reporter,  sleuths  the  case  to  a  convic- 
tion, then  hands  his  editor  the  big  scoop  when  his  conscience 
triumphs.      Virginia   Bruce  is  lovely.     Fast  and  satisfying. 


WE'RE  IN  THE 

MONEY— 

Warners 


WESTWARD 

HO!— 

Republic 


AND  you're  in  the  laughs.  Joan  Blondell,  Glenda  Farrell 
and  Hugh  Herbert  make  this  screen  salad  a  ribtickling  dish. 
They're  sexy  blonde  process  servers  who  make  at  delightful 
mess  when  they  mix  court  summons  with  Cupid  and  romantic 
Ross  Alexander.  Hugh  Herbert  is  worth  the  price  of  ad- 
mission alone.    Swift,  silly  and  harmless. 


A  THUNDERING  good  Western,  with  thrills  and  spills 
and  a  strong,  full-of-action  story.  None  of  the  usual 
trite  cowboy  stuff  in  this  one,  which  deals  with  that  courageous 
group  of  pioneers,  the  Vigilantes,  who  sought  to  rid  the  West 
of  its  badmen.  The  gorgeous  scenery  alone  is  worth  the  price 
of  admission.     John  Wayne,  Sheila  Mannors. 


BRIGHT 
LIGHTS— 
First  National 


EVERY  NIGHT 
AT  EIGHT— 
Paramount 


JOE  E.  BROWN  has  never  made  a  better  picture  than  this. 
It's  well  developed  drama  with  good  situations  and  healthy 
characters  excellently  acted.  Joe  E.  reaches  into  his  bag  of 
tricks  for  some  great  novelty  laugh  numbers  as  he  plays  a 
vaudeville  comic  who  almost  lets  big  time  success  get  his 
number.    Ann  Dvorak,  Patricia  Ellis,  William  Gargan. 


THIS  isn't  really  a  screenpla} — it's  a  photographed  radio 
program — but  there's  plenty  to  entertain  you,  meaning 
George  Raft  in  a  likeable  role,  Alice  Faye,  Frances  Langford, 
Patsy  Kelly  and  many  haunting  new  tunes.  You  see  the  radio 
works  from  amateur  nights  to  national  hook  ups.  You'll  go 
mad  over  Miss  Langford's  warbling.  [  please  turn  to  page  1 11 1 

69 


Ann  Dvorak's  hacienda  is 
a  choice  spot  for  a  visit. 
Ann  explained  to  Mitzi 
the  scene  painted  on 
top    of    her    grand    piano 


Below:  having  fun  at  the 
Charity  ball  game:  Billy 
Bakewell,  Russell  Gleason 
(seated),  Tony  Orlando, 
Mitzi,     and     Jack     LaRue 


HOWD'Y'DO,  ANGEL! 
Should  Auld  Acquaint- 
ance Be  Forgot?  It  should 
not!  It  was  not!  When  a  cheery- 
voice  of  old  friend  Joel  McCrea 
hailed  me  at  the  Santa  Monica 
Swimming  Club  where  he  had 
come  to  play  volley  ball,  we 
settled  ourselves  quick  on  the 
sands  and  started  to  dish  it. 

"Do  you  remember  when  we 
used  to  play  extra?"  asked  Joel. 

"Uh-huh!  Them  was  the 
days,"  I  answered  with  a  fond 
grin. 

"Remember  the  first  picture  I 
worked  in  ...  I  was  one  of 
about  three  hundred  soldiers 
going  off  to  war." 

"And  I  was  one  of  about  three 
hundred  women  who  came  down 
to  say  good-bye!" 


RIDES  the  SOCIAL 
WHIRLWIND 

And  a  gay  and  giddy  trip  jt  is,  too,  all  around 
the  movie  town,  with  stars  at  every  single  turn 


"The  Civil  War,"  Joel  replied,  with  reminiscent  warmth. 

"Oh,  no!    It  was  the  Revolutionary  War!" 

"It  was  the  Civil." 

"Let's  skip  it,"  I  suggested.  "Anyway,  it  was  a  war,  and  I 
had  on  a  big  sunbonnet — " 

"And  I  rushed  up  and  kissed  you  and  then  had  to  dash  for 
the  train!" 

"And  then  the  director  wanted  it  done  over  again!" 

"And  over  again!" 

"He  must  have  shot  it  fifty  times — and  I  got  a  kiss  every 
take!" 

"So  did  I!"  remarked  Joel,  and  I  remembered,  with  a  com- 
placent smile  that  there  wasn't  any  Frances  Dee  McCrea  on  the 
horizon  at  that  time  .  .  .  neither  was  their  stardom  for  Joel, 
or  a  baby,  or  a  beautiful  home.  Times  have  changed!  But  Joel 
still  plays  volley  ball.  The  voice  of  one  of  his  team-mates  hailed 
him,  urging  him  to  hurry  as  the  game  was  about  to  start.  Joel 
leaped  up  and  with  a  quick  smile  was  gone. 

"Hey!"  I  yelled.  "We  were  both  wrong.  It  was  the  World 
War! "  Joel  threw  the  ball  at  me  and  it  bounced  off  my  bean. 
I  guess  it  was  the  Civil  War  at  that! 

Just  this  morning  I  was  looking  over  the  big  batch  of  criticism 


Michael  (He- sings- while- he- 
Dances)  Bartlett,  Mr.  and 
Mrs.  Peter  Lorre,  and  Mitzi 
meet  in  the  lobby  following 
the  "Anna   Karenina"  preview 


cards  that  had  come  in  from 
the  audience  who  had  viewed 
Joel's  latest  picture,  "Woman 
Wanted."  The  nicest  one  of 
all  had  the  shortest  message, 
simply  four  big  stars  penciled 
on  in  red.  Underneath  was 
signed  the  name,  Frances  Dee. 
Lambie,  when  a  wife  thinks  her 
man  rates  four  stars,  he  just 
must  be  good! 

Whiz-z-z-z!  The  athaletic 
urge  is  on  me!  I'm  just  the 
great  spectator-sport.  Onto 
our  pogo-sticks,  little  one,  and 
away  we  bounce  to  the  golf 
club,  to  witness  the  annual 
tournament  of  M-G-M,  and 
the  daisiest  prizes  are  given  to 
every  winner.  There  are  snozzy 
lamps,  liquor  sets,  wrist 
watches,  golf  bags  and  clubs, 
radios,  etc.  There  was  even  a 
tent!  My  mind  is  a  little  con- 
fused as  to  the  foursomes,  be- 
cause my  brother  and  brother- 
in-law  were  playing  with  Bob 
Young,  Ted  Healy,  Walter 
King  and  Frank  Morgan  and 
that  makes  a  sixsome!  But  I 
can' t  help  it !  There  they  were. 
Healy  was  dead-sure  he'd 
win  the  tent.  He  threatened 
that  if  he  did,  he  was  going  to 
close  up  his  home,  pitch  the  tent  on  the  vacant  lot  next  door, 
and  move  in  for  the  Summer!  Whereupon  Walter  King  (nee 
Wolf)  busted  out  singing  "Home,  Home  on  the  Range"  and 
Ted  did  an  Indian  dance,  replete  with  whoops! 

Next  I  went  over  to  the  baseball  game  that  was  run  by  movie 
folk  for  charity.  The  Leading  Men  and  the  Comics  played 
against  each  other.  Never  did  anyone  see  such  antics!  Pal 
Jack  LaRue  had  one  of  the  sillier  stunts,  which  ended  the  game, 
incidentally.  He  got  up  at  bat  and  before  he  could  hit  a  ball, 
the  umpire  called,  "Strike  one!  Strike  two!  Strike  three! 
You're  out ! "  Whereupon  our  Jackie  whipped  a  trusty  twenty- 
two  from  his  pants  and  shot  the  villain  down! 

Before  the  game  started  I  went  over  to  visit  with  Jack,  Benny 
Rubin,  and  several  of  the  players,  all  of  whom  didn't  get  a 
chance  to  talk  baseball,  so  busy  were  they  signing  autograph 
albums.  Wally  Ford,  who  did  such  a  fine  job  in  "The  In- 
former," was  giving  his  classic  interpretation  of  a  lighthouse,  of 
all  tilings!  He  does  it  this  way:  Turns  his  head  slowly  to  the 
extreme  left,  slowly  moves  it  around  front,  stops,  blinks  his 
eyes,  then  slowly  moves  to  extreme  right.  That  was  enough  for 
me.  I  rushed  over  to  where  Mrs.  Wally  was  sitting  and  asked 
how  come.  [  please  turn  jo  page  94  ] 


Just  about  the 
most  noted  family 
of  noted  families: 
Gary,  in  center; 
the  twins,  Philip 
with  Bing,  then 
Dennis    with    Dixie 


Bing  achieved  wit, 
understanding,  pa- 
t  i  e  n  c  e  ,  and  a 
strong  masculine 
outlook.  How  he 
did  it  is  a  vital 
lesson    for    us    all 


\ 


The  Secret  of 


"My  life  had  begun  without  a  word  of  warning, 

Two  hearts  beat  as  one. 
From  out  of  nowhere  you  came  to  me, 
The  breeze  passed  by,  whispering  your  name  to  me." 

THE  young  man  at  the  grand  piano  gazes  upward  out 
of  a  pair  of  light  blue  eyes.  His  forehead  wrinkled 
transversely  in  the  earnestness  of  his  upward  gaze, 
the  profile  that  slightly  suggests  John  Barrymore  is 
turned  toward  the  cameras  while  the  words  of  the  lyric, 
mellowed  in  some  mysterious  way  we  have  come  to  know 
as  crooning,  seem  to  be  drained  out  of  the  chambers  of 
his  heart  by  the  emotion  that  stirs  them. 

The  place  is  a  drawing-room,  but  a  drawing-room 
filled  with  the  monstrous  instruments  of  film  recording 
which  make  it  look  like  a  place  invaded  by  strange  beings 
from  another  planet  who  have  brought  strange  weapons 
of  destruction  with  them.  Incongruously  a  Raeburn 
portrait  of  a  pale  boy  trundling  a  hoop  looks  down  over 
the  shoulder  of  the  earnest  young  man  at  the  piano. 

The  peculiar,  long-drawn  inflection  necessary  for  a 
proper  recording  by  the  sound  apparatus,  dies  on  the 
stillness.  The  young  man  slowly  turns  his  head  with  a 
look  of  infinite  sadness  to  encounter  the  gaze  of  the 
Raeburn. 

"Cut!" 


72 


One  of  B  i  n  g  '  s — 
and  Dixie  Lee's, 
too — big  enjoy- 
ments  is  watching 
the  bangtails. 
Author  Ryan  tells 
of   Bing   and    Dixie 


No  matter  what 
goes  wrong  on  the 
set,  Bing  never 
fusses — it's  part 
of  his  "secret." 
Joan  Bennett  in 
"Two  for  Tonight" 


Bing  Crosbys  Greatness 


"That's a  honey!" 

"  Yeah,  it's  a  sweet  take,  Bing." 

'Let's  have  the  playback." 

Yes,  this  take  is  a  honey  in  the  united  verdict  of  that  sur- 
prisingly numerous  company  of  experts  on  every  phase  of 
scene-making  who  crowd  the  drawing-room  set  on  one  of  the 
Paramount  stages  in  Hollywood. 

It's  about  time  a  good  take 
came  along,  for  Bing  Crosby 
has  been  sitting  at  that  piano 
all  afternoon  going  through  the 
motions  of  playing.  He  has 
been  sitting  there  for  many  long 
hours,  dabbed  at  occasionally 
by  his  make-up  man  when  the 
perspiration  begins  to  start 
under  the  burning  lights.  He 
has  been  sitting  there  crooning 
those  same  words  over  and  over, 
rendering  them  each  time  with 

that  exact  nuance  of  regret  for  a  lost  love  demanded  in  this 
scene.  And  every  time  something  happens;  for  there  exist  a 
hundred  little  things  any  one  of  which  can  spoil  a  take. 

"Well,  this  is  it,  all  right,"  the  director  announces  when 
they  have  heard  the  husky,  mellowed  voice  repeat  the  lyric 
with  its  musical  accompaniment  from  the  sound  machine. 


Could  you  imagine  the  insignif- 
icant detail  of  a  boys'  swim- 
ming match  having  anything 
to  do  with  future  film  fame? 

By  DON    RYAN 


"Wait  a  minute."    The  voice  of  Fate  from  the  cameraman. 
"That  was  N.  G." 

"  What's  the  matter  now?  " 
"Had  a  shadow  from  the  mike  on  his  face." 
That  face  never  changes  expression.     There  is  no  reproach 
in  the  earnest  gaze  which  the  young  man  at  the  piano  again 

focuses  in  the  direction  of  the 
cameras.  Without  fuss  Bing 
Crosby  begins  another  take,  to 
replace  the  one  that  was  spoiled 
because  the  man  at  the  boom  of 
the  microphone  swung  that  nec- 
essary instrument  too  near  his 
face. 

The  mellow  baritone  voice 
begins  to  croon  again  the  same 
husky  cadence,  the  same  haunt- 
ingly  intense  feeling  of  lost  love 
retained  in  the  lyric.  This  is  his 
job  and  he'll  hammer  at  it  until 
it's  done.  And  he'll  hammer  at  this  picture  "Two  for  Tonight" 
until  it's  as  near  perfection  as  can  be  achieved  in  this  medium. 
And  between  takes  he'll  clown  with  his  orchestra  for  a  little 
relaxation,  chasing  Rimsky- Korsakoff's  imaginary  bumblebee 
around  his  head  with  a  string  accompaniment  to  slap  it  down 
and  squash  it  with  a  stamp  of  the  [  please  turn  to  page  96  ] 

73 


CURLS  and  SWIRLS 


En  masse,  round  curls 
mount  toward  the  crown 
of  Jean  Muir's  beauti- 
fully coiffed  head.  From 
the  front,  they  appear 
like  a  diadem  above  the 
madonna-like  severity  of 
the  front  contour.  With 
the  half-hat,  curls  are 
very     much     ornamental 


A  hat,  yet  not  a  hat.  A 
half-hat  which  is  posed 
adroitly  over  Miss  Muir's 
curls.  The  cut-out  sec- 
tion is  adorned  with  a 
gold  clip  and  chenille 
dots     the     veil — striking 


Patricia  Ellis  selects  a 
softly  waved  contour 
sweeping  back  from  the 
face  and  terminating  in 
irregular  rows  of  flat 
curls  across  the  crown. 
Neckline      swirl      is      low 


FASHIONS  in  hair  are  due  to  stage  a  renaissance. 
There  is  no  getting  around  the  fact  that  all  the  historical 
sources,  which  have  been  tapped  to  contribute  designs  for 
our  Fall  clothes,  will  have  a  definite  influence  upon  hair  styles. 
From  the  Italian  Exhibit  in  Paris,  immediate  repercussions 
were  heard  which  will  echo  through  the  fashion  world  during 
the  whole  of  the  coming  season.  Hindu,  Greek  and  right  here 
at  home,  "The  Crusades,"  a  Paramount  picture  and  M-G-M's 
"Anna  Karenina,"  with  Greta  Garbo, — there  seems  to  be  no 


end  to  the  sources  from  which  you  can  draw  inspiration  for 
a  glamorous  coiffure. 

But  whatever  your  ultimate  choice,  curls  and  swirls  are 
in.  Flat  curls  seem  to  be  giving  precedence  to  the  longer  and 
rounder  variety  as  shown  in  the  coiffure  created  for  Jean 
Mirir. 

Lovely  Jean  Arthur  might  be  a  beauty  of  the  Second 

Empire  and  with  a  pearl  filet  woven  through  her  softly 

waved  hair,  Raquel  Torres,  the  inspiration  of  the  famous 

painter  Pollaiuolo.     It  will  be  interesting  to  observe  what 

the  style  influence  of  the  two  pictures  that  I  mentioned  in  a 

preceding  paragraph  will  be  upon  American  women.   The  page 

boy  fashion  may  come  in,  but  it  is  not  being  reckless  to  wager 

that  with  Garbo,  in  her  new  picture,  a  coiffure  will  be  born. 

Now,  let's  talk  about  you  and  your  curls, — for  your  new  hat 
is  going  to  cry  for  them,  I  warn  you.  How  has  your  hair  sur- 
vived the  depredations  of  life  under  the  sun  and  in  the  salt  sea 
waves?  Is  it  brittle  and  dry — stubbornly  refusing  to  curl  or 
even  shine?    If  you  expect  your  crowning  glory  to  reach  star- 


PHOTOPLAY'S      HOLLYWOOD      BEAUTY      SHOP 


74 


for  the.  NEW  HATS 


Evelyn  Venable's  long 
hair  is  separated  by  a 
part  concealed  under 
the  crown  curls.  At 
nape  of  neck,  the  back 
hair,  softly  twisted, 
forms     a     double     knot 


The  formal  coiffure  of 
Raquel  Torres,  Columbia 
star,  is  rich  in  inter- 
est. So  is  the  massive 
effect  of  her  jeweled 
accessories  which  she 
wears     with     Latin     zest 


dom,  train  it  to  perform  faultlessly.    Don't  turn  fashion's 
spotlight  on  it  until  it  is  groomed  for  the  part. 

Start  rehearsing  now,  with  the  aid  of  a  good  hairbrush, — 
one  with  bristles  widely  spaced  and  graduated  in  length,  to 
reach  each  layer  of  hair  and  stimulate  the  scalp.  Brush  up- 
ward and  outward  and  well  around  the  hair  line.  If  you 
still  have  the  remnant  of  a  Summer  wave  that  you  are 
cherishing,  use  a  vibratory  movement  as  you  brush  and 
.you  will  find  that  your  wave  is  strengthened  rather  than 
weakened. 

There  are  any  number  of  excellent  nourishing  tonics  for 
hungry  scalps — tonics  for  both  dry  and  oily  hair,  which  will 
inject  new  life  and  vitality  into  your  sad  locks.  They  should 
be  applied  to  the  scalp  by  brisk  massage  with  the  cushions  of 
your  fingers  before  the  daily  brushing.  If  you  are  really  con- 
scientious about  this  routine,  any  one  of  these  tonics  will  be 
especially  beneficial  if  used  for  a  few  weeks  preceding  your  new 
permanent  wave.    Its  assured  success  will  be  your  reward. 

To  obtain  greater  radiance  and  hair-health,  the  night  before 


Lovely  Jean  Arthur,  Co- 
lumbia star,  introduces 
a  high  chignon  of  ring- 
et  curls.  If  you  wish, 
wear  a  cluster  of  flow- 
ers instead  of  curls.  No- 
tice the  evening  cape. 
It  is  stiffly  starched  rows 
of    fluted    mousseline 


your  weekly  shampoo,  go  into  retirement  early  enough  to  give 
your  hair  an  extra  treatment.  Wrap  a  bit  of  cotton  around  an 
orange-wood  stick;  part  the  hair  in  narrow  strands  and  apply 
a  heavy  ointment  or  nourishing  oil  to  the  scalp  itself.  Then 
massage,  pinching,  lifting  and  loosening.  A  towel  wrung  out 
of  hot  water  and  wrapped  around  your  head  will  be  of  material 
assistance  in  opening  the  pores. 

Now  you  are  ready  for  the  shampoo.    And  I  can  tell  you  of 
a  new  one  that  will  encourage  a  curl  in  almost  straight  hair. 


CONDUCTED       BY       CAROLYN       VAN       W  Y  C  K 


75 


Take  your  first  step  to 
beauty  gaily  with  the 
knowledge  that  it  is 
yours  for  the  trying. 
Ann  Shirley  cleanses  and 
lubricates  her  skin  with 
a  good  cream  followed 
by  a  delightful,  fresh- 
ening    cold-water     rinse 


If  your  pores  are  in- 
clined to  be  oversize, 
cold  water  may  not  be 
as  active  an  astringent 
as  a  lotion  which  we 
know  will  do  the  work. 
As  a  prevention,  it  may 
save  you  hours  of  worry 
over      skin      blemishes 


Start  young  enough  and 
those  first  two  steps 
are  all  you  need  take 
for  many  years.  But  one 
that  will  make  your  first 
formal  a  success  is  a 
make-up  blender,  to  re- 
late a  tanned  neck  to 
those    whiter    shoulders 


SIX  STEPS 
TO  SCHOOLGIRL  LOVELINESS 


WHEN  you  are  seventeen  or  even  under,  you  are 
becoming  increasingly  eager  to  put  your  best  face 
forward — seriously  considering  make-up  a  glamorous 
asset  to  be  coveted  and  indulged  in,  with  or  without  the  ap- 
proval or  consent  of  your  elders.  That's  all  very  well  in  its 
place,  but  it  isn't  the  first  step  toward  resembling  your  favorite 
motion  picture  star.  You  would  be  wiser  rather  to  follow  her 
meticulous  and  rigorous  grooming  ritual  with  the  accent  on 
your  own  individuality.  In  other  words,  be  yourself,  only 
more  so. 

Today  it  is  smart  to  be  natural,  never  to  look  made-up. 
Start  with  a  clear,  lovely  skin,  not  just  your  face  but  your 
whole  body,  your  hair,  your  fingertips  must  reflect  habitual 
dainty  care.  When  your  skin  is  in  perfect  condition,  soft  and 
smooth  and  perfectly  cleansed,  then  you  may  think  about 
ornamenting  it,  not  before. 

First  of  all,  a  good  cleansing  cream  or  lotion.  During  your 
little-girl  days  soap  and  water  were  sufficient.     But  now  that 

76 


you  are  using  powder  and  perhaps  rouge  and  are  out  in  all 
kinds  of  weather,  you  will  need  something  more  penetrating 
than  water  to  float  out  all  the  foreign  particles  and  keep  your 
skin  as  fresh  and  smooth  as  a  peach.  Smooth  the  lotion  or 
cream  liberally  over  your  face  and  neck,  giving  especial  atten- 
tion to  those  dust-collecting  creases  around  your  nose  and  chin. 
A  towel  wrapped  around  your  hair,  turban  fashion,  will  en- 
courage you  to  approach  your  hair  line  more  boldly.  Or  you 
may  find  bands  that  are  made  for  that  especial  purpose  are  not 
so  bulky  as  a  towel.  After  permitting  the  cream  to  sink  in  for 
a  moment,  remove  with  tissues.  If  this  is  a  bed-time  cleansing, 
follow  with  a  soap  and  water  brushing  with  a  good  complexion 
brush.  You'll  love  the  sensation.  Your  skin  will  tingle  with 
new  life  and  when  your  blood  is  coursing  joyously,  it  is  carrying 
away  all  impurities  and  forcing  those  lazy  pores  into  good 
working  habits.  Your  complexion  will  be  shades  lighter  and 
you'll  rarely  see  hide  or  hair  of  those  little  blemishes  that  now 
may  be  causing  you  so  much  grief.    Drink  plenty  of  water,  too, 


Make-up  is  a  game,  play  it  cleverly.  See  what  al- 
luring effects  you  can  obtain  with  the  maximum 
restraint.  Pat  on  your  powder — never  rub  it  in — 
with  a  fresh  puff.  Match  your  lipstick  and  rouge 
with  an  eye  to  ba;ic  tones.    Step  out  and   conquer 


for  internally  as  well  as  ex- 
ternally it  is  our  first  im- 
portant aid  to  becoming  the 
gorgeous  person  we  hope 
to  be. 

If  your  skin  is  dry,  use 
less  soap  and  leave  on  a  light 

film  of  cream  when  you  go  to  bed.  In  the  morning,  a  good  eye- 
opener  is  plenty  of  cold  water  splashed  over  your  face,  which 
will  act  as  an  astringent  as  well  for  closing  your  pores. 

If  your  skin  is  oily,  follow  the  treatment  with  a  mild  astrin- 
gent lotion.  Saturate  a  bit  of  cotton  and  pat  briskly  from  the 
throat  upward.  Don't  neglect  the  places  where  the  oil  glands 
are  more  active.  Pat  the  skin  dry  with  your  fingertips.  If  you 
follow  this  routine  conscientiously  from  the  beginning  of  your 
cosmetic  life,  there  is  no  reason  why  you  should  have  to  use 
any  other  preparations  for  several  years  to  come,  according 
to  one  cosmetic  authority.     She  savs  to  remember  that  that 


ounce  of  prevention   is  worth  a  pound 
of  cure. 

There  is  just  space  for  a  very  few  sug- 
gestions on  make-up.  Study  your  face 
carefully  to  determine  the  correct  shades 
in  powder  and  rouge  that  will  make  you 
look  the  most  natural.  Make  up  under  a 
strong  light  and  use  all  your  cosmetics  with  the  greatest  re- 
straint. Tone  your  powder  to  your  complexion  and  pat  it  on 
gently  with  a  fresh  puff  or  square  of  cotton,  not  forgetting  your 
throat  and  neck. 

Dry  rouge  is  natural  looking  and  for  you,  perhaps,  easier  to 
apply.  Dot  it  on  with  a  small  puff  and  blend,  blend.  Match 
your  lipstick  and  rouge  so  the  color  tones  will  not  be 
at  war. 

And  last,  an  eyelash  cream  brushed  over  the  brows  and 
lashes  will  remove  powder  and  encourage  growth  at  one  and 
the  same  time.  [  other  beauty  tips  on  page  88  ] 


77 


Cal  York's  Gossip  of  Hollywood 


CONTINUED  FROM  PAGE  43 


Wearing  a  smile  like  that,  we  can't  believe  Katharine  Hepburn  was 
much  bothered  by  having  her  hair  snipped  into  a  boyish  bob  for  her 
"Sylvia  Scarlett."    She  masquerades  as  a  boy  in  the  early  sequences 


CITTING  in  a  chair  on  the  set  of  "Barbary 
•^  Coast,"  Patsy  Ruth  Miller  watched  Miriam 
Hopkins  going  through  her  paces,  and  possibly 
thought  of  the  days  when  the  cameras  were 
focused  on  her.  That  is,  if  she  had  time  to 
think  abstractedly.  For  Patsy  Ruth  was 
making  her  debut  in  the  role  of  her  dreams — a 
scenario  writer. 

Samuel  Goldwyn,  her  old  friend,  assigned 
her  to  write  "set  continuity"  on  the  Hecht- 
MacArthur  script — which,  as  you  can  imagine, 
is  some  assignment,  as  both  Mr.  Hecht  and 
Mr.  MacArthur  can  scribble  a  mean  scenario, 
if  they  care  to. 

They  didn't  particularly  care  to  write  "Bar- 
bary Coast" — until  Miriam  Hopkins  brought 
up  some  marble  games,  and  that  pleased  them 
so  much  that  in  between  games  they  knocked 
out  the  scenario! 

What  a  pair! 

And  the  script,  they  say,  is  a  classic. 


JJ/HEN  you  have  a  young,  son, 
*'  it  seems,  you  dress  to  please 
him,  not  yourself. 

Lately  Glenda  Farrell  has  had  a 
weakness  for  tailored  suits. 
Every  new  outfit  she  has  brought 
home  has  yielded  little  to  frilly 
femininity.  The  last  one  had  not 
one  redeeming  gadget  and  this 
worried  her  young  son.  Tommy. 

"Mother,"  he  reproved,  you'll 
be  a  man  before  I  am!" 

IUST  five  years  ago  —  in  the  August,  1930, 
"^issue  of  Photoplay,  to  be  exact — old  Cal 
wished  you  thus: — 

"There  is  quite  a  definite  rumor  floating 
around  that  Garbo's  next  picture  will  be 
'Camille.'  " 

Oh,  well — what  are  five  years? 

There  is  quite  a  definite  rumor  now  that 
Garbo's  next  picture  will  be  "Camille." 


THEY'RE  still  ribbing  the  poor  stenographer 

at  Paramount  who  took  dictation  from  her 
boss  and  started  perplexed  department  heads 
wondering  if  a  kid's  picture  had  been  scheduled 
without  their  knowledge. 

She  typed  a  memo,  "Peter  Rabbit's  Son." 

It  should  have  been  "Peter  Ibbetson." 

Which  recalls  the  note  Cecil  B.  DeMille  sent 
to  the  scoring  department  anent  the  music  for 
a  passage  in  "The  Crusades." 

Dumfounded  musicians  puzzled  over  a  par- 
ticular line  which  read  "this  should  not 
be  240." 

As  "240"  meant  nothing  in  their  lexicon, 
the  leader  called  up  DeMille  and  asked  him  if 
this  was  some  medieval  lingo. 

DeMille  hastily  looked  through  his  files  and 
found  the  carbon. 

Then  he  explained,  by  spelling  out  the  note 
he  had  dictated. 

"  It  should  not  be  too  forte"  was  what  he 
had  said. 

Not  too  loud. 

W/ELL,  well — now  we  know  why  Jean  Ar- 
*V  thur  does  a  Houdini  in  and  out  of  Holly- 
wood all  the  time. 

She  has  a  husband  in  New  York,  you 
know,  who  follows  the  prosaic  profession  of 
building. 

"I'm  the  only  exciting  thing  in  his  life,"  con- 
fesses Jean. 

So  she  just  has  to  hop  back  after  every 
picture  and  bring  him  a  little  excitement! 

Incidentally,  Jean,  wThose  in-and-out  movie 
career  has  been  due  to  a  dissatisfaction  with 
her  roles,  says  she  never  gave  a  darn  about 
acting  "until  I  found  out  I  couldn't  act — then 
I  wanted  to  act." 

What  do  you  make  of  that? 

RALPH  BELLAMY  is  receiving  current  pats 
^on  the  back  because  of  the  great  tributes 
being  paid  "The  Informer"  (some  are  saying 
it's  the  best  movie  ever  made).  The  funny 
thing  is,  that  Ralph  wasn't  in  "The  Informer." 
But  that  wasn't  his  fault. 

Over  a  year  ago  he  bought  some  two  hundred 
copies  of  the  Liam  O'Flaherty  story  and  can- 
vassed studios,  producers,  directors — everyone 
with  it. 

He  was  that  hipped  on  it. 

Naturally,  he  wanted  to  play  the  part  of 
Gypo  himself.  One  day  he  read  in  the  papers 
where  it  was  in  production. 

He  can  now  take  a  big  bow  for  artistic  dis- 
cernment anyhow,  even  though  he  had  nothing 
to  do  with  that  great  picture. 

A  HUNDRED  and  fifty  blazing 
-^■*-  sun-arc  lamps  were  pouring 
out  their  heat  beneath  a  huge 
canvas,  holding  in  a  warm  steam 
of  artificial  "fog."  Outside,  the 
California  sun  was  doing  all  right 
too. 

Edward  G.  Robinson  looked  at 
a  thermometer. 

It  read  110  degrees. 

He  turned  to  Miriam  Hopkins. 

"What's  the  name  of  this  pic- 
ture?" he  gasped. 

"  'Barbary  Coast,'"  Miriam 
gasped  back. 

"Let's  re-title  it,"  said  Eddie. 
"Let's  call  it  'Barbecued  Toast.'  " 

[  PLEASE  TURN  TO  PAGE  112  ] 


78 


Joan  adores  entertaining  her  friends  in  her  own  home  and  takes  great  pride  in 
carefully    planned    menus   and    table    appointments    which    she    supervises    herself 

Joan  Crawford   Entertains 

A  perfect  hostess,  a  marvelous  dinner,  charming  guests. 
Mix    well,    and    presto!— -a    successful    dinner    party 


j 


OAN  CRAWFORD,  celebrated  hostess,  discovered  long  ago 
the  secret  which  spells  success  for  the  lady  with  a  salon.  .  .  . 
She  begins  by  serving  such  marvelous  food!  Guests  grow 
expansive  over  good  food.  They  talk  better,  they  are  in  a  per- 
fect mood  to  enjoy  each  other  and  the  hospitality  of  their 
hostess. 

Here  is  one  of  Joan's  favorite  menus  for  a  small  dinner  party: 
The  first  course  is  a  fruit  appetizer,  served  in  a  tall  stem  glass, 
very  cold.  Take  equal  parts  of  diced  fresh  pineapple  and 
strawberries — or  whatever  berries  are  in  season.  Place  a  table- 
spoon of  mint  ice  in  the  glass,  fill  with  the  fruit,  and  decorate 
with  mint  leaves.  Have  the  pineapple  peeled  and  diced  the 
night  before,  and  left  in  the  refrigerator  immersed  in  sherry 
wine,  if  you  like.  Also,  use  a  little  powdered  sugar  if  the  fruit 
needs  sweetening. 

ALMOND  SOUP  is  the  next  course.  For  this,  you  will  need 
three  pints  of  chicken  or  veal  stock,  half  a  pound  of  almonds, 
one  small  onion,  three  tablespoons  of  butter,  three  tablespoons 
of  cornstarch,  salt,  paprika,  and  one  cup  of  whipping  cream. 
Blanch  the  almonds  and  grind  in  the  meat  chopper  to  a  coarse 
meal.  Melt  the  butter,  add  cornstarch  and  one  cup  of  broth  to 
make  a  smooth  paste.  Then  add  the  almonds  to  the  remaining 
soup  stock,  heat  a  few  minutes,  add  salt  and  paprika  and  the 


cream.    Mix  together,  serve  in  bouillon  cups  with  a  few  floating 
almonds,  and  cheese  straws. 

ROAST  SQUAB  is  the  ideal  meat  for  a  nice  dinner.  It  is  not 
necessary  to  stuff  these  birds.  Place  some  onion  and  sections  of 
orange  in  the  drawn  bird.  Avoid  washing  if  possible.  Wipe 
with  a  damp  cloth,  in  preference.  Washing  the  birds  toughens 
them  and  takes  away  the  flavor.  A  good  chef  never  puts  water 
on  fowl.  Place  the  squabs  close  together  in  a  roasting  pan. 
Fasten  the  legs  to  the  back.  Brush  the  breasts  with  butter. 
Have  the  oven  very  hot  for  the  first  five  minutes,  then  reduce 
the  heat  and  bake  one  hour,  or  until  tender.  It  is  better  not  to 
cover  the  roasting  pan,  if  you  baste  them  frequently  with  melted 
butter. 

WILD  RICE  belongs  with  squab  and  fowl  of  all  kinds.  For 
six  services,  use  half  a  pound  of  wild  rice.  Wash  it  in  a  sieve 
until  the  water  runs  clear.  Place  in  a  bowl,  cover  with  six  cups 
of  cold  water,  and  allow  to  soak  over  night.  When  you  are 
ready  to  cook  it,  drain  the  water  off,  place  rice  and  half  a  tea- 
spoon of  salt,  in  the  upper  section  of  a  double  boiler.  Steam  for 
fifteen  minutes.  Serve  piping  with  plenty  of  butter.  No  more 
water  is  needed  on  the  rice  to  cook  it,  as  it  has  absorbed  enough. 
More  will  make  it  soggy.  [  please  turn  to  page  99  ] 

79 


80 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,   1935 


JOAN 


""V 


^ 


■he  LATHER  of  Lux  Toilet  Soap  is 
ACTIVE.  That's  why  it  protects  the  skin 
against  the  enlarged  pores  and  tiny  blem- 
ishes that  are  signs  of  Cosmetic  Skin.  If 
your  skin  is  dull  or  unattractive,  choked 
pores  may  be  the  unsuspected  cause. 

Cosmetics  Harmless  if 

removed  this  way 

Lux  Toilet  Soap  is  especially  made  to  re- 
move from  the  pores  every  trace  of  stale 


tossy  a^ut  c\ean- 
why  so -IUW  . 

in9  You'  *°ce? 


^  leave  — 
\  never  lea 


make- 


op 


k  all  nlgM 


^s  *.  *-  "  f. 
LOTTY    o  know  stole 
T     o  es    -ses  u* 

Cosine  deto 

TortetSoops«" 
gUara  ogolnst  «. 


rouge  and  powder,  dust  and  dirt  that  might 
otherwise  remain  fo  choke  them.  9  out 
of  10  Hollywood  stars  have  used  this  soap 
for  years  because  they've  found  it  really 
works. 

Why  not  follow  their  example?  Use  all 
the  cosmetics  you  wish !  But  before  you  put 
on  fresh  make-up  during  the  day — ALWAYS 
before  you  go  to  bed  at  night — give  your 
skin  this  gentle  care  that's  so  important  to 
loveliness — and  charm! 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER.   1935 


81 


J 


Margaret 
Sam 


aran 

Star  of  Universale  "NEXT  TlME  We  LlVE" 


USE  ALL  THE  COS/VIET/CS 

you  wish!  i avoid 
Cosmetic  Skin  By 

REMOVING  MAKE-UP 

with  tux  Toilet  Soap 


i 

5$#  :: 


THE   ANSWER  MAN 


ALL  you  people  who've  been  asking  the 
Answer  Man,  "When  are  we  going  to 
see  Eleanor  Powell  again? — hold  your 
hosses!  Right  this  minute  she's  working  over- 
time at  M-G-M,  making  final  tap-dancing 
sequences  for  "  Broadway  Melody." 

Eleanor  left  her  home  town,  Springfield, 
Mass.,  when  she  was  sixteen  and  began  knock- 
ing at  the  doors  of  Broadway  theatrical  pro- 
ducers. It  took  her  seven  months  to  land  a 
job,  but  when  she  did  it  was  an  important  role 
in  "Follow  Thru,"  which  ran  for  a  year  and  a 
half.  There  followed  leads  in  "Fine- and 
Dandy,"  "The  Varieties,"  "Hot  Cha,"  and 
"The  Scandals."  Then  Hollywood,  and  the 
dancing  role  in  the  movie  version  of  George 
White's  "Scandals." 

Eleanor  is  just  twenty-two  years  old.  With 
six  years  of  top  billing  on  Broadway  behind 
her,  and  plenty  of  talent,  watch  this  blue-eyed 
youngster  with  her  mop  of  chestnut  curls 
dance  right  to  the  top  of  the  ladder. 

The  Rev.  G.  J.  Davis,  Lewisville,  Texas. 
— The  Answer  Man  apologizes  if  he  gave  the 
impression  that  Nelson  Eddy's  popularity  is 
limited  to  the  ladies.  He  didn't  mean  to. 
We  agree  with  you — Eddy  is  a  favorite  of 
the  men  and  children,  too.  Thank  you  for 
your  letter. 

The  Inquiring  Four,  Bartlesville,  Okla. 
— Bob  Montgomery  won't  even  tell  the  old 
Answer  Man  what  Joan  whispered  to  him 
there  at  the  end  of  "No  More  Ladies."  (The 
line  wasn't  written  in  the  movie  script,  either!) 
It  seems  to  be  a  little  secret  between  Bob  and 
Miss  Crawford.  Just  use  your  imagination. 
Everybody  else  has. 

Daniel  Wilkinson,  Jr.,  Cantego,  North 
Carolina. — Sorry,  but  we  aren't  publishing 
the  "Stars  of  the  Photoplay"  anymore.  If  you 
will  write  specifically  what  information  you 
want  on  Photoplay  magazine,  and  enclose  a 
stamped  self-addressed  envelope,  we'll  try  to 
answer  your  questions. 

Cynthia  Walmsley,  Chicago,  Illinois. — 
Goodness!  The  Answer  Man  will  have  to  get 
a  new  hat  (larger  head  size,  of  course)  after 
that  nice  compliment,  Cynthia.     Thank  you! 

Don't  know  why  you  haven't  seen  bio- 
graphical information  on  Helen  Hayes.  For 
she's  a  most  important  dramatic  figure  on 
both  stage  and  screen,  and  lots  have  been 
written  about  her. 

Helen  is  only  five  feet  high  and  weighs  one 
hundred  pounds.  She  has  light  brown  hair 
and  blue  eyes.  She  is  the  wife  of  Charles 
MacArthur,  playwright,  who,  with  Ben  Hecht, 
is  now  producing  pictures  for  Paramount,  in 
New  York.  They  have  one  child,  Mary,  now 
about  six  years  old.  Helen  has  been  on  the 
stage  since  childhood,  and  many  consider  her 
the  most  magnificent  actress  in  America 
today.  She  was  born  in  1901,  in  Washington, 
D.  C. 

When  not  busy  in  Hollywood,  Helen  lives 


Eleanor  Powell  is  about  to 
be  seen  in  M-G-M's  musi- 
cal, "Broadway  Melody  of 
1936."    And  can  she  dance! 


with  her  husband  and  child  on  their  charming 
country  place,  about  forty  miles  north  of  New 
York  City.  Even  on  the  coldest  nights  during 
the  run  of  "Mary  of  Scotland,"  she  drove  the 
eighty  miles  to  and  from  the  theater,  rather 
than  be  away  from  her  home.  She's  as  fine  a 
woman  as  she  is  great  an  actress. 

Norma  Shearer's  new  baby  is  named 
Katharine  Thalberg.  It's  said  to  be  one  of  the 
most  beautiful  babies  ever  born  in  movie- 
town. 

Dot  Van  Doren,  Duluth,  Minn. — Thanks 
for  the  nice  bouquets  to  Photoplay.  And 
orchids  to  you,  Dot,  for  knowing  a  good  actor 
and  a  grand  fellow  when  you  see  one  on  the 
screen.  Your  favorite,  Paul  Kelly,  was  born 
in  Brooklyn,  New  York,  on  August  9th,  1900. 
He  is  six  feet  tall,  weighs  175  pounds,  and  has 
brown  hair  with  eyes  to  match.  Kelly's 
next  picture  is  "The  Lord's  Referee,"  a  Fox 
production. 

Phylis,  Ottawa,  Canada. — No,  indeed, 
John  Boles  hasn't  given  up  his  picture  career. 
He  has  recently  finished  playing  the  lead  in 
two  films,  "Rose  of  the  Rancho,"  a  Paramount 
musical  in  which  he  is  featured  with  Gladys 
Swarthout,  and  "Redheads  on  Parade,"  for 
Fox.    They  should  hit  Ottawa  before  long. 

Reginald  D.  Roos,  Lewiston,  Idaho. — 
Claude  Rains  is  in  England  now,  and  his 
latest   movie   is    the    Gaumont    British    film, 


"The  Clairvoyant."     A  good  picture  it  is,  too, 
with  Rains  giving  a  fine  performance. 

Onslow  Stevens  was  born  in  Los  Angeles, 
on  March  29,  1906.  He  is  six  feet  one-half 
inch  tall,  weighs  175  pounds.  His  hair  and 
eyes  are  brown. 

Jane  Marie  Perry,  Montgomery,  Ala. — 
Jeanette  MacDonald  and  Nelson  Eddy  are 
slated  to  appear  together  in  another  film,  but 
so  far  the  plans  are  not  definite. 

We  certainly  will  give  you  Miss  MacDon- 
ald's  coloring — and  we  can  wax  almost  lyric 
over  it.  For  Jeanette  has  the  most  beautiful 
gray-green,  crystal-like  eyes  and  pale  red-gold 
hair  anybody  ever  saw.  A  charming,  gracious, 
witty  lady  she  is,  too. 

Miss  MacDonald  was  born  in  Philadelphia, 
on  the  eighteenth  of  June,  in  1907.  She  is 
five  feet  five  inches  tall  and  weighs  one 
hundred  and  twenty-five  pounds.  Her  next 
film  will  be  "Americans  Can  Sing,  Too." 

Shirley  R.  Young,  Springfield,  Mass. — 
We'll  answer  your  most  important  question 
about  Barton  MacLane  first,  Shirley!  We 
have  no  record  that  Barton  has  ever  been 
married.  There!  Does  that  set  your  mind  at 
rest?  Off  the  screen,  Barton  talks  with  a 
delicious  southern  accent,  having  been  born 
in  Columbia,  South  Carolina.  The  date  was 
Christmas  day,  1902.  He  is  six  feet  one  inch 
tall,  weighs  185  pounds.  And  the  girls  all 
rave  about  his  beautiful  red  hair.  He  has 
hazel  eyes. 

MacLane  is  under  contract  to  Warner 
Brothers,  and  you  can  write  him  in  care  of 
Warner  Brothers-First  National  Studios,  Bur- 
bank,  California. 

You'll  see  him  currently  doing  a  nice  job 
with  a  role  in  "Page  Miss  Glory,"  Marion 
Davies'  latest  film. 

Antonio  Neil,  Savannah,  Georgia. — 
Janet  Gaynor  is  five  feet  high,  weight  96 
pounds.  Her  shoe  size  is  number  three.  Mary 
Carlisle  is  five  feet  one,  and  weighs  100  pounds. 
Ruby  Keeler's  height  is  five  feet  four,  weight 
104,  Heather  Angel's  five  feet  one,  weight  105. 
Anna  Sten,  one  of  the  tallest  beauties  on  the 
screen,  is  five  feet  eight  and  weighs  120.  Jean 
Parker  is  five  feet  three  and  tips  the  scales  at 
106.    And  thanks  for  the  good  wishes,  Antonio. 

Ellen  Di  Santo,  Harrisburg,  Pa. — Yes, 
Ralph  Bellamy  is  married.  His  wife  is  Kath- 
erine  Willard,  stage  actress.  Ralph  is  6  feet 
}/l  inch  tall  and  weighs  178  pounds.  He  has 
light  brown  hair,  blue  eyes. 

J.  B.,  Tampa,  Fla. — Sandra  Shaw,  Gary 
Cooper's  wife,  played  a  role  in  the  United 
Artist's  picture  "Blood  Money,"  in  1933.  She 
has  brown  hair  and  gray-green  eyes.  Sandra's 
real  name  is  Veronica  Balfe.  She  was  never  on 
the  stage.  She  was  a  New  York  City  debutante 
and  attended  the  fashionable  Bennett's  School. 
Yes,  you  are  correct:  she  is  a  niece  of  Dolores 
Del  Rio. 


82 


Wc 


GO  PLACES  COMFORTABLY 
IN  ENNA  JETTICKS 


LZviUCL, 


a   new   Empire  fashion  in 
kid .  .  .  high-cut  and  formal. 


•    /      a  dressy  kids/we  which  makes 
feet  look  graceful  and  slim. 


ytntite 

featured  in  Universal  pro- 
duction DIAMOND  JIM, 
starring  Edward  Arnold 
with  Jean  Arthur. 

Busy  women!  YOU  .  .  .  Binnie  Barnes,  whom  you're  seeing  as 
"Lillian  Russell"  .  .  .  thousands  of  others  active  about  busi- 
ness, household  or  play.  Miss  Barnes  says,  "We  moderns  are 
more  sensible  about  shoes  than  the  women  of  Diamond  Jim's 
day.  While  we  want  our  feet  to  look  graceful  and  smart,  we're 
so  active  we  can't  neglect  comfort." 

• 
Enna  Jetticks  combine  both  comfort  and  smartness. 


5   *6 

%J  A  N  D     \J 

SLIGHTLY  HIGHER  IN  CANADA 


SIZES    1-12 


WIDTHS  AAAAA-EEE 


,*  *  stunning  for  spectator  sports. 

CC^yi'C^l/tCC^     Suede  with  a  calf  tongue. 


etticJU- 


AMER/CA'S  SMARTEST  WALKING  SHOES  CO  PLACES   COMFORTAB 


Fashion  Forecast 


CONTINUED   ['ROM  PAGE  53 


flares   or   through   draped  fullness  at   the 

front  as  shown  in  the  first  Fall  frocks.    No 

abrupt  fullness  permissible.    Waistlines  are 

shaped  or  molded  rather  than  pinched  and 

clothes  all  have  a  more  casual  manner,  no 

longer  appearing  to  strain  at  the  seams. 

Primary   interest   is    above    the   waistline. 

The   draped   or   shirred    bodice   replaces   the 

molded    one    of    former    seasons.        Dolman 

sleeves  appear  in  all  but  the  most  tailored 

clothes.      Their   tendency  is   to   broaden   the 

shoulders,  accent  the  waistline  and  slenderize 

the  hipline.     Sleeves  appear  in  every  length, 

more   often    than    not   showing    the   peasant 

influence.    Waistlines  are  molded  and  slightly 

lower  than  during  the  Summer. 

Coats  are  really  of  two  types — swagger  and 
princess.  .  .  .  The  swagger  three-quarter  length 
which  was  formerly  relegated  to  the  sports 
world  will  now  appear  in  town  and  will  be 
worn  with  matching  or  harmonizing  daytime 
frocks.  These  coats  flaunt  back  fullness  falling 
in  soft  folds  to  a  full  hemline,  show  patch 
pockets,  and  upstanding  little  military  col- 
lars. In  cloth,  you  may  purchase  them  as  a 
part  of  your  Autumn  suit,  but  with  an  eye  to 
their  doing  double  duty  as  the  extra  coat  with 
your  new  frock.  The  princess  coat,  wrapped, 
beltless  and  with  diagonal  closing,  is  shown  in 
both  fur  and  cloth  and,  though  a  formal  coat, 
it  carries  the  youthful  note  which  is  found  in 
all  clothes  this  season.  For  general  utility 
and  all-around  good  taste,  the  black  dress 
coat  can't   be   surpassed. 

C  UITS  are  good.  We  say  that  year  after  year, 
^but  it's  still  true.  In  tweeds,  with  a  three- 
quarter  length  coat,  you  may  go  through  the 
season  without  an  extra  coat.  In  serge  or 
twills  or  soft  woolens,  you  may  choose  a 
strictly  tailored  model  to  be  worn  with  dark 
accessories;  crusher  felt  hat,  pigskin  or  calf 
gloves,  bag  and  medium  or  low-heeled  shoes 
and  a  mannish  blouse.  Wear  your  blouse 
collar  over  your  jacket.  Don't  mix  your 
styles. 

If  you  wear  tailored  fashions,  keep  them 
mannish  in  the  British  manner. 

The  suit  jacket  is,  in  general,  short.  It  may  be 
slightly  fitted,  with  regulation  revers,  but  it 
will  be  sure  to  have  a  velvet  collar  this  year. 
( )r  it  may  be  boxy  in  the  Schiaparelli  manner 
\\  ith  back  fullness. 

Velvet  is  sure  to  be  on  the  scene  some- 
where, whether  in  blouses,  scarfs,  revers  or 
bows.  The  dressmaker  suit  is  velvet,  such  as  I 
designed  for  Anita  Louise  in  "Here's  to 
Romance,"  will  take  its  rightful  place  as  an 
elegant  fashion. 

It  can  go  anywhere  except  to  the  most 
formal  gatherings. 

Your  first  Fall  frock  may  be  black,  as  usual, 
but  color  is  the  first  cry.  It  may  be  draped, 
shirred  or  pleated.  But  it  will  be  shorter  than 
you  have  worn  for  many  seasons.  Bodice 
interest  may  be  obtained  through  trimming 
or  draping.  If  trimmed,  it  may  be  with  faggot- 
ing, smocking,  soutache  braid  or  embroidery, 
which  sounds  like  the  latter  part  of  the  past 
century. 

Gold  and  silver  and  jeweled  interest  may 
appear  at  girdle,  throat  and  wrist. 

Necklines  are  of  tremendous  importance, 
the  outcome  of  the  Italian  Exhibit  in  Paris. 
Jewel-trimmed  or  with  the  twisted  torsade  of 


the  Renaissance,  they  may  be  draped  and  are 
still  high,  though  there  is  a  growing  tendency 
toward  lowering  the  neckline. 

The  coat  dress  with  buttons  marching  in 
single  file  down  the  center  front,  is  a  very 
wearable  version  for  the  business  woman. 
Or  the  two-piece  variety  with  pull-on  blouse, 
often  shown  with  slightly  flared  peplum  or 
tunic. 

Hats  are  fascinating  in  their  many  moods, 
which  consistently  continue  to  be  most  erratic. 
Every  influence  is  present  from  the  Asian, 
African,  Renaissance  to  the  Fascisti  caps. 
And  from  tiny  caps  to  huge  cart-wheels. 
By  the  way,  the  beaver  hat  is  a  coming  fash- 


Another  famous  lady  of  the  opera 
is  lured  to  Hollywood:  Gladys 
Swarthout,  dressed  for  her  role  in 
Paramount's  "Rose  of  the  Rancho" 


ion.  And  crowns  are  steadily  going  up,  with 
irregularity  very  important.  Hats  are  definitely 
off  the  face,  but  firmly  on  the  head  and  usually 
show  the  hair  all  around,  which  means  that 
you  must  be  off  to  your  hairdresser  as  soon  as 
you  purchase  the  new  hat. 

Veils  are  everywhere,  stiff  over  the  face  or 
swung  down  the  back  in  medieval  coifs. 
Colors  are  of  Renaissance  inspiration  in  un- 
usual combinations. 

As  in  fabric  so  it  is  in  color — two  colors 
are  better  than  one. 

Trimmings  are  of  feathers,  wings,  tiny  plumes, 
curled  or  uncurled,  earrings  of  gold  shells,  with 


matching  necklace  are  shown  with  a  black  hald 
hat. 

Take  your  choice  and  wear  your  new 
hat  \tith  the  romantic  verve  of  its  historical 
background. 

Bags,  gloves  and  shoes  are  matching  an  I 
in  the  latter,  the  walking  type,  two  fabrics 
again  appear  in  shades  of  wine,  green  and  rust 
to  match  the  costume.  Antelope  sueded  bags 
are  exquisite  this  season,  and  if  you  like 
zippers,  you'll  find  they  may  now  be  covered 
so  that  no  hardware  appears  to  mar  the  beauty 
of  your  bag. 

Quite  an  innovation! 

EVENING 

Colors:  White  is  first.  Then  pastels  in  gold 
and  silver  brocade.  Deep  Renaissance 
tones.  Blue  from  deep  midnight  to  sap- 
phire; navy  blue  is  making  a  play  to  replace 
black  as  an  evening  color. 
Fabrics:  Here  the  Renaissance  influence  is  felt 
very  keenly. 

Heavy  metal  brocade,  lame,  tulle,  stiff 
taffeta,  slipper  satin,  cloky  crepes,  crepe 
roma,  chiffon. 
Silhouette:  In  general,  slim  lines  evolving  into 
swirling  hem  fullness  will  predominate. 
Bouffant  fashions  are  still  being  shown  and 
have  a  definite  Second  Empire  feeling. 
Petticoats  will  peep-from  under  the  tucked- 
up-in-front  hemline.  Draped  skirts  are 
appearing  more  and  more.  The  draped 
bodice  will  appear  in  gowns  showing  the 
Greek  or  Hindu  influence,  otherwise  the 
mode  is  softly  molded,  low-back  and  with 
narrow  shoulder  straps,  occasionally  grow- 
ing into  a  little  cape-scarf  as  in  the  youth- 
ful design  Rochelle  Hudson  wears  in 
"Curly  Top." 

There  again  two  fabrics  are  put  to  use — ■ 

organdy  flowers  adorning  the  bodice  of  the 

gown  of  silver  faille. 

Wraps  may  be  short  or  long  but  they  are 

always  youthful.     Anita  Louise  wears  a  long 

fitted  coat  of  silver  cloth  with  ermine  collar 

and  cuffs,  but  any  short-haired  fur  may  be 

adapted  to  that  fashion,  or  even  the  fabric 

itself  may  be  fittingly  utilized.     In  general,  it 

is  more  advantageous  to  select  a  long  wrap 

which  will  completely  cover  the  gown,  partly 

for   warmth   on   cold   Winter   nights   and    to 

obviate  a  clash  of  colors. 

EVENING  sandals  are  created  of  silver  and 
E-gold  kid  or  match  the  fabric  of  the  gown. 
Velvet  shoes  with  metal  heels  and  black 
evening  slippers  with  diamond  heels  are  for 
extra  special  occasions. 

Jewelry  plays  an  important  role  in  the  Fall 
drama.  It  will  be  massive,  set  with  semi- 
precious stones  in  huge  clusters  and  many 
colors. 

Coral  will  be  worn  in  novelty  designs  in 
silver  mountings.  Many  bracelets  go  march- 
ing up  the  arm. 

Hair  ornaments  will  range  from  little  velvet 
bows  .  .  .  beau-catchers  .  .  .  tiny  jeweled 
combs,  in  flower  designs,  to  jeweled  bands  or 
halos  which  supplant  the  tiara.  Dog  collars 
of  velvet  or  gold  and  silver  mesh  are  jeweled, 
to  match  the  belts,  bracelets  and  clips. 

Whatever  you  wear,  you  are  sure  to  strike 
the  note  of  fashion. 


84 


PHOTOPLAY   MAGAZINE   FOR  OCTOBER,    1935 


85 


THAU*070' 


"ID 


ANcnte* 


ptfV 


Pimples  were 
"ruining  her  life" 


|  "I  had  counted  so  much  on  my 
first  high  school  'prom'!  Then  my 
face  broke  out  again.  I  could  have 
died.  My  whole  evening  was  a  flop.  I 
came  home  and  cried  myself  to  sleep. 


2  "Those  pimples  stayed.  Even 
grew  worse.  Then,  I  heard  about 
Fleischmann's  Yeast.  I  began  to 
eat  it.  Imagine  my  joy  when  my 
pimples  began  to  disappear! 


Don't  let  adolescent  pimples 
spoil  YOUR  fun 

DON'T  let  a  pimply  skin  spoil  your  good  times 
— make  you  feel  unpopular  and  ashamed. 
Even  bad  cases  of  pimples  can  be  corrected. 

Pimples  come  at  adolescence  because  the  im- 
portant glands  developing  at  this  time  cause 
disturbances  throughout  the  body.  Many  irritat- 
ing substances  get  into  the  blood  stream.  They 
irritate  the  skin,  especially  wherever  there  are 
many  oil  glands — on  the  face,  on  the  chest  and 
across  the  shoulders. 

Fleischmann's  Yeast  clears  the  skin  irritants 
out  of  the  blood.  With  the  cause  removed,  the 
pimples  disappear. 

Eat  Fleischmann's  Yeast  3  times  a  day,  before 
meals,  until  your  skin  has  become  entirely  clear. 

Copyright,  1935,  Standard  Brands  Incorporated 


3   "Now  my  skin  is  clear  and  smooth  as  a  baby's.  I'm  being  rushed  by 
all  the  boys.   Mother  says  I  don't  get  any  time  to  sleep!" 

Many  cases  of  pimples  clear  up  within  a  week  or 
two.  Bad  cases  sometimes  take  a  month  or  more. 
Start  now  to  eat  3  cakes  of  Fleischmann's  Yeast 
daily! 

Eat  Fleischmann's  Yeast  as  long  as  you  have 
any  tendency  to  pimples,  for  it  is  only  by  keeping 
your  blood  clear  of  skin  irritants  that  you  can 
keep  pimples  away. 


by  clearing  skin  irritants 
out  of  the  blood 


The  Girl  Without  a  Past 


CONTINUED  FROM  PAGE  33 


you  used  to  talk  Pig  Latin  to  Douglas?  than 
you'd  say:  "Do  you  remember  when  you  were 
Lelty  Lynton  or  Sadie  McKee?"  It  would  be 
worse  than  tactless,  it  would  be  dull.  'The  loud 
laughing,  too-plump'  girl  of  the  Montmartre 
Cafe  days,  the  hysterical  bride,  the  brooding 
tragedienne,  and  all  the  other  characters  from 
Joan's  past  have  become  as  fictional  as  any 
screen  heroine  she  has  ever  portrayed. 

For  instance,  you  can't  say  Joan  has  de- 
veloped a  raucous  flapper  laugh  into  the  sym- 
pathetic humor  she  exhibits  today,  because  it 
is  difficult  to  believe  she  ever  laughed  loudly. 

It  seems  absurd  to  say  she  has  developed  a 
mentally-poised  woman  from  an  emotion- 
tossed  girl,  because  she  conveys  no  suggestion 
of  the  change. 

There  is  nothing  remodeled  about  her  per- 
sonality. 

All  the  time  we  talked  over  in  a  corner  of  the 
set,  while  Woody  Van  Dyke  arranged  and  re- 
arranged lights,  while  Brian  Aherne  and  Frank 
Morgan  chatted  Britishly  of  the  Louis-Carnera 
fight,  I  had  the  disconcerting  feeling  of  talking 
with  a  friendly  stranger  who  knew  me  em- 
barrassingly better  than  I  knew  her. 

W/HEN  I  bluntly  told  Joan  this  she  was 
**  neither  as  amused  or  as  surprised  as  she 
might  have  been,  considering  that  her  past  is 
being  continually  paraded  before  the  public 
in  that  endless  series  of  "How  Much  Joan 
Crawford  Has  Overcome." 

She  said:  "I  believe  I  know  what  you  mean. 
And  if  it  is  true,  I  think  it  is  because  I've  tried 
to  make  a  point  of  living  no  closer  to  myself 
than  the  present. 

I'm  even  happier  when  I'm  living  in  the 
future,  but,  and  if  I  can  help  it,  never  in  the 
past  with  things  that  are  done! 

"  For  instance,  I've  been  criticized  for  being 
a  faddist  about  my  home,  in  decorating  and 
redecorating  it  with  what  my  critics  call  "every 
change  of  mood.'  That's  absurd,  of  course. 
But  I  couldn't  live  in  that  house  if  not  a  stick 
of  furniture  had  been  changed  from  the  way  it 
was  when  I  first  moved  in.  Because  the  same 
person  isn't  living  there! 

"  It  seems  funny  to  be  saying  this  now,  be- 
cause I  was  a  long  time  learning  that  I  really 
wanted  to  escape  from  my  own  personal 
dramas,  that  I  had  to  escape  if  there  was  going 
to  be  any  real  happiness  in  the  future  for  me. 

"This  business  of  escaping  from  the  past 
isn't  an  easy  thing,  particularly  for  women," 
she  hesitated,  thoughtfully.  "The  first  step, 
of  course,  is  to  really  want  to  escape.  And 
women  cling  so  dramatically  to  the  past.  As  a 
sex,  we  color  and  theatricalize  every  experience 
out  of  all  proportion. 

"A  great  many  women,  too  many,  wear 
their  heart-breaks  as  conspicuously  as  they 
wear  their  bracelets! 

"  r^\F  COURSE,  I  don't  mean  that  we  should 
—  pass  callously  over  the  experiences  of  our 
lives  that  develop  us.  It  is  just  as  foolish  to 
shrug  aside  our  mistakes  as  it  is  to  glorify 
them.  Women  without  feeling  become  hard. 
But  in  my  own  particular  case,  I've  tried  to 
look  on  all  the  experiences  of  my  life,  happy 
or  unhappy,  as  lessons  as  simple  as  the  A,  B, 
C's.  When  we  are  first  learning  to  read  and 
write  we  have  to  be  conscious  of  letters  and 
spelling  and  elemental  rules  to  help  us  along. 

86 


But  as  we  progress  we  forget  the  rules  and 
use  the  knowledge. 

"That  is  the  way  it  should  be  with  our  Life 
lessons. 

"I  mean  it  when  I  say  the  only  important 
part  of  my  life  is  the  present  and  the  future.  I 
am  grateful  for  everything  that  has  ever  hap- 
pened to  me,  but  I  refuse  to  be  a  slave  to  it." 

I  asked  Joan  if  there  were  any  particular 
rules  she  had  followed  in  acquiring  this  phil- 
osophy. 

She  laughed.  "  But  rules  are  one  of  the  most 
important  things  to  avoid!  The  only  sure  way 
to  break  away  from  the  ties  and  influences  of 


Lily  Pons  seems  quite  pleased  with 
Hollywood  millinery.  The  opera 
star  is  making  her  screen  debut 
in     "Love     Song"     for     RKO-Radio 


the  past  is  to  live  our  lives  unburdened  by 
privately  concocted  rules. 

"It  is  possible,  you  know,  to  learn  a  lesson 
too  well,  to  be  hampered  and  narrowed  by 
experiences. 

"These  rule  ideas  about  our  future  are 
nothing  more  than  stupid  left-over  measures 
from  the  past! 

"I've  heard  women,  emerging  from  some 
personal  upheaval,  make  the  remark:  'I  shall 
never  fall  in  love  again,'  or,  'I  shall  never  trust 
that  type  of  person  again.'  Many  people 
pamper  themselves  with  the  idea  that  they  can 
fall  in  love  with  only  a  certain  type,  or  nation- 
ality, or  color  of  eyes;  or  that  they  can't  drink 


coffee  at  four  o'clock  in  the  afternoon  or  other 
silly  things  like  that.  And  for  what  reason? 
Because  some  unhappy  emotional  or  digestive 
experience  in  their  past  has  clamped  onto  their 
growth  in  the  future! 

"That  is  the  reason  I  loathe  the  words  never 
or  always  applied  to  myself.  I  always  think 
that  never  is  shutting  me  off  from  something 
important  and  untried,  and  always  is  confining 
me  to  the  trivial  and  familiar.  Even  in  the 
smallest  and  most  inconsequential  matters  I 
hate  personal  rules. 

"I  remember  once  reading  an  interview  in 
which  a  writer  stated:  'Joan  Crawford  never 
takes  a  drink.'  And  it  is  true  I  don't  like 
alcohol,  the  taste  or  the  effect.  But  more  than 
I  hate  cocktails,  I  hated  that  word  'never.' 
Several  nights  later  I  attended  a  party  at  a 
friend's,  had  two  glasses  of  champagne,  and 
enjoyed  them  immensely. 

"Another  time  someone  wrote  that  I  never 
read  any  book  lighter  than  biographies.  Well, 
I  like  caviar  to  eat,  too,  but  I  don't  eat  it  all 
the  time.  I  have  a  collection  of  murder  mys- 
teries that  would  do  credit  to  any  circulating 
library  in  town,  and  I'm  crazy  about  reading 
them." 

When  Joan  came  back  to  our  corner  from  a 
very  long  and  involved  scene  with  Brian 
Aherne  before  the  camera,  she  said: 

"These  things  are  trivial,  of  course,  but  the 
same  principle  has  to  be  applied  to  the  really 
important  things  if  we  are  going  to  grow  and 
develop  by  new,  and  not  discarded  things. 

"After  all,  what  is  more  important  in  life 
than  new  experiences,  and,  if  we're  lucky 
enough  to  live  colorfully,  new  adventures? 
Nothing  imaginable  could  be  more  stupid  than 
talking  with  a  man  who  has  only  one  idea,  or  a 
musician  who  played  only  one  piece,  or  a  phil- 
osopher who  has  read  only  one  book. 

"And  certainly  nothing  is  duller  than  the 
person  who  is  continually  telling  you  how 
much  he  has  overcome,  or  lived  down,  or  how 
better  and  uninspiring  his  life  has  been  in  the 
past. 

"  I  DON'T  believe  that  people  really  overcome 

'  anything  if  they  can't  escape  it! 

''There's  a  lot  of  difference  in  getting  the 
most  out  of  every  available  experience,  and 
living  through  it,  and  in  having  it  live  through 
you  the  rest  of  your  life. 

"The  only  thing  important  to  bring  along 
with  us  from  the  past  are  worthwhile  friends. 
None  of  us  are  so  rich  that  we  can  afford  to 
drop  a  true  friendship  by  the  wayside,  as  we 
can  cast  off  emotions  and  ideas.  I  used  to  be 
so  intolerant  of  people,  so  impatient.  But  I 
hope  I  have  learned  differently." 

Van  Dyke  needed  Joan  before  the  camera 
again,  and  our  time  was  growing  short. 
Stocking-footed,  Joan  walked  with  me  to  the 
entrance  of  the  sound  stage. 

Suddenly,  and  impulsively,  she  thrust  out 
her  hand  like  a  frank  boy  and  smiled  as  she 
gripped  my  hand. 

"Come  out  and  see  me,  Dorothy,  come  often 
.  .  .  the  world's  still  full  of  a  lot  of  things  for 
us  to  laugh  about!" 

I'm  going  to  accept  that  invitation.  I'd  like 
to  know  this  Joan  as  well  as  I  have  known 
many  of  the  others.  But  probably  to  keep 
acquainted  with  her,  I'll  have  to  call  once  a 
week  at  least! 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


87 


in 


Miss  Adrienne  Ames 

in  Mascot's 
HARMONY  LANE 


This  lovely  star  insists  on  handbags  featuring  the 

security  of  the  automatic -locking  -^A  slide  fastener 


The  leading  ladies  of  Hollywood 
are  through  taking  risks  with 
"careless"  handbags.  They  are 
tired  of  dropping  things  and  losing 
things.  Now,  they  insist  on  the 
security  and  convenience  of  the 
automatic-locking  feature  of  the 
Talon  slide  fastener. 

It's  so  simple  and  yet  so  sure. 
Tins  flexible,  smooth-sliding  fas- 
tener— especially  designed  for  hand- 
bags—  assures  absolute  safety  to 
their  contents — as  well  as  adding 


trim,  smart  style  to  their  appear- 
ance. Once  it  is  closed,  it  stays 
closed — to  be  opened  only  by  the 
touch  of  your  fingers  on  the  slider. 
You'll  find  a  beautiful  variety  of 
handbag  styles  featuring  Talon 
security  and  convenience,  at  lead- 
ing stores  everywhere.  Only  the 
finest  manufacturers  equip  their 
models  with  Talon,  so  you  can 
always  count  on  its  presence  in  a 
handbag  as  a  sure  sign  of  quality 
and  smart  design. 


Reg.  U.  S.  Pat.  Off. 


Here's  your  protec- 
tion—  the  nutomatic- 
locking  feature!  Tug 
at  the  side*  of  your 
bug,  drop  it,  turn  it 
over  —  the  fastener 
can't  come  open, 
t-ren  u  little,  unless 
you  pull  it. 


HOOKLESS  FASTENER  CO.,  MEADVILLE,  PA.  .  NEW  YORK  .  BOSTON  .  PHILADELPHIA  .  CHICAGO  >  LOS  ANGELES  .  SAN  FRANCISCO  .  SEATTLE  .  PORTLAND 


WHO    HAS   A   BIRTHDAY? 


Ida  Lupino  discovers  a  jewel- 
studded  compact  in  her  gold 
mesh  evening  bag  which  was 
directly  inspired  by  Para- 
mount's  film  "The  Crusades" 


Up  to  the  minute,  a  stream- 
lined loose  powder  vanity. 
In  three  color  combinations 
black,  red  and  platinum  with 
gold.    With  or  without  rouge 


Our  very  newest  leaflet  "Tips  To  Teensters"  is 
especially  designed  to  answer  the  many  questions 
concerning  skin  and  hair  problem;  which  are  put 
to  us  by  our  younger  readers.  You  may  have  this 
on  request  for  the  usual  stamped,  self-addressed 
envelope,  or  personal  advice  on  any  other  beauty 
problem.  All  letters  are  confidential,  of  course. 
Please  address  letters  to  Carolyn  Van  Wyck,  Photo- 
play   Magazine,    1926    Broadway,    New   York,    N.   Y. 


88 


PHOTOPLAY  MAGAZINE   FOR  OCTOBER,    1935 


89 


Make -Up  Created  by  an  Artist  for 

IE  I 


...and  for  you 


Now  you,  too,  can  dramatize  your  type  with  make-up  just  as  screen  stars  do 


Fascinating  Carole  Lombard  graciously  gives  you  through 
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Blondes  like  Carole  Lombard,  are  not  the  only  fortunate  type 
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TTolluwood 


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Mail  for  POWDER,  ROUGE  AND  LIPSTICK  IN  YOUR  COLOR  HARMONY  j 


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COMPLEXIONS 


Mtd.um  _ 

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SKIN      Dry  D 
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gj  Light. .a  Djrk._a 

BROWNETTE 

H»kI D|  Light. _D  Dirk._D 

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Light D     L.ght..a  D»rk__D 


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ACE 


IfHsr. 


tnj  fer. 


Face  Down 


[  CONTINUED  FROM  PAGE  36  ] 


was  open  for  an  inch  or  two.  But  it's  unlikely 
that  anyone  saw  her.  The  corridor  was  rather 
dark.  The  office  was  brilliantly  lighted.  The 
door  was  only  open  an  inch  or  two." 

Brent  said  slowly,  "  Where  can  I  get  in  touch 
with  Miss  Smith  to  get  more  information  if 
I  need  it  in  a  hurry?" 

"Through  me,"  Alter  answered  quickly, 
".  .  .  and  as  far  as  fees  are  concerned,  Dick, 
I  can  guarantee  a  bonus  in  addition  to  your 
regular  fees  if  you  absolutely  keep  Miss  Smith 
out  of  it." 

"  K  A  Y  fees,"  Brent  said  slowly,  "for  messing 
around  in  a  murder  case  before  the  police 
get  into  it  are  going  to  be  plenty  high." 

"I  know  that,  and  Miss  Smith  understands 
it.  But  there'll  be  a  bonus  on  top  of  that.  .  .  . 
But  seconds  are  precious,  Dick." 

Brent  got  to  his  feet,  reached  for  his  hat, 


utes  and  then  telephone  an  anonymous  tip  to 
the  cops  that  a  couple  of  narcotic  addicts  are 
breaking  into  Dr.  Copeland's  office  in  search 
of  hop." 

She  gave  an  exclamation  of  alarm  and  said, 
with  a  catch  in  her  voice,  "And  they'll  catch 
Brent,  and  he'll  tell  about  us?" 

"No,"  Alter  said  slowly,  "Brent's  too  smart 
for  that,  particularly  when  a  murder's  been 
committed.  He'll  get  out  of  there,  but  he'll 
only  be  one  jump  ahead  of  the  police.  He'll 
make  a  get-away,  all  right,  but  the  police  will 
be  hot  on  his  trail.  Naturally,  the  homicide 
squad  will  link  the  killing  of  Dr.  Copeland  with 
the  two  men  who  were  in  his  office,  and  at  that 
time,  my  dear,  you'll  be  safely  home,  sur- 
rounded by  a  bevy  of  friends  who  can  give  you 
a  perfect  alibi." 

"It  doesn't  seem  fair,"  she  said,  "to  .  .  ." 

Alter's  face  changed.    He  looked  at  his  wrist 


One  of  the  most  extravagant  scenes  in  RKO-Radio's  screen  version  of 
"The  Three  Musketeers,"  is  the  dangerous  and  spectacular  rapier  tour- 
nament of  the  king's  guardsmen.    Fred  Cavens  supervised  the  sequence 


jerked  it  down  in  a  quick  half  circle  of  motion 
to  shake  water  from  the  brim,  buttoned  his 
raincoat  about  him. 

"Good  night,"  he  said,  without  so  much  as  a 
glance  at  the  woman  in  the  dark  corner. 

When  the  door  had  closed  behind  him,  Alter 
heaved  a  sigh  of  relief. 

"Thank  God,"  he  said,  "that's  over.  He'll 
get  results." 

"You  mean  he'll  keep  me  out  of  it?"  the 
woman  asked  incredulously. 

Alter  chuckled  and  said,  "Sure  he'll  keep 
you  out  of  it.  He'll  get  himself  in  it  so  deeply 
the  cops  never  will  come  after  you." 

"What  do  you  mean?" 

His  face  was  distorted  into  a  cunning 
grimace. 

"  You  know  what  he'll  do,  don't  you?  The 
first  thing  he'll  do  will  be  to  pick  the  lock  of 
Copeland's  office  and  start  looking  for  evidence. 
He'll  take  one  of  his  men  with  him." 

"Well?"  she  asked. 

"Well,"  he  said,  "I'll  wait  forty-five  min- 


watch.  "Never  mind  that,"  he  said,  "I'm 
running  this  part  of  the  show.  You've  got 
exactly  fifty  minutes  before  I  telephone  the 
police.     Get  started." 

CHAPTER  III 

TO  the  very  small  circle  of  acquaintances 
'  who  knew  him,  Bill  Peters  was  known  as 
"  Dead  Pan  Peters."  His  face  seldom  showed 
expression,  and  this  was  particularly  true  dur- 
ing times  of  emotional  stress. 

The  only  way  in  which  he  showed  emotion 
was  by  stuttering.  When  he  was  not  excited  or 
when  he  had  nothing  to  conceal,  he  talked 
smoothly.  But  when  he  lied  or  when  he  was 
worried,  while  there  would  be  no  change  of  ex- 
pression on  his  face,  his  tongue  would  stick  on 
the  consonants.  For  this  reason,  Bill  Peters 
distrusted  words.  Wherever  possible  in  dealing 
with  strangers  he  relied  upon  action. 

As  for  his  morals,  he  had  none.  He  firmly 
believed   that   the   end   justified   the   means. 


Short  terms  in  two  penitentiaries  had  failed  to 
alter  his  philosophy.  Now  he  was  treading 
the  "straight  and  narrow  path,"  but  it  was  a 
path  which  seemed  straight  and  narrow  only 
to  Bill  Peters. 

An  unprejudiced  observer  would,  have  found 
it  rather  tortuous. 

Dick  Brent,  however,  who  furnished  the  em- 
ployment, found  him  invaluable,  knew  that  if 
Peters  were  not  working  at  that  employment  he 
would  undoubtedly  be  cracking  safes  or  robbing 
banks.  Peters'  ideas  of  right  and  wrong  were 
sufficiently  warped  to  make  it  useless  to  argue 
with  him. 

Brent  held  the  flashlight  so  that  the  shielded 
beam  illuminated  the  door  of  Dr.  Copeland's 
office. 

"Can  do?"  he  asked. 

"Can  do,"  Peters  said  shortly. 

A  moment  later,  the  click  of  the  lock  shoot- 
ing back  announced  that  the  safe-cracker  had 
not  been  unduly  optimistic. 

"All  right,"  Brent  said,  "hook  up  the  cop 
spotter." 

Peters  nodded.  The  two  men  filed  silently 
into  the  gloomy  interior  of  the  office,  an  inte- 
rior which  was  illuminated  only  by  the  lights 
which  blazed  on  Hollywood  Boulevard.  A  red 
Neon  sign  across  the  street  and  in  the  middle 
of  the  block  flashed  on  and  off  intermittently, 
flooding  the  office  with  a  sinister  red  illumina- 
tion, which,  in  turn,  faded  periodically  into 
gloomy  half  darkness. 

Peters,  working  with  swift  dexterity,  opened 
a  suitcase  which  he  carried,  took  from  it  a 
small  portable  radio  outfit,  plugged  it  into  a 
wall  plug,  waited  for  the  tubes  to  warm  up. 

Abruptly  a  voice  said,  ".  .  .  car  62,  calling 
car  62.  Go  to  3829  West  Elton  Street.  See 
the  woman  waiting  on  the  sidewalk.  That  is  all." 

"  TURN  it  down  a  little  bit,"  Brent  cautioned. 

'  "  Someone  might  be  coming  down  the  cor- 
ridor, and  sounds  are  magnified  in  an  office 
building  at  night." 

"You  t-t-t-think  we'll  hear  the  r-r-report  if 
they  discover  the  b-b-b-body?"  Peters  asked. 

"Nine  chances  out  of  ten  we  will,"  Brent 
assured  him.  "We've  got  to  take  that  tenth 
chance.  It's  hardly  possible  the  police  will 
stumble  on  the  body.  Some  citizen  will  find  it 
and  telephone  in  to  headquarters.  They'll 
send  out  a  radio  broadcast.  Get  busy.  Get 
the  day  book.  Find  the  people  who  called  on 
him  today.  Check  on  his  appointments.  Run 
through  his  unanswered  mail.  Dig  into  his 
filing  system  and  get  case  histories  of  the  per- 
sons who  called  on  him  within  the  last  few 
days.  But  be  sure  not  to  pocket  anything. 
That  would  be  larceny.  We're  just  collecting 
information.  .  .  .  What  the  hell  is  all  that 
junk  in  the  suitcase?" 

"That's  our  ins-s-s-surance." 

"What  do  you  mean  insurance?  My  God, 
where  did  you  get  that  junk?" 

"That's  not  j-j-j-junk.  That's  s-s-s-stuff 
I've  been  collecting  in  c-c-c-case  I  got  in  a 
j-j-j-jam." 

Brent  stared  down  into  the  suitcase. 
"  What's  the  gun?  "  he  asked. 

Peters  was  more  sure  of  himself  now,  and 
talked  smoothly.  "I  snitched  that,"  he  said, 
"from  the  desk  in  Tom  Fernwaite's  gambling 
j-j-joint.  I've  wiped  all  the  f-f-f-ringer  prints 
off  of  it,  but  the  n-n-n-number  is  registered  in 


90 


PHOTOPLAY  MAGAZINE   FOR  OCTOBER,    1935 


his  name.  If  we  planted  it  here,  it  would  bring 
him  into  the  investig-g-gation,  and  he's  got 
plenty  of  political  p-p-p-pull  to  hush  it  up." 

"  That  key  container,"  Brent  said.  "  Where 
did  that  come  from?" 

"I  got  that  out  of  Ned  Thorpe's  automobile. 
His  ignition  key  is  on  it.  He  1-1-1-left  it  in  front 
of  the  p-p-post-ofiice  when  he  went  in  to  get 
his  mail.  I  c-c-came  along,  reached  in,  turned 
off  the  ignition  and  slipped  the  k-k-keys  into 
my  p-p-p-pocket.  Thorpe  is  a  p-p-p-prominent 
man.  He  represents  the  g-g-g-group  that's 
financing  this  new  picture  reorganization, 
and  .  .  ." 

"I  know  who  he  is,"  Brent  said  disgustedly. 
"Close  that  suitcase.  We  don't  need  to  plant 
any  stuff  here.  Damn  it,  Peters,  your  mind  is 
warped!  You  couldn't  go  straight  if  you  had 
to,  and  you'd  be  a  damned  good  man  if  you 
weren't  so  crooked." 

"I'm  not  c-c-c-crooked,"  Peters  said,  "just 
r-r-r-resourceful." 

Brent  snorted,  turned  his  flashlight  on  the 
desk,  opened  a  drawer,  said,  "Here's  the  day 
book,"  and  started  scribbling  notes  on  a  piece 
of  paper. 

For  several  minutes  the  men  worked  with 
smooth,  silent  efficiency.  Peters  found  the 
filing  drawers  where  case  histories  were  kept. 
Brent,  seated  at  the  desk,  called  for  the  cards 
he  wanted,  and,  as  Peters  brought  them  to  him, 
made  copious  but  swift  notes. 

From  time  to  time  the  portable  radio  outfit, 
tuned  in  on  the  police  wave-length,  echoed  the 
routine  instructions  given  to  various  cars. 

CUDDENLY,  following  a  period  of  com- 
^parative  silence,  the  radio  squawked  into 
activity.  A  voice  droned,  "  Car  57 — calling  car 
57 — car  57  proceed  at  once  out  Hollywood 
Boulevard  to  investigate  a  tip  that  narcotic 
addicts  are  robbing  the  office  of  Dr.  Granville 
Copeland.  This  is  a  hot  tip.  Start  at  once 
down  Hollywood  Boulevard  until  you  come  to 
Highland.  A  squad  car  from  the  Hollywood 
station  will  be  waiting  there.  Cooperate  with 
them.    That  is  all." 

The  two  shadowy  figures  in  Dr.  Copeland's 
office  wasted  no  time  on  words.  Peters  jerked 
out  the  radio  cord,  wrapped  it  around  the  small 
receiving  outfit,  dropped  it  into  the  suitcase, 
held  the  door  open  for  Brent.  The  two  men 
slipped  into  the  corridor.  Not  until  they  were 
racing  for  the  stairs,  did  Brent  say  under  his 
breath,  "The  dirty,  two-timing  double-cross- 
ers!" 

CHAPTER  IV 

P\ICK  BRENT  pushed  his  car  through  the 
^rain-filled  darkness.  The  drops  were  larger 
now.  Wind,  sweeping  up  from  the  south,  was 
piling  low-flung  clouds  against  the  tops  of  the 
mountains  to  the  northwest  of  Hollywood. 
Myriad  miniature  geysers  mushroomed  up 
from  the  pavement. 

Brent's  radio,  tuned  in  on  a  news  program, 
finished  a  statement  concerning  the  consolida- 
tion of  the  conservatives  in  both  Republican 
and  Democratic  parties,  mentioned  that  there 
was  some  talk  of  calling  the  new  fusion  the 
"Constitutional  Party,"  and  then  the  voice  of 
the  radio  reporter  ceased  its  mechanical  in- 
tonation. 

"A  Hash!"  it  said.  "The  body  of  Dr.  Gran- 
ville Copeland,  prominent  psychologist,  psy- 
choanalyst and  specialist  in  nervous  diseases, 
was  found  lying  face  down  in  the  rain  within  a 
hundred  feet  of  Hollywood  Boulevard.  The 
doctor  had  evidently  been  shot  from  behind  by 
an  unknown  assailant  as  he  prepared  to  enter 
his  parked  automobile.    Death  was  caused  by 


\ 

Q 


KC30L 


MILDLY  MENTHOLATED 


CORK-TIPPED 


EVERY  SMOKE  A  HIT! 

A  touch  of  mild  menthol  to  cool  and  re- 
fresh. The  choicest  of  choice  tobaccos  for 
the  fine  tobacco  lover.  Cork  tips  to  save 
lips.  And  a  valuable  B  &  W  coupon  in  each 
pack.  Save  'em  for  a  choice  of  beautiful, 
useful  premiums.  (Offer  good  in  U.  S.  A. 
only ;  write  for  FREE  illustrated  premium 
booklet.)  More  for  your  money  every  way 
in  KGDLS — that's  why  sales  soar.  Try  a 
pack  and  see. 


SAVE  COUPONS  /or  HANDSOME  MERCHANDISE 

Brown  &  Williamson  Tobacco  Corp.,  Louisville,  Ky. 


two  shots  at  the  base  of  the  skull  which  police 
say  were  fired  at  close  range. 

"The  body  was  discovered  when  police  in- 
vestigated a  report  that  two  drug  addicts  were 
burglarizing  Dr.  Copeland's  office.  The  rumor 
turned  out  to  be  false,  since  the  office  showed 
no  signs  of  having  been  entered,  but  in  connec- 
tion with  the  investigation,  the  police  car,  turn- 
ing into  the  alleyway  on  the  side  of  the  building 
where  Dr.  Copeland  had  his  office,  found  the 
body.  Death  had  taken  place  some  two  hours 
earlier." 

Dick  Brent  swung 
the  steering  wheel  of 
the  car,  skidded  on 
the  street  car  tracks 
where  Highland  runs 
into  Hollywood 
Boulevard,  then  fol- 
lowed  Highland   up 


the  brilliantly  lighted  windows  of  the  mansion. 

"Indeed  I  do,"  had  made  Vilma  Fenton. 
The  picture  had  been  a  natural. 

Writers  with  imagination,  a  director  who 
understood,  a  supervisor  who  was  so  concen- 
trating upon  another  picture  that  all  the  gag 
men,  associates,  assistants  and  others  who  give 
to  so  much  of  the  Hollywood  broth  the  ap- 
pearance of  having  been  brewed  by  too  many 
cooks,  had  held  hands  off. 

As  a  result  the  picture  had  not  tried  to  imi- 


to  its  intersection 
with  Cahuenga, 
turned  near  the  sum- 
mit of  the  grade  to 
the  left,  and  followed 
a  winding  road.  He 
was  just  below  the 
dripping  clouds. 

THE  rain  fell  more 
'  gently  here,  but 
rivulets  of  water  were 
rushing  down  the 
gutters,  rippling 
across  the  road  in 
ribbons  of  moisture 
which  hissed  into 
spray  as  the  automo- 
bile wheels  plowed 
through  them.  Be- 
low, and  to  the  left, 
the  lights  of  Holly- 
wood blinked  up 
through  the  moist 
night  like  globules  of 
phosphorus  on  the 
surface  of  an  agitated 
ocean. 

The  house  of  Vilma 
Fenton  was  a  blaze 
of  light.  Expensive 
cars  were  parked  in 
the  cemented  area 
just  outside  the  gar- 
den wall.  The  big 
house  perched  upon 
the  mountain  side 
with  that  ingenuity 
of  construction  which 
has  been  developed 
by  California  archi- 
tects. The  grounds 
fell  away  in  a  series 
of  terraces  until  they 
merged  into  the 
native  shrubbery  of 
the  mountain  side. 
On  a  clear  day  it  was 
possible  to  see  Venice, 
Santa  Monica,  Signal 
Hill,  the  hazy  blue 
outlines  of  Catalina 
Island,  the  sun- 
drenched city  and  the  jagged  skyline  of  moun- 
tains. On  a  clear  night  lights  twinkled  in  a 
shimmering  sea  of  brilliance.  Now  rain  blotted 
out  all  except  the  Hollywood  lights  in  the  im- 
mediate foreground.  The  sound  of  laughter 
came  from  behind  the  huge  windows.  Rain- 
drops falling  from  the  soggy  clouds  which  clung 
to  the  top  of  the  dark  mountain  were  changed 
to  gold  by  some  magic  touch  as  they  fell  past 

92 


The  Facts  of  Hollywood  Life 


RIFTS   IN  THE  LUTE 

Nancy  Carroll:  to  Reno  to  discard  writer-husband  Bolton  Mallory.  His 
predecessor — Jack  Kirkland,  "Tobacco  Road"  playwright.  Van  Smith, 
Beverly  Hills  millionaire,  said  to  be  Nancy's  favorite  name  now. 

Lila  Lee:  six  months  married  to  but  one  month  together  with  Chicago 
broker  Jack  Peine,  broke  ties  officially.  Name  now  coupled  with  John 
Beach,  wealthy  polo-playing  New  Yorker. 

Natalie  Moorhead:  on  matrimonial  vacation  since  last  August  permanently 
parted  from  director  husband  Alan  Crosland. 

Adrienne  Ames:  asked  and  got  freedom  from  Bruce  Cabot,  and  custody  of 
daughter,  Dorothy  Jane,  legally  adopted  by  Cabot  after  their  marriage.  Said 
Cabot  disliked  her  family  and  no  longer  loved  her. 

Wind  Shaw:  Warner  Brothers  blues  warbler,  divorced  from  Leo  Cummins, 
Manhattan  orchestra  leader. 

Buster  Keaton:    divorce  suited  by  his  second  wife,  Mae  Elizabeth  Keaton, 
who  named  Mrs.  Leah  Clampitt  Sewell,  wealthy  Los  Angeles  matron,  in 
$200,000  loss  of  affection  suit. 
OPTION   DEPARTMENT 

Florine  McKinney  engaged  to  Barry  Trivers,  screen  writer.     Met  while 
making  a  picture.    No  definite  date  for  the  chimes. 
WEDDING  BELLS 

For  David  Newell,  former  Broadway  leading  man  for  Ethel  Barrymore  and 
Mae  West,  and  Katharine  Lewis,  Hollywood  actress. 

For  Ernst  Labitsch,  of  the  "Lubitsch  touch"  and  Paramount,  and  Vivian 
Gaye,  former  Randy  Scott  heart  throb,  at  Yuma,  after  plane  elopement. 
STORK  STOPS 

At  the  home  of  Stu  Erwin  and  June  Collier,  to  leave  a  precious  seven-and- 
a-half  pound  package.  Named  June  Dorothea,  looks  like  her  mammy. 
Erwins  prayed  for  a  girl,  got  her.    Have  a  son  already. 

Wings  flapping  for  Evalyn  Venable  and  Hal  Mohr,  now  adding  a  nursery 
to  their  home  for  November  occupancy. 

Late  Fall  visit  expected  by  Joel  McCrea  and  Frances  Dee.     Second  visit 
for  this  couple. 
DEAR  DOCTOR 

Binnie  Barnes,  carted  from  the  set  to  the  hospital  with  a  throbbing 
appendix.    It  came  out  and  Binnie  came  out  of  it  nicely. 

Gail  Patrick  collapsed  in  her  home  town  Birmingham,  Alabama,  after 
death  of  father,  L.  G.  Patrick.  Illness  followed  dramatic  airplane  race  with 
death  from  Hollywood.    Recovered  now. 

Arlene  Judge  caught  scarlet  fever,  hives  on  top  of  that.    Fever  light,  but 
hives  bad.    Closed  her  eyes.    Agony  now  gone. 
GOOD  MORNING,  JUDGE 

Vince  Barnelt,  ribber  de  luxe,  found  guilty  of  drunkenness  and  punching 
a  policeman,  was  granted  a  new  trial  on  the  late  Summer  docket. 

Lottie  Pickford,  Mary's  sister,  filed  suit  for  $540.50  against  Al  St.  John, 
veteran  comedian.    Says  a  note  for  $400  is  over  due. 

Hal  Le  Roy,  21-year-old  slim  legged  dancer,  sued  his  father,  George  Schotte, 
for  an  accounting  of  the  $70,000  he  claims  to  have  earned  on  the  stage  and 
in  pictures  since  1930. 
NEW  DEALS 

Ronald  Colman  initialed  new  contrr.ct  with  United  Artists  making  him 
highest  paid  male  star  on  the  screen.  Ticket  calls  for  $150,000  per  picture 
and  share  of  the  profits. 


Vilma  Fenton  had  been  like  a  skyrocket 
streaking  redly  upward  in  hissing  destiny  to 
burst  into  blazing  brilliance. 

The  butler  who  answered  Dick  Brent's  ring 
surveyed  the  glistening  raincoat,  the  soggy  hat 
brim,  the  white,  determined  face,  the  brown 
business  suit,  and  said,  with  a  voice,  which 
contained  no  regret  whatever,  "  I'm  very  sorry, 
but  it  will  be  impossible  to  even  convey  your 
name  to  Miss  Fenton  unless  you  are  expected, 
and  I'm  quite  sure  you're  not." 

The  butler  was  a 
big  man,  square  of 
shoulder  and 
steady  of  eye.  His 
six  foot  two  of 
brawn  rested  upon 
a  pair  of  feet  in- 
cased in  square- 
toed  shoes.  A 
swelling  at  the  base 
of  the  large  toe  on 
the  left  foot  marked 
the  location  of  a 
bunion  which 
crowded  against 
the  pliable  leather. 
DickBrent'spro- 
fession  required 
that  he  exercise  his 
powers  of  observa- 
tion. His  eyes  took 
in  the  expression 
on  the  butler's  face, 
dropped  to  the 
butler's  feet.  Hav- 
ing selected  the 
vulnerable  point  in 
his  enemy's  armor, 
Dick  Brent  acted 
with  the  smooth 
speed  of  a  well-oiled 
piston  rod  on  a 
steam  engine. 

His  heel  came 
down  on  the  but- 
ler's bunion.  The 
butler  doubled 
over,  grasped  the 
tortured  foot, 
hopped  around  in 
moaning,  cursing 
circles. 

Dick  Brent 
walked  on  toward 
the  sounds  of  clink  - 
ing  glasses  and 
laughter  which 
came  from  the  big 
room  to  the  left. 

He  pushed  aside 
the  expensive  hang- 
ings. 


T' 


tate  any  of  the  current  hits.  It  showed  that 
delicacy  of  touch  which  can  come  only  from 
the  purposeful  treatment  of  one  director  who 
understands,  a  star  who  is  young,  eager  and 
earnest,  a  leading  man  whose  emotions  are 
genuine,  photographers  who  enthusiastically 
register  an  entrancing  form  and  a  face  which 
photographs  perfectly  at  any  angle  and  in  any 
light. 


HERE  were  a 
dozen  people  in 
the  room.    The 
faces    of    five    of 
them  would  have 
been    known   any- 
where in  the  world. 
The    others    were 
executives  whose 
words    were    law,    men    who    controlled    the 
destiny  of  the  silver  screen. 
Vilma  Fenton  looked  up. 
There  could  be  no  mistaking  the  dismay  in 
her  eyes  when  she  saw  Dick  Brent's  face,  as  the 
impact  of  his  steady  blue  eyes  fell  upon  her  in 
silent  accusation. 

Her    fingers    opened.      The    cocktail    glass 
crashed  to  the  table. 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER.   1935 


93 


|    "You!"  she  said. 

"Yes,"  Brent  told  her  slowly.  "I  came  to 
Lay  my  personal  respects  to  Miss  Mary  Smith." 
H  For  a  moment  she  fought  with  her  emotions, 
Her  face  chalk-white,  her  lips  quivering.  Then 
I  he  actress  in  her  asserted  itself.  Her  face  was 
[  itill  drained  of  color,  but  only  a  keen  student 
|pf  psychology  could  have  told  that  the  smile 
khich  twisted  her  lips  was  not  one  of  glad 
greeting,  and  her  voice  was  vibrant  with 
ileased  surprise. 

"Dick!"  she  exclaimed.      "Oh,   I've  bejn 

hinking  about  you  so  much  lately!     I  hope  J 

( >n  \1  come.  I've  got  so  many  things  to  talk  over 

vith  you.    Why  didn't  you  write  or  at  least 

Jiend  a  wire?    My,  but  you  startled  me!" 

The  big  butler,  having  recovered  somewhat, 
!:ame  limping  purposefully  down  the  corridor, 
lis  huge  hands  bunched  into  belligerent  fists. 

Vilma  Fenton's  eyes  focused  past  Dick 
Brent's  shoulder,  and  she  said  to  the  butler, 
r Arthur,  will  you  please  show  this  gentleman 
nto  the  Jade  Room  and  see  that  he  is  served 
vith  a  cocktail  and  hors  d'oenvres."  She  turned 
ii  her  guests,  making  a  little  gesture  of  plead- 
;ng  with  her  hand. 

:  "Please,"  she  said,  "I  want  you  to  under- 
stand. I'll  introduce  Dick  some  time  later, 
but  now  I  want  to  see  him  alone." 

A  dozen  voices  chorused  assurance  that  they 
understood,  told  her  to  go,  but  Vilma  Fenton 
said : 

"No,  I'll  have  another  cocktail  with  you 
and  then  you'll  excuse  me  for  just  a  few 
minutes." 

The  butler  took  a  deep  breath,  held  it  for  a 
imoment,  and  then  said,  with  cold  deference, 
"Will  you  please  step  this  way,  sir?" 

Dick  followed  the  man  down  a  long  corridor, 
up  a  flight  of  stairs  and  into  a  room  whose 
great  windows  looked  out  over  Hollywood. 
From  those  windows  the  slope  dropped  so 
abruptly  that  one  had  the  impression  of  being 
in  some  huge  dirigible  suspended  high  above 
the  city. 

THF  butler  bowed  and  said,  "Won't  you 
'  please  be  seated,  sir,  and  damn  you,  sir,  if 
I  ever  catch  you  outside,  I'll  bust  your  jaw 
.  .  .  and  would  you  prefer  a  Martini  or  a 
Manhattan,  sir?" 

Brent  grinned,  wormed  out  of  his  dripping 
raincoat,  tossed  it  to  the  butler  and  said, 
"Take  that,  James,  and  my  hat,  and  bring  me 
both  a  Martini  and  a  Manhattan." 

"Very  good,  sir,"  the  butler  said,  holding 
the  raincoat  as  though  the  touch  might  con- 
taminate him.  "And  the  name  isn't  James, 
sir.    It's  Arthur,  if  you  don't  mind." 

He  turned  and  limped  from  the  room. 

Brent  grinned,  lit  a  cigarette,  listened  a 
moment  to-  the  wind  moaning  around  the 
corners  of  the  house,  and  then  suddenly  stif- 
fened to  attention. 

He  thought  he  had  heard  a  choked  exclama- 
tion, the  sound  of  a  blow. 

A  moment  later  something  thudded  to  the 
floor  in  the  corridor. 

Dick  Brent  rushed  to  the  door,  jerked  it  open. 

The  long  corridor  was  deserted.  Midway 
down  it,  a  sprawled  figure  lay,  with  Dick 
Brent's  raincoat  half  concealing  it. 

Brent's  hat  had  rolled  on  a  few  feet  down 
the  corridor.  As  Brent  stood  there,  held  for  a 
moment  in  the  rigidity  of  startled  surprise,  he 
heard  a  terrific  crash  as  a  plate  window  shat- 
tered to  fragments,  and  a  blast  of  damp  night 
air  rushing  down  the  corridor  billowed  behind 
him  the  green  tapestries  of  the  Jade  Room. 

[  Next  month — more  thrilling  surprises  in  this 
great  mystery  story  of  Hollywood.} 


****' 


ri^-'  I   HOPE    \IV   NOSE  won't  shine   tonight 


IT  KEEPS  YOUR  SKIN  SHINE- 
PROOF,    SOFT    AND    LOVELY 

If  you  want  to  have  a  soft,  unshining  skin,  get  a  box  of  Primrose 
House  Chiffon  today. 

It's  the  shine-proof  powder  —  scientific  in  formula,  exclusive  in 
process,  exquisite  in  effect. 

Many  powders  are  only  gay  deceivers.  They  do  not  keep  your 
face  from  shining  because  they  shine  themselves. 

For  they  contain  a  shiny  substance  which  actually  catches  the 
light  and  causes  the  skin  to  shine. 

By  a  special  process,  every  particle  of  this  substance  is  removed 
from  Primrose  House  Chiffon.  And  another  exclusive  process 
makes  this  powder  cling  for  hours  and  hours  without  caking  or 
clogging  the  pores. 

Try  a  box  today  and  convince  yourself.  Eight  lovely  shades  to 
blend  with  any  type  of  skin.  In  boxes,  $3  and  $1.  Primrose  House, 
595  Fifth  Avenue,  New  York  City. 


-/^ilmfa?j£(^/om$e 


CHIFFON      POWDER 


Mitzi  Rides  the  Social  Whirlwind 


[  CONTINUED  FROM  PAGE  71 


Said  she, "  he  woke  up  one  night  with  the  urge 
to  be  a  lighthouse.  'What's  the  idea?'  I  de- 
manded. He  snickered  in  the  dark!  'What's 
wrong  with  the  idea?  You  do  light  housekeep- 
ing, don't  you?'  " 

Nice  mad  people,  these  Fords. 

The  missus  looked  very 
cute  with  her  golden  hair 
tucked  under  a  bright 
green  beret.  I  sat  beside 
her  as  we  watched  the 
game  and  envied  her  long 
locks,  done  up  in  a  large 
knot  at  her  neck.  Sud- 
denly, in  the  midst  of 
goofy  runs,  Benny  Rubin, 
who  was  the  announcer, 
yelled  excitedly  over  the 
mike:  "Here's  an  extra 
treat  for  you,  ladees  and 
gents!  Miss  Ann  Harding 
is  sitting  over  there  with  a 
bright  green  beret  on!" 
There  was  a  sudden  exodus 
from  all  the  seats  to  where 
"Miss  Harding"  was  sit- 
ting. The  lady  next  to  me 
strained  to  see,  and  ex- 
claimed delightedly, "  My, 
my,  she's  even  prettier  in 
real  life  than  she  is  on  the 
screen!"  I  giggled  in  my 
cuff  and  peeked  around  to 
see  poor  Mrs.  Wally  Ford 
besieged  on  all  sides  by 
autograph  hounds  who 
just  wouldn't  believe  the 
golden-haired  lady  wasn't 
Ann. 

Speaking  of  Anns,  I 
used  to  think,  in  the  days 
when  she  was  a  line  dancer, 
that  Ann  Dvorak  looked 
like  Joan  Crawford.  But 
now  I  think  Ann  just  looks 
like  herself.  Many  moons 
have  passed  since  we'd 
had  a  good  talk  so  I  steered 
my  petrol  pram  over  to 
her  ranch,  was  met  by 
several  hundreds  of  Ann's 
dogs,  took  a  good  sniff  at 
all  the  fruit  tree  blossoms, 
presented  myself  at  the 
hacienda  for  lunch.  Ann 
looked  glorious.  She'd 
just  finished  taking  a  dip 
in  her  pool.  (And,  ma'am, 
she  swims  "raw"  when 
folks  aren't  about!) 

What  did  we  gab  about? 
Oh,  Cabbages  and  Kings 
and  lotsa  other  things! 
You  do,  you  know,  in  two 
hours  and  a  half. 

We  snickered  over  the 
time  she  and  her  husband, 
Leslie  Fenton,  decided  to  add  a  wing  to  their 
house.  During  the  alterations  they  had  been 
out  late  one  night,  and  on  their  return  found  to 
their  chagrin  that  Leslie  had  forgotten  the  key. 
They  finally  decided  the  only  thing  to  do  was 
to  break  a  window.  The  lord  and  master  beat 
it  around  to  where  the  wing  was  being  added 


94 


and  there  discovered  that  the  entire  side  of  the 
place  had  been  torn  out  during  their  absence, 
so  they  walked  right  through  into  their  living- 
room — and  so  to  bed! 

My  nomination  for  the  world's  smartest 
dresser,   talker  and  charmer  goes  to  Hedda 


All  Hollywood's 
Playing 
his  Game 


"Who  am  I?" 

Now  don't  say,  "I'll  bite — who  are  you?",  because  we're  just 
about  to  introduce  you  to  a  swell  way  to  drive  yourself  and  your 
party  guests  completely  potty  in  the  best  approved  Hollywood 
manner. 

"Who  am  I?"  messieurs  and  mesdames,  is  a  game.  And  every- 
one in  Hollywood  is  playing  it  right  now. 

Here's  what  you  do: 

Go  out  of  the  room  and  determine  who  you  are.  You  can  be 
Lincoln,  Roosevelt,  or  Dizzy  Dean,  Clara  Bow,  Garbo  or  any 
famous  person  known  to  everyone. 

Come  back  and  announce  the  last  initial  of  your  new  self.  The 
initial  is  "L,"  we'll  say.  You  say,  "I'm  not  Abraham  Lincoln." 
Now  everyone  knows  the  initial  is  "L." 

Someone  asks: 

"Are  you  a  movie  star?  " 

To  which  you  must  reply  using  a  real  name  starting  with  "L": 

"No — I  am  not  Stan  Laurel." 

They  keep  it  up,  going  clockwise  around  the  room:  "Are  you  a 
financier?" 

"No — I  am  not  Thomas  Lamont."  And  so  on.  You've  got  to 
reel  off  the  negative  replies  right  now.  If  you  don't,  the  gallery 
can  ask  you  a  specific  question  about  yourself — such  as,  we'll 
say,  "Are  you  alive?"  or  "Do  you  live  in  the  United  States?" 
— pin-you-down  questions,  which,  of  course,  you'd  rather  avoid. 
You  can  also  challenge  them,  and  if  they're  faking  on  questions 
and  can't  name  an  "L"  person  in  the  classification  they  have 
named  (movie  star,  dancer,  painter  or  what  not)  then  they're 
out  of  the  game. 

Finally,  of  course,  they'll  probably  get  you.'  But  it  takes  a  long, 
long  time,  during  which  everybody,  including  yourself,  can  hoist 
an  indefinite  number  of  highballs  or  lemonades,  until  in  the  end 
maybe  even  you  will  have  forgotten  just  who  you  are — but  you 
won't  care  a  bit. 


Hopper.  She  fancied  herself  up  in  a  knock- 
you-down  hostess  gown  when  I  went  over  to 
lunch  recently,' and  got  me  so  stunned  I  could 
only  toy  with  a  salad,  six  corn  pones,  one  glass 
of  sherry,  a  fruit  compote  and  two  cups  of 
coffee!  Time  whizzes  by  when  you're  with 
Hedda,  there's  always  so  much  to  talk  about. 


She  talked  a  lot  about  her  friend,  Tallulah 
Bankhead,  and  told  me  about  some  of  Tallu's 
kind  deeds.  Seems  a  certain  great  actress  was 
down  and  out,  living  in  some  poor  suburb  near 
London.  She  was  offered  a  part  in  a  play  in  the 
States,  but  didn't  have  either  the  clothes  or  the 
money  to  do  anything 
about  it.  Tallu  heard 
about  it,  sent  her  a  note 
inclosing  a  check  for  the 
passage,  and  ordered  her 
to  go  to  her  apartment 
and  pick  out  as  many 
gowns  as  she  wished.  The 
nicest  part  of  all  this  is 
that  the  actress  got  the 
part  and  really  made  a 
smash  hit  in  New  York. 
Nope,  we  give  no  names! 
Hedda  has  an  exquisite 
little  house.  It's  filled 
with  priceless  antiques 
she's  collected.  She  prizes 
particularly  her  collection 
of  rare  Bristol  glass  and  a 
tremendous  mirror  which 
belonged  to  Teddy  Roose- 
velt's administration  and 
which  Hedda  bought  for 
the  magnificent  sum  of 
fifteen  greenbacks!  I 
guess  the  presidential 
missus  must  have  said  to 
her  husband,  "Teddy, 
that  mirror  is  awfully  old- 
fashioned,  let's  get  rid  of 
it  and  buy  something 
modern!" 

I  inserts  a  fashion  note 
at  this  juncture.  Mebbe 
you're  going  barelegged 
cause  you're  nicely  tanned, 
but  when  you  purchase 
some  hose  for  your  shapely 
shafts,  you  might  take  a 
tip  from  Ann  Sothern  and 
Virginia  Bruce  and  go  in 
for  net  hose.  Each  gal 
bought  two  dozen  pair 
just  recently. 

Speaking  of  the  Sothern 
damsel  reminds  me  that 
her  mama  is  a  singing 
teacher.  She  got  aholt  of 
Roger  Pryor  and  made 
him  take  a  couple  of  les- 
sons. To  everyone's  sur- 
prise, the  band  leader's 
acting  son,  who  can  play 
every  instrument  under 
Old  Sol,  found  he  had 
musical  tonsils! 

And   now-   let   me   hop 
back  to  the  fashions  de- 
partment.    If  you  own  a 
white  suit,  or  are  about  to 
get    one,    do    something 
about  this,  will  you?    Gloria  Swanson  wore  one 
yesterday   at   the   Vendome.      It   had    black 
velvet  lapels  and  black  velvet  vest.    She  wore 
a  tiny,  matching  pill-box  on  her  noodle  around 
which  whirled  a  fetching  veil.     Kitten,  you 
could  do  big  things  with  an  outfit  like  that! 
Now  I'm  going  to  tell  you  a  nifty  story.    It's 


all  about  Robert  Florey,  a  director  who  has 
i  made  fine  pictures  for  Warner  Brothers.  Now, 
I  Mr.  Florey  is  a  Frenchman,  and  when  he  came 

to  this  country  several  years  ago  to  get  himself 
-,  a  job  in  ye  movie  business  he  didn't  know  there 
i,  was  any  difference  or  distance  between  Holly- 
I  wood,  Culver  City,  and  Los  Angeles.  So,  he 
I  got  off  the  train  downtown,  laden  with  luggage, 

and  walked  around  looking  for  studios  until  he 
I  came  to  Chinatown. 

"This,"  said  Mr.  Florey  to  himself  (he 
I  couldn't  talk  to  anyone  else  because  he  couldn't 
,  parley-vous  enough  English),  "this  must  be  a 

movie  set.  But  where  are  the  lights?  And  the 
I  cameras?" 

FINALLY  a  Frenchman  appeared  from  some- 
where, informed  Mr.  F.  that  Hollywood  was 
where  the  movies  were  made,  and  put  him  on  a 
street  car  going  in  that  direction.  At  the  end 
of  the  line,  which  was  Sunset  Boulevard  and 
Western  Avenue,  the  conductor  put  him  off. 
Florey  then  wandered  into  the  then  wide  open 

:  doors  of  the  Fox  studio  and  right  onto  a  set 
where  the  first  scene  of  "The  Count  of  Monte 
Cristo"  was  about  to  be  shot. 

Now   our  little  man   had   just  made   that 

i  picture  in  France  so  he  was  very  interested  to 
see  what  was  going  on.  He  noticed  that  the 
costumes  were  all  wrong,  and  the  medals,  but 
conceived  the  idea  that  this  was  a  burlesque. 

i  However,  when  it  was  apparent  that  such  was 

'<  not  the  case,  the  excitable  Frenchman  suddenly 
leaped   up   in  front  of   the  cameras  roaring, 

1  "Stop!    Stop!    Eet  is  wrong!" 

Everyone  thought  he  was  crazy,  and  tried  to 

!  throw  the  madman  off  the  set.  But  he  stuck  to 
his  guns,  and  finally  found  a  Frenchman  who 

j  interpreted  his  comments  to  the  director.    Mr. 

!  Florey  was  told  to  set  things  right,  and  after  he 
did,  was  made  a  technical  adviser!     Ergo:  If 


you  stay  on  a  street  car  to  the  end  of  the  line, 
you're  bound  to  get- somewhere! 

I  like  to  go  places  with  Michael  Bartlett  be- 
cause when  we  dance  he  sings  in  my  ear  and  I 
get  a  hundred  thousand  dollars  worth  of  a  mil- 
lion-dollar voice  free  for  nothing!  I  also  like  to 
roam  with  Mike  on  account  of  becuz  he  knows 
everyone  in  the  world  and  said  folk  adore  him. 

The  night  we  went  to  the  formal  preview  of 
"Anna  Karenina"  we  had  us  a  special  evening. 
The  picture  was  lovely — ah,  but  my  heart  must 
remain  true  to  John  Gilbert  who  played  the 
role  opposite  Garbo  in  the  silent  version.  In 
the  lobby  we  bumped  into  Peter  Lorre  and  his 
missus  who  were  very  excited  at  seeing  their 
first  big  American  premiere  and  who  posed  for 
a  picture  with  us.  We  nearly  didn't  get  it 
taken,  though,  because  the  lady  Lorre,  who 
doesn't  know  about  such  things,  started  to 
walk  away  before  the  flashlight  went  off. 

We,  Mike  and  me,  decided  the  Trocadero 
was  the  place  to  go  afterwards,  and  whilst 
racing  to  the  parking  lot  for  the  car,  bumped 
spank  into  Claudette  Colbert.  (Michael  is 
playing  opposite  her  in  her  new  picture,  "She 
Married  Her  Boss.")  A  quick  greeting  took 
place,  after  which  we  leaped  into  the  go-cart, 
steered  through  hundreds  of  swanky  limou- 
sines, and  arrived  at  the  Troc. 

We  go  in!  We  danced!  We  laughed!  We 
had  fun,  and  Michael  sang  in  my  ear  and 
heaven  flitted  about.  Then  Charlie  Farrell, 
sitting  at  a  table  with  his  wife  and  Mary  Pick- 
ford,  hailed  Michael.  We  shoved  through  the 
mob  and  got  there.  Although  I  was  bumped 
in  the  fender,  and  my  four-and-a-half  double 
A's  were  trod  upon,  I  had  time  to  notice  that 
Mary  wore  a  pair  of  luxurious  diamond  and 
ruby  clips  and  that  her  smile  was  as  sweet  as  ever. 

I  also  met  Gladys  Swarthout,  the  lovely 
opera  star,  now  here  to  make  pictures,  and  I 


can't  remember  who  else,  as  it  went  on  and  on. 
But  I'd  rather  melt  into  Sire  Bartlett's  arms 
and  list  to  his  mi-mi-mi's  than  say  Howchado 
to  millions  of  people,  so  I  yanked  him  to  the 
floor  where  he  warbled  softly,  as  commanded, 
and  I  got  dreamy-orbed.  When  Mike  doesn't 
sing  I  like  him  to  smile.     He  has  dimples! 

Haven't  you  heard  that  "  Good  things  come 
in  small  packages"?  Seymour  Felix,  who  was 
general  producer  for  Florenz  Ziegfeld,  was 
titled  "The  King  of  Dance  Directors."  He  is 
no  elephant  for  size,  but  an  awful  biggie  when 
it  comes  to  arranging  the  light  fantastic.  His 
best  friend  is  Eddie  Cantor,  so  when  one  of 
Eddie's  dotters  had  a  birthday  recently, 
Felix's  two  pretty  girls  gave  her  a  party.  A 
costume  party,  very,  very  gala,  with  a  replica 
of  Miss  Cantor  in  costume  atop  the  big  birth- 
day cake!  But  one  look  at  the  houseful  of  six- 
teen-year-olds and  I  skooted  up  to  Mrs. 
Felix's  lovely  boudoir  to  do  a  bit  of  gabbing 
out  of  sight  of  the  wee  ones  whose  hoots  of 
merriment,  echoing  through  the  halls,  made 
me  feel  like  a  withered  hag! 

DUT  the  Missus  Felix  and  me  had  fun.  She 
'-'  told  me  wondrous  tales  of  this  one  and  that 
one.  I'm  still  chuckling  at  Cantor's  experience 
in  an  airplane  recently.  He  had  to  fly  East  with 
a  gent  who  was  scared  jittery  of  flying.  He  filled 
himself  with  Dutch  courage  and  Eddie  poured 
him  into  a  sky-wagon.  Half-way  across  the 
continent  a  terrifying  storm  arose  and  the 
plane  began  to  dip  perilously.  By  this  time, 
our  aforementioned  friend  was  loving  it,  but 
Eddie  was  in  a  panic,  and  screamed  to  the 
cock-eyed  one,  "Good  Lord!  The  plane  is 
going  to  be  dashed  to  the  ground  any  moment!" 
"Let  it!"  tee-heed  his  pal.  "It  ain't  ours!" 
Happy  Landings! 

MITZI 


Banished  Yesterdays 
and  Fearless  Tomorrows 
can  be  yours 


loday! 


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Beauty  imposes  only  one  condition  . . .  the  formulas 
and  the  ingredients  must  be  worthy  of  the  quest  .  .  . 
beauty  cannot  be  cheaply  gained  nor  cheaply  held  .  .  . 
and  no  cheapening  process  has  ever  been  permitted  to 
mar  the  purity  and  quality  of  Harriet  Hubbard  Ayer 
preparations  .  .  .  they  cannot  be  equalled  by  any  products 
that  cost  less  .  .  .  and  they  are  the  equal  in  benefits  of 
any  products  that  cost  more . . .  singly,  any  one  of  these 
fine  preparations  will  bring  new  bloom  to  your  com- 
plexion .  .  .  but  used  together,  as  a  treatment,  they  will 
give  you  an  abiding  sense  of  banished  yesterdays  and 
fearless  tomorrows  .  .  .  women  who  have  been  disap- 
pointed for  years  in  cosmetics  have  found  new 
beauty  and  new  hope    in  these  time-and-care  erasing 

preparations  .    .    .  So  ivill  you. 

95 


The  Secret  of  Bing  Crosbys  Greatness 


[  CONTINUED  FROM  PAGE  73 


foot  on  the  final  note;  or  answer  jibe  for  jibe 
in  a  string  of  repartee  for  which  the  crooning 
star  is  noted. 

Now  conduct  such  as  this  argues  control,  a 
certain  discipline  of  life,  and  such  a  discipline 
Bing  Crosby  practices,  it  may  be  without 
being  wholly  conscious  of  the  fact. 

He  is  not  supported  by  delusions  of  gran- 
deur, which  have  been  helpful  to  many  an  actor 
in  the  past. 

"That  voice  of  mine  has  plenty  of  gravel  in 
it,"  he  told  me  cheerfully.  "What  talent  I 
have  is  no  more  than  any  young  American 
with  an  ear  for  music  can  successfully  develop." 

Then  what  has  brought  him  to  the  position 
he  occupies — that  of  chief  crooner  to  the  vast 
motion  picture  audience?  To  a  fame  so 
widespread  that  it  is  possible  for  an  admirer  in 
Hot  Springs,  Arkansas,  to  send  a  postcard 
merely  addressed,  "Where  the  blue  of  the 
night — "  and  have  the  Hollywood  post  office 
deliver  it  to  Bing?  Which  happened  while  I 
was  at  the  studio. 

\  V /HAT  causes  movie  stars  to  rise  from  ob- 
^*  scurity — for  they  almost  invariably  do  so — 
to  become  the  darlings  of  the  world  audience 
for  motion  pictures?  And  don't  tell  me  it's 
luck. 

There  is  no  such  word  in  the  vocabulary  of 
those  who  have  been  making  a  study  of 
modern  psychology. 

But  what  about  the  breaks  that  so-and-so 
got? 

The  modern  psychologist  answers: 

"We  deliberately  choose  our  experiences. 
They  don't  just  happen  to  us." 

What  am  I  talking  about?  Why,  a  group  of 
psycho-analysts,  centered  in  Vienna,  headed 
by  Dr.  Alfred  Adler,  exponent  of  what  he  calls 
Individual  Psychology. 

This  may  sound  like  a  formidable  statement, 
but  their  discoveries-^and  truly  amazing  dis- 
coveries they  are — can  be  reduced  to  simple 
language. 

We  deliberately  choose  our  experiences,  they 
say,  and  we  begin  choosing  them  at  an  amaz- 
ingly early  age.  What  happens  to  us  before 
we're  five  years  old — and  how  we  meet  it — 
determines  our  character  for  the  rest  of  our 
lives. 

If  the  reader  happens  to  be  a  young  man 
with  what  he  believes  is  some  musical  talent — 
perhaps  it's  some  other  talent,  he  still  may 
profit  by  example;  even  if  it  happens  to  be  a 
young  woman  reading  this  article — these 
hard-headed  men  of  science  will  tell  you 
there's  a  simple  way  to  find  out  whether  you 
are  a  potential  Bing  Crosby. 

It  has  nothing  to  do  with  your  appearance 
or  your  present  situation  in  life.  It  may  be 
you  are  laboring  under  what  you  consider  a 
bad  handicap.  You  may  be  one  of  a  large 
family  with  older  brothers  and  sisters,  hogging 
everything,  you  think,  and  slapping  you  down 
at  every  opportunity.  If  so  you  are  in  the 
exact  position  to  learn  something  interesting 
about  your  future. 

So  come  along  and  we'll  take  a  peep  inside 
an  old-fashioned  American  home,  into  a  plain 
little  house  set  among  shade  trees  on  a  quiet 
street  in  Spokane,  Washington.  The  time  is 
summer,  about  1916.  It  is  the  home  of  Harry 
L.  Crosby,  good-natured,  harassed  white- 
collar  worker,  struggling  daily  at  his  job  as 

96 


auditor  to  support  his  wife  and  seven  children. 
And  immediately  we  should  be  introduced  to 
this  wife,  to  her  who  was  Catherine  Harrigan, 
for  the  young  man  at  the  piano — the  young 
man  who  receives  a  staggering  sum  of  money 
weekly  for  the  exercise  of  a  talent  that  he 
admits  is  in  no  way  exceptional — owes  his 
present  position  largely  to  her.  It's  common 
for  boys  to  say,  "I  owe  my  success  to  my 
mother."  But  I'm  not  speaking  now  of  early 
education  and  so  on,  but  of  maternal  influence 
as  students  of  the  individual  psychology 
understand  it. 

THE    child    just    emerging    from    infancy 

models  him  or  herself  on  one  or  the  other 
parent.  The  boy  who  clings  too  closely  to  his 
mother's  apron  strings  will  grow  into  the 
effeminate  type  who  is  greatly  handicapped 
in  later  life  because  of  being  different  from 
other  males,  yet  may  achieve  great  things, 
usually  in  the  arts.  The  boy  who  is  a  diminu- 
tive replica  of  his  father  is  unbalanced  on  this 
side. 

His  future  is  limited  by  his  entirely  mas- 
culine approach  to  life. 

You  would  conclude  that  the  ideal  is  a  com- 
promise, and  you  are  right.  Now — into  the 
house. 

"Bingo"  Crosby — the  nickname  derives 
from  childish  interest  in  a  now  defunct  comic 
sheet  called  the  Bingville  Bugle — is  alone  with 
his   mother. 

He  is  digging  his  diminutive  bathing  suit 
out  of  a  bureau  drawer,  reaching  for  his  straw 
sailor — preparing  to  leave  the  house,  supposed- 
ly for  the  swimming  pool  nearby  where  he  has 
a  job  as  locker  boy. 

Harry  Lillis  Crosby,  as  he  was  christened, 
is  the  third  boy  in  this  large  family.  Larry, 
Everett  and  Ted,  the  three  eldest,  also  work 
to  earn  their  way  through  school.  But  the 
little  Bingo  is  sandwiched  in  between  two 
sisters,  Catherine  and  Mary  Rose.  Bob,  the 
youngest  of  the  family,  is  only  a  baby  now. 
Too  young  to  compete  with  the  three  older 
boys,  Bing  has  been  made  the  butt  of  their 
childish  superiority  urges. 

COMETHING  in  his  manner  as  he  gets  ready 
^to  go  to  the  swimming  pool  catches  the 
sharp  eye  of  her  who  was  Catherine  Harrigan. 
She  knows  today  is  the  swimming  contest  for 
which  the  boy  has  been  practicing  all  Summer, 
and  she  knows  with  the  intuition  of  a  mother 
that  Bingo  is  going  to  duck  it. 

Yes,  the  inferiority  feeling  we  all  have  in 
early  childhood,  has  unexpectedly  cropped  up 
again  in  Bing.  He  knows  he  can't  outswim 
those  older  boys.  The  raucous  taunts  of 
Larry,  Everett  and  Ted  have  planted  a  doubt 
now  grown  during  a  sleepless  night  into  a 
horrible  certainty.  But  he  can't  tell  Mama 
Crosby.  It  was  her  idea  that  he  go  in  for 
athletics.  She  has  encouraged  him  all  Sum- 
mer while  he  trained  for  this  meet — and  she 
expects  her  son  to  do  his  best.  .  .  .  Well, 
he'll  just  take  his  swimming  suit  and  start  out 
as  usual — but  he'll  not  go  near  that  swimming 
pool  today. 

"Wait  a  minute,  son.    I'm  going  with  you." 

The  small  boy  turns  guiltily,  a  blush  man- 
tling his  freckled  face. 

"But,  mama — " 

"It's  all  right,  son.    Just  a  minute  till  I  get 


my  parasol.  I  might  as  well  take  my  knitting 
too,  I  guess." 

Equipped  with  parasol  and  knitting,  Mrs. 
Crosby  accompanied  her  offspring  to  the 
scene  of  his  great  boyhood  trial. 

Mrs.  Crosby  had  never  heard  the  phrase 
"inferiority  complex,"  but  she  knew  Bing  had 
to  lick  that  funk. 

That  afternoon  Bing  Crosby  swam  away 
with  the  meet. 

He  won  seven  medals. 

And  whenever  he  looked  up  at  the  bleachers 
between  events,  he  could  see  the  snapping  eyes 
and  approving  smile  of  his  mother  as  she 
made  the  knitting  needles  fly.  Mama's  boy 
won  the  meet  that  day  and  thereafter  never 
faltered  on  the  path  that  took  him  slowly  but 
in  regular  sequence  to  the  pinnacle  of  success 
on  which  he  is  perched  today  at  the  early  age 
of  thirty-one. 

Mrs.  Crosby  could  have  made  quite  a  dif- 
ferent character  out  of  the  son  whom  play- 
mates called  Mama's  boy.  Because  he  was 
too  young  for  the  other  boys  to  tolerate  in 
their  games  he  was  left  with  her.  She  could 
have  turned  young  Bing  into  a  sissy — and 
handicapped  him  for  life.  But  she  influenced 
him  in  the  other  direction,  in  athletics,  in 
competition  with  other  boys.  Bing  achieved 
the  ideal  compromise  of  character  I  spoke 
about — a  feminine  wit  and  understanding 
coupled  with  a  strong  masculine  outlook. 

DECAUSE  he  had  to  stand  for  the  childish 
^tyranny  of  older  brothers  he  learned  that 
mighty  virtue,  patience.  That's  why  he  sat 
at  the  piano  crooning  that  lyric  over  and  over 
when  something  happened  that  was  no  fault 
of  his — and  never  complained. 

And  because  of  the  struggle  with  his 
brothers  he  learned  to  adjust  himself  socially 
to  be  a  mixer. 

Everybody  justifiably  wants  to  succeed. 
Individual  psychologists  call  this  desire  the 
"goal  of  superiority." 

That  goal  was  early  fixed  in  the  right  di- 
rection for  Bing  Crosby,  thanks  to  maternal 
influence. 

It  was  threatened  by  the  bugaboo  of  the 
swimming  meet  and  again  the  mother  influence 
brought  the  boy  through.  Bing  took  up  the 
study  of  law  at  his  mother's  instigation.  In 
college  where  he  had  to  earn  his  way,  he  found 
out  there  was  money  in  a  jazz  band  and  that 
started  him  on  his  musical  career. 

Our  dreams  are  the  best  guide  to  what  our 
goal  of  superiority  may  be.  Dreams,  however 
disagreeable,  are  fulfillments  of  desire.  When 
they  are  disagreeable  they  have  been  censored 
by  our  own  mental  censor.  It  is  significant 
that  Bing  Crosby  says  he  dreams  but  little. 
That  is,  he  doesn't  remember  his  dreams. 

"I  can't  think  of  any  dream  that  recurs 
frequently,"  he  told  me  when  I  questioned 
him.  "Generally  I  dream  about  things  that 
have  transpired  during  the  day.  And  the 
dream  is  usually  influenced  by  my  physical 
condition." 

I  PRESSED  him  to  tell  me  more  about  his 
'  dream  life.  Then  in  answer  to  a  question 
about  the  last  dream  he  remembered,  Bing 
said: 

"The  last  dream  I  remember  was  about 
Henry  Ford.     I  was  talking  to  Mr.  Ford  and 


PHOTOPLAY   MAGAZINE   FOR  OCTOBER.    1935 


97 


his  son  Edsel.  What  about?  Crooning.  No, 
I  don't  remember  whether  Ford  liked  crooning 
or  not.  I  think  the  dream  was  caused  by  some- 
body on  the  set  telling  about  the  Ford  exhibit 
at  the  San  Diego  Exposition.  There  was  one 
curious  thing  about  this  dream.  Henry  Ford 
appeared  as  a  tall,  dark  individual.  I  know 
he's  light  and  rather  slightly  built." 

Xow  viewed  in  the  light  of  psycho-analysis 
this  is  a  dream  of  transferred  identity.  Strange 
as  it  may  seem  the  dreamer  identified  himself 
with  the  tall,  dark  individual  who  was  Henry 
Ford.  The  original  of  the  tall,  dark  man  was 
some  character,  a  teacher  perhaps,  admired 
at  some  time  by  the  juvenile  Bingo;  possibly, 
but  not  probably,  a  reflection  of  his  father. 
Bing  was  right  in  saying  the  dream  was  sug- 
gested by  somebody  mentioning  the  Ford 
exhibit  at  the  Fair.  But  that  was  only  an 
excuse  for  the  dreamer  to  identify  himself 
with  an  individual  who  in  a  way  is  the  very 
prototype  of  our  modern  American  civiliza- 
tion— America's  most  successful  man  in  the 
two  fields  most  admired  by  Americans: 
mechanics  and  finance. 

THUS  the  dream  is  a  guide  to  Bing's  superior- 
'  ity  desires.  Why.  you  might  imagine,  didn't 
he  dream  about  Caruso  and  identify  himself 
with  a  great  singer?  Because  he's  too  smart 
tf>  take  his  singing  over-seriously.  Bing  fairly 
bristles  when  you  ask  him  if  he  aspires  to 
light  opera. 

He  rightly  considers  the  question  an  insult 
to  his  intelligence. 

His  feet  are  on  the  ground. 

As  with  the  average  American  youth,  finan- 
cial success  means  a  great  deal  to  Bing 
Crosby.  As  for  radio,  pictures,  the  stage — 
he's  willing  to  quit  the  moment  he  thinks  the 
public  has  had  enough  of  him.  From  present 
indications  that  moment  is  far  removed,  but 
Bing  means  what  he  says. 

Individual  psychology  concerns  itself  with 
three  attitudes  of  the  individual — toward  so- 
ciety, toward  work,  toward  love.  I  believe 
we've  pretty  well  disposed  of  the  first  two  in 
Bing's  case. 

When  I  asked  him  what  first  attracted  him 
to  the  girl  he  married,  Bing  answered  without 
any  hesitation: 

"A  mutual  sense  of  humor." 

Friends  bear  out  this  assertion.  Dixie  Lee, 
the  young  actress  who  became  Mrs.  Bing 
Crosby  and  the  mother  of  three  young  Crosbys, 
has  the  same  sense  of  humor  as  her  husband, 
the  kind  we  call  wise-cracking.  Wit,  in  other 
words. 

This  is  generally  considered  an  Irish  heri- 
tage and  so  we  come  back  to  the  mother  in- 
fluence in  Bing  Crosby's  childhood.  Cather- 
ine Harrigan  was  a  high-spirited  young  woman 
possessed  of  a  sharp  Irish  wit  when  she  mar- 
ried Harry  Crosby,  descendant  of  the  Puritans 
who  came  to  these  shores  in  the  Mayflower. 
It  was  Catherine  who  ran  the  house.  She  ran 
the  family  and  the  easy-going,  hard-working 
Harry  gladly  submitted  to  her  guidance. 

THERE  is  no  physical  resemblance  between 
Dixie  Lee  and  the  girl  Harry  Crosby  married 
back  in  the  gay  nineties.  But  there  exists  a 
strong  mental  affinity.  The  spirit,  the  fighting 
qualities  and  the  sense  of  dignity  that  goes 
with  an  appreciation  of  an  individual's  im- 
portance are  evident  to  an  observer  in  both 
ladies. 

Bing  Crosby  is  utterly  lacking  in  what  the 
English  call  "side."  So  is  his  mother  and  so  is 
Dixie  Lee. 

You  can't  take  yourself  too  seriously  and 
have  a  sense  of  humor. 


YDUR  FACE-VALUE  GOES  UP 


.  D0ES1VT 
DWN 


-(!vCuCL 


rfhe  Charmed 'C/rc/e 


F  YOU  ARE  face-and-figure  minded  (and 
who  isn't?),  don't  let  "foot-fag"  mar  your 
charm.  For,  without  your  being  acutely 
aware  of  it,  that  little  feeling  of  foot  fatigue 
can  steal  away  your  freshness  and  vitality 
just  enough  to  keep  you  from  being  and 
looking  your  best.  Vitality  Shoes  will  go 
a  long  way  to  keep  your  face  radiant  and 
to  give  you  a  new  sense  of  buoyant  grace. 
The  secret  is  simply  proper  fit — Vitality 
Shoes  with  their  scientific  lasts  and  wide 
range  of  widths  and  sizes  simplify  that 
problem  for  you.  Just  as  their  strictly  style- 
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wear selection  to  perfection. 

VITALITY  SHOE  COMPANY '  ST-  LOUIS 

Division  of  International  Shoe  Company 


*/ VITALITY  Shoes 


•  When  you  wear  Vitality  Shoes  you 
walk  in  the  Charmed  Circle  of  Smart- 
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I      \                  f     )  SOMEWHAT  HIGHER 

KJ/ind  \J  IN  CANADA 

VITALITY 


'J3~e+S 


SIZES 


T  O     1    1 


WIDTHS      AAAAA       TO       EEE 


LADIES  prefer  brunettes.  And  one  of  the  favorite 
dark-and-handsome  heroes  in  Hollywood  is  Ches- 
ter Morris.  The  fact  that  Chet  is  a  happy  husband 
doesn't  still  fluttering    hearts  of  the  girls  out  front 


98 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER.   1935 


99 


Joan  Crawford 
Entertains 

[  CONTINUED  FROM  PACE  79  ] 

GREEN  PEAS  are  a  perfect  accompani- 
ment. Cook  them  slowly  for  twenty-five 
minutes  in  a  covered  heavy  vessel,  with  no 
water.  Instead,  use  half  ahead  of  lettuce.  Add 
a  bunch  of  green  onions,  cut  in  rounds.  The 
water  in  these  vegetables  cooks  and  flavors  the 
peas.  Add  a  teaspoon  of  sugar  and  salt.  When 
cooked,  add  half  a  pint  of  heavy  cream,  butter, 
and  serve.  These  are  delicious,  and  you  can 
leave  out  the  cream  for  every  day.  Once  you 
have  cooked  this  vegetable  this  way,  you  will 
always  want  to! 

For  salad,  Joan  prefers  a  mixture  of  plain 
green  vegetables.  French  endive,  if  it  is  in 
your  market,  watercress,  lettuce  and  chicory. 
With  a  plain  French  dressing.  Another  nice 
salad  for  a  squab  dinner,  is  sections  of  Man- 
darin oranges  (can  be  purchased  in  tins)  with 
lettuce  and  simple  dressing. 

The  nicest  dessert  you  can  serve  is  crepes 
Snzetle,  the  luscious  French  pancake.  And 
much  easier  to  accomplish  than  you  think. 
The  batter  consists  of  one  cup  of  Hour,  three 
well  beaten  eggs,  two  cups  of  milk,  one-half 
teaspoon  salt,  one  tablespoon  of  olive  cil,  the 
grated  rind  of  an  orange,  and  a  teaspoon  of 
sugar.  Mix  eggs  and  flour  first,  add  other  in- 
gredients. Have  your  griddle  hot,  pour  the 
batter  on  thinly  and  spread  evenly  by  turning 
the  griddle  until  the  surface  is  covered.  If  it  is 
a  large  griddle,  you  will  need  a  little  practice  to 
turn  such  a  large  pancake,  but  it  is  really  very 
simple.  When  baked  a  light  brown  on  both 
sides,  cut  the  cake  in  the  center,  to  make  two 
services.  Butter  lightly,  spread  with  currant 
jelly  (Bar  le  Due,  preferably),  roll  up,  and  dust 
with  powdered  sugar.  Pour  burning  brandy 
over,  and  serve  in  flames. 


Erroi  Flynn  and  Olivia  De  Haviland 
are  one  of  the  newest  and  most  at- 
tractive screen  teams.  You'll  see 
them  in  Warners'  "Captain  Blood" 


•  .without    rear 


ol      lip  stick-  par  chin£ 


IT'S  LOVE'S  BEST  FRIEND  .  .  .THIS  WISE  LITTLE  LIPSTICK 


Not  all  lipsticks  are  a  friend  to  romance. 

Some  put  on  color,  but  may  dry  and 
parch  that  tender  skin,  the  most  sensitive 
skin  of  your  face. 

And  men  just  don't  like  to  kiss  lips  rough 
as  crepe  paper!  Lips  that  invite  romance 
must  be  soft  and  sweet  and  smooth. 

Indelible — but  no  parching! 
How  to  avoid  Lipstick  Parching?  You  can 
.  .  .  with  Coty's  new  Lipstick — the  "Sub- 
Deb".  A  lipstick  that  gives  your  lips  tempt- 
ing, ardent  color . .  .but  without  any  parch- 


ing penalties.  It  is  truly  indelible  .  .  .  yet 
all  through  the  sixteen  hours  of  your  lip- 
stick day,  it  actually  smooths  and  softens 
your  lips.  It  contains  a  special  softening 
ingredient,  "Essence  of  Theobrom." 

Make  the  "Over-night"  experiment! 

If  you  wish  to  prove  to  yourself  that  Coty 
smooths  your  lips  to  loveliness,  make  this 
experiment.  Put  on  a  tiny  bit  of  lipstick 
before  you  go  to  bed.  In  the  morning  notice 
how  soft  your  lips  feel,  how  soft  they  look. 

Choose  Coty  "Sub-Deb"  Lipstick  in  any 
of  its  five  indelible  colors,  50c1.  And  there's 
Coty  "Sub-Deb"  Rouge,  also  SOi. 

A  revelation !  Coty  "Air  Spun"  Face 
Powder  .  .  with  a  new  tender  texture. 


DEB 


LIPSTICK 


50/ 


What  Love  Has  Done  for  Charlie  Chaplin 


CONTINUED  FROM  PAGE  29 


anywhere  much  even  with  his  tremendous  pub- 
licity and  prestige  behind  them.  Without  them 
they  didn't  seem  able  to  get  over;  no  other  di- 
rector seemed  to  be  able  to  get  from  them  the 
performances  that  Chaplin  had. 

Virginia  Cherrill's  blind  girl  in  "City 
Lights,"  in  particular,  was  a  beautifully  in- 
spired characterization  which  she  has  never 
since  even  remotely  approached.  Merna  Ken- 
nedy had  many  big  leading  roles  after  "The 
Circus" — the  biggest  of  them  in  the  ill-fated 
"  Broadway" — but  has  never  clicked.  Georgia 
Hale  is  living  quietly  in  a  little  Hollywood  bun- 
galow, scarcely  ever  even  heard  of  any  more. 

Three  outstanding  performances  followed  by 
as  many  let-downs  can  scarcely  be  coincidence. 
The  answer  is  simply  that  the  Trilbies  are 
adrift  without  their  Svengali — and  so  the  spark 
is  no  longer  there. 


Goddard's  career,  he  visualizes  it  as  the  be- 
ginning. 

The  film  will  be  Charlie's  first  talkie,  which 
he  will  write  and  direct,  but  in  which  he  will 
not  appear.  He  expects  to  start  it  within  a 
month  after  winding  up  the  present  comedy  of 
his  own,  which  is  a  quite  unheard  of  procedure 
for  Charlie.  It  is  all  because  of  his  enthusiasm 
for  Paulette — as  one  of  his  most  intimate  asso- 
ciates put  it,  "Charlie  is  all  pepped  up." 

\ V  /HEN  Charlie  was  making  "  City  Lights,"  it 
W  took  him  two  weeks  to  get  Virginia  Cherrill 
to  pick  up  a  rose  in  just  the  way  he  wanted  her 
to  do  it.  The  film  took  two  years  to  make  and 
cost  practically  two  million  dollars. 

The  present  picture  has  been  completed  in 
nine  months — a  record  for  Charlie.  He  is 
cutting  it  now,  and  has  only  150,000  feet  of 


Leo  Carrillo  donned  a  sombrero  to  entertain  his  distinguished  Mexican 
guests,  the  Governor  of  the  State  of  Sonora  and  Sheriff  Bissuliz.  The 
gentleman  on  the  end,  ordinary  hat  in  hand,  is  comedian  Fred  Stone 


Back  in  the  old  days,  as  a  fitting  climax  to 
Edna  Purviance's  career,  Charlie  Chaplin  made 
a  picture  called  "A  Woman  of  Paris."  He  made 
it  largely  in  tribute  to  Edna,  who  had  been  his 
leading  lady  steadily  since  the  Keystone  era; 
in  it,  under  Charlie's  direction,  Edna  climbed 
dramatic  heights  nobody  had  ever  dreamed  of 
for  her. 

Incidentally,  it  was  that  picture,  too,  which 
made  Adolphe  Menjou.  More  than  that,  it 
was  largely  that  picture  which  made  the  movies 
what  they  are  today. 

At  the  time  its  sophistication  and  technique 
were  almost  as  startling  an  innovation  as 
talkies  later  became.  Charlie  blazed  new  trails, 
and  the  other  producers  were  quick  to  follow 
him.  That  seems  to  be  a  long  way  from  Trilby, 
of  course — except  that  Charlie  now  contem- 
plates another  picture  which  he  anticipates  will 
be  an  even  greater  innovation  than  was  "A 
Woman  of  Paris." 

Only,  instead  of  being  the  climax  of  Paulette 


film — another  record.  He  says  that  the  sole 
reason  for  the  unheard-of  speed  and  the 
amazingly  small  footage  is  simply  that  Paulette 
is  so  much  easier  to  work  with,  so  much  more 
intelligent  to  take  direction  and  so  much  more 
naturally  talented  than  any  of  the  others. 

Charlies  believes  that  he  has  found  his  per- 
fect Trilby. 

Charlie  Chaplin's  working  method  is  pretty 
well  known.  He  does  everything.  He  writes 
the  story,  visualizes  the  sets,  picks  the  camera 
angles.  Nobody  can  help  him  because  nobody 
else  knows  what  he  wants.  He  rehearses  every 
scene  for  every  character,  playing  each  part 
exactly  as  he  wants  it  played. 

During  the  last  scenes  of  this  picture  one  of 
the  players  had  difficulty  getting  over  just  what 
Charlie  wanted.  Charlie  did  it  over  and  over 
again.     "Do  it  just  like  that,"  he  directed. 

"If  I  could  do  it  just  like  that,"  the  player 
remarked,  "I'd  be  Chaplin — but  I'll  do  it  as 
well  as  I  can." 


The  locale  of  the  picture  is  a  modern  city — 
Charlie  goes  to  work  in  a  factory,  with  a  lot  of 
machinery  for  gags  and  such.  Paulette  is  a 
gamin;  Charlie  gets  into  a  jam  with  the  cops 
to  save  her  from  being  arrested,  and  so  finds 
himself  in  jail.  There  is  a  jailbreak,  and 
Charlie  is  the  hero  who  prevents  it,  all  of 
course  unbeknownst  to  himself.  He  does  not 
get  the  girl  in  the  end  any  more  than  he  ever 
has  in  any  picture.  Charlie  knows  that  he 
can't  have  her  in  the  picture,  because  it  would 
ruin  the  pathos  of  the  character  he  always 
plays. 

That's  the  reason  that  character  has  never 
made  a  talkie,  either,  and  never  will.  How 
would  that  character  talk — with  a  mellifluous 
British  accent? 

But  although  Charlie  can  never  have  the  girl 
in  the  picture,  nevertheless  Paulette  Goddard 
is  having  a  tremendous  influence  in  his  life. 
She  is  directly  responsible  for  his  desire  to  star 
her  in  the  forthcoming  film,  and  so  may  be  in- 
directly responsible  for  whatever  innovations 
Charlie  says  he  will  bring  to  the  screen.  And 
although  his  present  comedy  is  his  biggest  pro- 
duction so  far,  he  promises  himself  that  her 
forthcoming  picture  shall  be  still  bigger. 

Perhaps,  for  the  time  being  anyhow,  it  is 
Charlie  who  is  the  Trilby. 

In  his  cutting-room,  patiently  going  over 
every  foot  of  film  he  has  taken  frame  by  frame 
— nobody  else  can  substitute  for  Charlie  here 
any  more  than  anywhere  else — he  has  seen  how 
each  of  his  leading  ladies  has  reacted  to  his 
Svengali.  The  saying  is  trite  but  true:  in 
Charlie's  case  genius,  besides  being  heaven- 
born,  is  that  infinite  capacity  of  his  for  taking 
pains. 

I IE  sees  over  again  every  take  of  every  scene, 

'  'and  Charlie  rarely  takes  a  scene  less  than 
twenty  times.  Often  as  many  as  a  hundred 
times.  His  patience  is  proverbial;  he  is  never 
in  a  hurry;  production  costs,  as  far  as  Charlie 
is  concerned,  can  go  on  and  on  forever  .  .  .  he 
is  paying  them.  He  makes  pictures  for  the 
sake  of  the  pictures  themselves,  not  to  a  budget 
or  release  schedule.  That  is  why  "  City  Lights" 
made  him  six  million  dollars — net. 

What  he  sees  now  gets  him  all  excited.  He 
rushes  out  of  the  cutting-room  door  with  a 
strip  of  film  in  his  hand.  He  conceived  that 
scene,  directed  it,  but  it  hits  him  anew. 

"I  say,  look  at  this!    Isn't  she  superb!" 

He  buttonholes  the  first  of  his  staff  whom  he 
meets  and  holds  up  the  strip  of  film.  They  go 
back  into  the  cuttingroom;  an  hour,  perhaps, 
and  the  other  man  comes  out.  But  Charlie 
stays  far  into  the  night,  meals,  everything  else 
forgotten.  Paulette  goes  in,  and  they  look  at 
the  film  together.  Paulette  grows  tired,  goes 
home.    Charlie  is  still  there  the  next  morning. 

For  the  first  time  in  several  years  Charlie 
really  wants  to  work.  Feels  like  working. 
Wants  to  create  something  for  the  sheer  joy  of 
creating  and  for  the  sweet  pleasure  of  having 
some  one  to  show  it  to,  to  do  it  for.  Charlie 
had  been  getting  a  bit  bored,  a  bit  blase.  It 
had  been  a  long  time  between  pictures  because 
he  didn't  feel  the  urge  to  do  anything  much. 
Had  nobody  to  work  for,  no  inspiration  to  work 
with.    An  idea  just  wouldn't  come. 

Another  picture  only  a  month  from  the  last 
one? 

Charlie  had  never  done  anything  like  that 
until  Paulette  came  along. 


100 


PHOTOPLAY  MAGAZINE   FOR  OCTOBER,    1935 


101 


What  is  it  that  Charlie  has  which  enables 
him  to  get  from  his  leading  women  perform- 
ances that  other  directors  can  never  get  after 
they  have  left  him?  What  is  it  that  enables 
them  to  feel  what  Charlie  wants,  actually  to 
portray  it  as  he  wants  it  portrayed,  when  they 
can't  do  it  for  anybody  else? 

As  well  ask  why  is  the  sky  so  high  or  the 
ocean   so    blue — because   that's   the   answer. 

It  must  be  just  that  same  instinct  that  makes 
him  what  he  is — that  truly  God-given  instinct 
to  understand  human  nature  even  while  he 
stands  aloof  from  it — or  did.  He  doesn't  so 
much  any  more.  He  used  to  wander  aimlessly 
about  like  a  lost  soul,  wander  pointlessly  about 
in  that  vast  mansion  of  his,  going  from  room  to 
room  and  doing  this  and  that  for  no  earthly 
reason;  going  always  to  night-clubs  by  himself, 
wandering  along  Main  Street  or  the  Boulevard 
by  himself,  drifting  here  and  there.  .  .  . 

But  Paulette  has  changed  all  that,  too.  Now 
she  goes  with  Charlie  to  the  night  clubs,  and 
instead  of  just  sitting  there  as  he  used  to  do, 
merely  looking  on,  he  seems  to  enjoy  himself 
as  thoroughly  as  any  young  college  kid.  He 
has  bought  a  little  boat  and  goes  fishing — has 
cruised  up  the  coast  as  far  as  Santa  Cruz, 
though  he  goes  usually  to  Catalina.  Charlie 
seems  to  have  found  a  completely  new  zest  in 
life,  as  though  his  spirit  has  been  rejuvenated. 

He's  still  on  the  same  pedestal  he  always 
was,  but  there's  somebody  there  with  him. 
Being  a  genius  has  always  been  a  lonesome 
business  for  Charlie,  but  Charlie  isn't  lonesome 
any  more.  And  although  as  always  his  work 
remains  his  absorbing  interest,  now  he  has 
some  one  whom  he  feels  can  share  it  with  him, 
can  understand  and  sympathize  with  what  he 
is  trying  to  do  more  than  anybody  else  ever  has. 

Maybe  Sveugali  has  hypnotized  himself  this 
time — you  never  know. 


Phillips  Holmes,  back  in  movie- 
town  after  a  sojourn  in  England, 
escorts  his  pretty  young  sister  to 
a   welcome-home   Hollywood   party 


Kathcrine  DeMille,  feat- 
ured in  "The  Crusades," 
•elects  t  silver  Armor 
Mesh  collar  with  matching 
baj. 


FROM  0ut4adma > *M.en-a£o4-zm£ 

i 

METAL  MESH 


/~S\i/§/l/j  i.     Ti/lf7    i  //~hs~i  M  M S>  From    the    hand-wrought    metal 
COP  l&  lyQatdC  armor  mesh  of  warrior  Crusaders 

J  springs  the  motif  of  these  ultra- 

smart     accessories    in     METAL 
MESH  by  Whiting  &  Davis. 


In  distinctively  designed  Mesh 
Bags  for  day  or  evening  wear,  in 
collars,  belts,  gauntlets,  capes 
and  even  in  shoes  and  caps, 
Whiting  &  Davis  METAL 
MESH  adds  to  the  fall  costume 
these  individual  touches  of  gleam- 
ing metal  which  win  Fashion's  ap- 
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showing  many  styles,  sets,  and 
the  latest  in  trimmings  of 
METAL  MESH. 


MADE  IN 


THE  U.S.A. 


No ve  Ity  Roll- Top 
Mesh  Bog  created  by 
Whiting  &  Davis' 
Paris  Designers. 


WHITING     &    DAVIS     COMPANY 


Plainville  (Norfolk  County)  Mass. 

NEW  YORK:  366  Fifth  Avenue;    CHICAGO;  C.  C.  Whiting,  31  No.  State  St. 

"HAND    IN    HAND    WITH    FASHION" 


Know  Luise  Rainer 


CONTINUED  FkOM  PAGE  44 


bothered  to  tag  her  as  much  of  anything  when 
she  first  arrived,  except,  of  course,  Messrs. 
Ritchie,  LeMaire  and  Brown  who  had  marked 
her  tremendous  talent  in  Pirandello's  "Six 
Characters  in  Search  of  an  Author." 

Her  status  to  practically  everyone  else  was 
something  like  "x,"  the  unknown  quantity,  be- 
cause she  certainly  didn't  look  like  anything 
worth  labeling  "dangerous." 

I  remember  seeing  her,  months  ago,  sitting 
self-consciously  in  an  office  at  M-G-M,  looking 
very  much  like  a  stenographer  about  to  ask  for 
a  job.  She  was  being  utterly  miserable  parting 
with  the  facts  of  her  life  history. 

"That's  Luise  Rainer,"  someone  said,  "the 
new  actress  from  Vienna.  She's  going  to  be 
something.    You  ought  to  write  about  her." 

I  PEERED  again  and  she  quickly  turned  her 
'  face.  Her  hair  was  down  over  her  eyes  like 
the  tassels  of  a  curtain.  A  few  faint  freckles 
saddled  her  perky  nose.  I  didn't  see  the  eyes — 
those  eyes. 

"So?"  I  said  politely,  "interesting — very 
interesting."  What  I  meant  was  that  I  wasn't 
interested.  And  that  was  all  right  with  Luise, 
I'm  sure. 

This  little  wonder  girl  from  Vienna  has, 
frankly,  sneaked  right  up  on  Hollywood,  under 
its  very  nose  which  she  has  seen  fit  to  tweak 
delightfully  in  the  very  first  picture  she  ever 
made  in  her  life. 

She  came — and  she  vanished  (which  is  great 
for  the  "  Going  Garbo"  game  now)  to  a  remote 
house  in  Santa  Monica  Canyon  where  she  still 
lives  alone  save  for  two  servants,  a  Scotch 
terrier  named  Johnny,  who  growls  unless  ad- 
dressed in  German,  and  one  of  those  musical 
contraptions  which  plays  records  all  day  long 
if  you  let  it. 

There  for  months,  while  the  busybodies  for- 
got about  her,  she  walked  up  and  down  in  the 
rambling  garden  as  the  long  winded  phono- 
graph ground  out  the  strains  of  Beethoven,  her 
musical  god.  It  seems  she  used  to  tread  a  cer- 
tain tree-lined  lane  in  a  Vienna  park  where  the 
composer  had  heard  his  immortal  symphonies 
through  the  boughs,  and  this  synthetic  Cali- 
fornia lane  helped  her,  no  doubt,  to  rise  above 
the  tedious  task  of  learning  English,  which  had 
been  started  on  the  boat  over,  but  which 
hadn't  flourished  so  well  in  the  throes  of  mal 
de  mer  or  under  a  Harlem  moon. 

In  fact,  this  learning  English  was  the  big 
bete  noir  she  had  to  whip.  A  liberal  education 
in  some  seven  European  schools  for  some  rea- 
son had  skipped  it. 

So  from  the  very  minute  she  arrived  until 
Myrna  Loy  took  an  unexpected  powder  on 
"Escapade"  Luise  plugged  at  it  with  various 
and  sundry  tutors. 

A  LL  the  while,  Luise  shunned  the  studio  like 
*  poison — to  all  appearances.  They  had  to  call 
her  at  least  three  times  to  persuade  her  to  come 
on  the  lot. 

The  secret  of  her  shyness,  in  this  respect, 
she  confessed  to  a  friend,  was  that  she  knew 
the  longer  she  stayed  away  the  more  notice- 
able her  improvement  in  English  would  be 
each  time  she  did  show  up! 

On  the  sly,  however,  she  invaded  the  lot  and 
crept  mouselike  into  sound  mixing  booths  and 
into  the  dark  shadows  of  sound  stages,  getting 
a  wise  eyeful  of  how  it  was  done.    Her  visits 

102 


presented  the  inevitable  picture  of  a  glossy  bob 
flying  in  wisps  in  front  of  her  tanned  face  above 
a  queer  little  tailored  jacket,  hardly  in  the 
Hollywood  mode. 

This  worried  a  certain  gentleman  at  M-G-M. 

"You  should  dress  up  more,"  he  hinted. 

Luise  took  this  in  stride.  "For  my  lover, 
yes,"  she  admitted,  "for  my  producer — no." 
And  that  was  that. 

It  was  a  surprise  for  everyone  when  she  was 
picked  to  pinch  hit  for  the  runaway  Miss  Loy 
in  "Escapade,"  despite  the  fact  that  Luise  had 
played  the  role  on  the  stage  in  Europe.  You 
see,  most  everyone  had  forgot  about  her  even 
being  here,  and  the  few  that  remembered  had 
no  idea  her  English  was  anywhere  near  ready 
to  record. 

So  one  big  surprise  was  the  test  which'rushed 
her  right  into  the  co-starring  part  with  Bill 
Powell. 

But  the  biggest  surprise  was  Rainer  herself, 
about  whom,  as  you  might  have  gathered,  the 
sum  of  all  Hollywood  knowledge  added  up  to 
practically  nothing. 


Benito  Hume  and  Edmund  Lowe 
agree  it's  been  a  pleasant  evening. 
They  were  caught  by  the  camera 
just    as    they    left    the    Trocadero 


She  surprised  the  natives  by  flashing  a  dy- 
namic, tomboyish  personality,  capricious  and 
humorously  naive  one  minute;  solemn,  so- 
phisticated and  stunningly  inspired  the  next. 

Her  little  turned-up  nose  with  its  powdering 
of  freckles  was  into  everything.  She  wanted  to 
ride  on  the  rubber-tired  camera  dolly.  She 
twisted  her  sturdy  little  body  and  threw  her 
firm,  slim  legs  in  mad  tap  dances  to  the  phono- 
graph arias  of  Cab  Calloway  and  the  Mills 
Brothers,  for  whose  "hi-de-hoes,"  oddly  enough 
she  developed  a  mad  passion.  One  particularly 
she  demanded,  "the  one  about  why  Miss  Otis 
cannot  go  to  dinner." 

CHE  ran  away  to  haunt  the  set  where  Ted 
^Lewis  was  sobbing  on  his  clarinet,  regarding 
him  in  wide-eyed  wonder.  "He  plays  loose 
music,"  she  explained. 


She  made  bosom  friends  of  Charles  Laugh- 
ton,  Peter  Lorre  and  Lillian,  the  make-up 
woman,  under  whose  ministrations  she  would 
fidget  until  that  worthy  threw  up  her  hands 
and  threatened. 

"If  you  don't  be  good,  Miss  Rainer,  I'm  go- 
ing to  quit  and  go." 

She  had  a  way  about  her  that  immediately 
won  the  hearts  of  everyone  around  her,  and  she 
kept  them  all  in  convulsive  stitches  with  her 
earnest  but  often  comic  attempts  at  colloquial 
English.  The  day,  for  instance  when  she  ar-t 
rived  whirling  on  the  set  in  a  bubble  of  excite- 
ment. 

She  had  seen  a  snake  in  her  garden. 

"It  had  a  doorbell  on  the  tail,"  she  said. 
That  didn't  get  over,  so  she  ran  around  the 
stage  going  "b-z-z-z — b-z-z-z."  Yes — it  was 
a  rattlesnake. 

And  at  the  cocktail  party  which  Bill  Powell 
cooked  up  on  the  set  the  last  day  of  the  picture, 
Robert  Leonard,  the  director,  thinking  to  have 
his  little  joke,  said  jovially,  "Well,  Luise,  it's 
too  bad — just  too  bad  that  your  part  of  the 
picture  had  to  land  on  the  cutting  room  floor." 

Whereupon  Luise  raised  sad  eyes  mourn- 
fully and  reproached: 

"Do  not  say  such  things." 

The  same  Leonard,  doubtless  unaware  of  the 
international  significance  of  his  act,  introduced 
her  to  the  mysteries  of  apple  pie  one  day  in  the 
commissary. 

From  then  on  she  ate  practically  nothing 
else  except  the  bars  of  Dutch  chocolate  which 
her  mother  forwards  in  great  bundles.  Leonard 
had  no  idea  he  was  founding  a  gastronomic 
bond  between  America  and  Austria.  For 
Luise  immediately  secured  the  recipe  and 
had  her  mother  distribute  it  among  all  her 
friends  in  Vienna  and  Diisseldorf,  where  her 
father,  a  wealthy  merchant  before  the  De- 
pression got  him,  and  her  family  still  live. 

The  Rainer  nature  is  such  that  when  she  goes 
in  for  anything  there  are  no  half  measures,  and 
no  compromise  with  time. 

Someone,  observing  the  apple  pie  and  choc- 
olate diet,  told  her  she  was  getting  fat.  Even 
though  the  scales  told  her  that  her  five  feet 
weighed  only  a  little  over  a  hundred  pounds 
still  she  worried. 

Donald  Loomis,  physical  conditioner  at 
M-G-M,  was  called  in. 

"How  quick  you  make  me  thin?"  asked 
Rainer. 

I    OOMIS  said  he  thought  some  weight  ought 
'—to  vanish  in  about  six  treatments. 

"Good,"  was  her  answer,  "I  take  them  all 
right  now!" 

Her  moods,  volatile  and  spontaneous,  can 
change  in  an  instant.  From  an  eager,  bubbling 
child  she  can  become  a  serious  artist  with  the 
weight  of  the  world  on  her  slender  shoulders.  \ 
A  few  bars  of  the  inevitable  Beethoven  on  a 
portable  phonograph  does  it.  Rainer  lives  in  a 
world  of  music.  If  the  repeater  phonograph 
isn't  playing  she's  playing  the  piano.  On  the 
set  she  snaps  on  a  record,  sits  and  listens  a 
moment,  snaps  it  off  and  walks  right  into  her 
scenes  in  the  perfect  mood,  no  matter  if  she 
has  been  flinging  her  feet  to  a  jazz  band  the  ! 
minute  before. 

Bill  Powell,  Robert  Leonard  and  everyone 
who  was  in  on  the  first  demonstration  has  been 
walking   about  shouting   the   praises   of   this 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


strange  little  exotic  as  a  valid,  gifted,  job- 
understanding  actress. 

Personally,  too,  beneath  the  theatrical 
masque  and  the  elfin  exterior,  lives  a  very  deep 
thinking,  elemental  person.  In  her  way  she's 
deeply  religious. 

One  of  her  closest  friends  is  Krishnamurti, 
the  Hindu   messiah. 

I  don't  know  whether  or  not  his  teachings 
have  had  any  effect  on  her  philosophy,  but 
she  believes  devoutly  in  several  things,  and 
she  orders  her  life  by  her  beliefs. 

CHE  believes  in  living  very  close  to  nature, 
^for  one  thing.  The  first  ones  to  talk  to  her 
discovered,  to  their  astonishment,  that  in  the 
few  months  she  has  been  here  she  has  taken 
in  practically  all  of  the  sights  of  California — 
all  by  herself. 

Right  after  "Escapade"  was  completed, 
Luise  told  her  maid  she  would  be  gone  "about 
an  hour"  and  rolled  away  in  her  little  Ford 
roadster.  She  had  fifteen  dollars  in  the  pockets 
of  her  little  jacket,  but  she  didn't  let  that  stop 
her. 

She  stayed  away  five  days,  during  which 
she  penetrated  Mexico  to  the  little  town  of 
Ensenada,  sleeping  in  rural  inns  and  eating 
fifteen  and  twenty-cent  meals.  She  took  up 
with  some  picknickers  for  one  day's  outing, 
stopped  back  by  the  World's  Fair  in  San  Diego, 
which  she  thoroughly  investigated,  and  arrivec 
home  broke  but  happy,  lugging  a  seat  full  of 
souvenirs  and  samples,  wildflowers  and  rocks. 

She's  just  home  now  from  another  roadster 
tour  through  the  Northwest  and  Canada. 

You  look  in  vain  to  the  background  for  the 
why  of  Luise  Rainer's  genius  or  her  personality. 
She  was  merely  the  daughter  of  a  middle  class 
European,  who  migrated  from  Mexico  to  Aus- 
tria and  became  a  wealthy  merchant.  There 
were  no  artists  in  her  family  and  she  had  never 
read  a  dramatic  line  until  the  day  when  she 
walked  into  the  small  theater  of  Luise  Dumont 
near  her  beer-and-schnitzel  sounding  home- 
town of  Diisseldorf  and  after  a  half  hour's  study 
gave  a  scene  so  well  that  she  won  a  part. 

All  of  this  was  at  the  age  of  sixteen  years, 
when  the  family  wealth  vanished.  There  is 
little  to  account  for  the  spark  of  her  brilliance 
except,  as  Bill  Powell  guesses,  "It  started  be- 
fore she  was  born." 

Somewhere,  and  not  so  far  back,  a  love 
tragedy  clouded  Luise  Rainer's  life.  She 
doesn't  speak  of  it,  and  no  one  knows  much 
except  that  he  was  killed  in  an  accident.  But 
the  tragedy  hasn't  clouded  her  outlook,  for  she 
believes  in  the  immortality  of  the  mind  and 
of  love. 

Also  she  believes  in  the  power  within  herself 
to  do  anything  she  wants  and  be  anything  she 
desires. 

HERHAPS  that  accounts  for  the  extreme 
'  capable  confidence  which  Europe  labelled 
"prodigy"  six  years  ago  and  which  Hollywood 
terms  "talent"  today.  Perhaps  that  is  why 
Luise  could  walk,  when  she  had  to,  into  that 
small  theater  and  make  it  lead  her  upon  a 
career  through  Shakespeare,  Ibsen,  Pirandello, 
on  to  Max  Reinhardt's  theater  and  then  to 
Hollywood. 

Perhaps  that's  why  this  little  twenty-two- 
year-old  Viennese  extraordinaire,  who  is  the 
screen's  current  sensation,  can  smile  her 
sweetly  mischievous  mouth  into  apple  dump- 
ling cheeks  and  puff  her  bangs  with  a  chuckle 
when  she  hears  the  cry  that  haunted  Dietrich 
and  many  another  invader  from  across  the  seas 
— "imitating  Garbo." 

She  knows  herself — and  she  knows  better 
than  that. 


Don't  Try  to  Explain  Warren  William 


[  CONTINUED  FROM  PAGE  37  ] 


about  this  man  who's  seldom  mentioned  by 
the  press.  On  the  contrary,  he  is  sincerely  fond 
of  people,  interested  in  their  ideas  and  prob- 
lems. And  although  inefficient  at  strutting, 
he  is  one  stay-at-home  who  is  pleased  with 
company. 

Twenty  miles  from  Hollywood  is  the  house 
which  he  recently  bought  and  remodelled 
beautifully,  imaginatively.  Its  charming 
cheerfulness  speaks  volumes,  if  he  doesn't. 
His  lovely  gardens,  a  riot  of  shade  trees  and 
flowering  plants  on  rolling  ground  bisected  by 
a  brooklet,  resound  with  the  gay  laughter  of 
his  guests.  The  picturesque  swimming  pool 
and  model  tennis  court  are  there  for  him  to 
share. 

Nor  is  a  ban  placed  on  the  Hollywood 
scribblers.  A  number  of  them  are  frequent 
visitors,  sipping  delightful  cocktails,  enjoying 
his  and  Helen's  genuine  hospitality.  But  much 
as  they  want  to  reciprocate  a  bit  by  giving  him 
some  publicity  breaks,  they  cannot.  Warren 
can  talk  well  on  all  but  personal  subjects. 

/^""^N  Broadway  he  made  his  first  real  hit  in  a 
^-'show  in  which  he  sang  "Express  Yourself, 
My  Boy!"  In  Hollywood  he  has  never  been 
asked  to  croon  a  tune,  but  repeatedly  he's  been 
begged  to  trot  himself  out  on  display.  When 
Helen  recalls  the  theme  of  that  early  song 
Warren  replies  that  he  was  merely  acting — so 
isn't  bound  to  accept  his  own  advice. 

There  is  a  great  deal  he  could  find  to  chat 
about  if  he  ever  chose  to  prod  himself  into 
probing  his  own  mind. 

Love  is  the  pet  space-grabbing  slant  for  the 
stars.  Exceptionally  handsome,  Warren  is  the 
recipient  of  many  ardent  letters  from  women 
who  sense  that  an  amazing  tenderness  lurks 
not  far  below  the  surface  of  his  urbane  manner. 
He  is  the  type  who  might  profitably  play  up  the 
sophisticated  lover  line.  And  he  could  paint 
a  glamorous  tale  of  his  own  love  story — if  he 
were  a  man  given  to  disentangling  his 
emotions. 

His  and  Helen's  ideal  union  had  a  strange 
beginning.  Fate  seemed  to  be  testing,  toying 
with  them. 

She  fell  in  love  with  a  photograph  of  him. 
She  saw  it  in  his  sister's  apartment.  Sub- 
sequently, she  was  blue  because  the  first  two 
opportunities  she  had  of  meeting  Warren  were 
muffed  by  sudden  illness  on  her  part.  A 
wealthy,  muchly-traveled  parentless  girl, 
Helen  was  horribly  shy.  She  had  gone  to  New 
York  City  to  become  an  actress.  But,  in  spite 
of  possessing  a  tremendous  affection  for  the 
stage,  she  was  too  timid  to  attempt  the 
struggle. 

But  she  was  determined  to  arrange  to  meet 
the  original  of  that  picture,  however!  She 
moved  into  the  building  where  Warren's  elder 
sister  lived  and  became  close  friends  with  her. 
Warren  was  then  at  Camp  Dix,  waiting  to  be 
sent  overseas  for  war  duty.  Bound  to  know 
him,  Helen  succeeded  on  the  third  try.  She 
tagged  along  when  his  sister  went  to  see  him 
at  camp. 

After  hours  of  delay,  Warren  sauntered  into 
the  room  where  they  waited.  His  sister  was 
angry  at  his  nonchalance,  but  he  proffered  no 
excuse.  He  tranquilly  sat  and  said  about  four 
words.     But  he  sat  alongside  Helen! 

When  they  finally  rose  to  go  he  declared 
he'd    accompany    them    to    the    train.      He 


climbed  aboard,  too.  His  sister  was  horrified 
when  he  made  no  move  to  get  off.  Casually 
lie  returned  to  the  city  with  them.  Again  he 
slid  into  the  seat  by  Helen.  And  that  evening 
he  dated  her.  Early  the  next  morning  she 
awoke  to  get  a  special  delivery  note  which  he'd 
dashed  off  the  minute  he'd  arrived  back  at 
camp.    He  would  be  in  again  shortly. 

Never  having  shown  any  special  concern  for 
girls,  he  fell  instantly  for  this  one.  That  first 
evening  together  they'd  gone  to  an  Italian 
restaurant  in  Greenwich  Village,  with  his 
sister  and  her  beau.  When  Helen  had  to  reach 
across  the  table,  Warren  stooped  and  kissed 
the  back  of  her  neck.  His  astonished  sister 
commented  next  day,  "Well,  he  isn't  as  slow 
and  backward  as  I  thought!" 

Fate  threw  in  an  influenza  epidemic  to  keep 
them  apart.  Camp  Dix  was  quarantined  and 
Warren  was  stuck  there.  So  he  wrote  her 
every  day  without  fail.  Finally  it  was  over 
and  he  advised  her  he  was  borrowing  a  motor- 
cycle on  which  to  ride  into  the  city.  Helen, 
her  head  in  a  whirl,  waited  for  hours  that 
night.  He  never  came.  Quarantine  had  been 
slammed  down  again. 

Then  a  year's  parting  was  given  them  to 
triumph  over.  Warren  had  to  sail  for  France 
without  a  chance  to  tell  her  good-bye.  But 
the  letters  continued,  and  they  were  thrilling 
billet-doux  that  came  from  somewhere  in 
Flanders.  He  composed  poetry  to  her,  too. 
Lovely  it  was,  she  remembers.  Today,  Warren 
gasps,  "Good  Lord,  don't  ever  admit  that!" 

In  the  Spring  of  1919  he  was  sent  home  to 
America.  The  ship  didn't  dock  at  New  York 
and  he'd  written  Helen  that  he'd  spend  a 
month  with  his  family  in  Minnesota  before 
returning  to  the  city.  He  stayed  twenty-four 
hours  in  the  Mid-West  and  then  tore  East. 

I I E  had  studied  to  be  an  actor.   Warren's 

■  'father  was  a  newspaperman,  puzzled  as  to 
what  to  do  with  his  only  son.  When  high 
school  plays  revealed  a  talent  for  acting,  the 
family  decided  that  the  theater  probably  was 
the  best  bet  for  the  dreamer.  So  he  was  shipped 
off  to  New  York's  finest  dramatic  academy. 

Totally  different  from  the  Bohemian  kind 
who  usually  is  fascinated  by  the  artificiality  of 
the  stage,  Warren  never  had  any  Barrymore 
or  Mertonish  characteristics.  He  was,  instead, 
an  inconspicuous,  painstaking  scholar,  enjoy- 
ing the  profession  selected  for  him  because  he 
could  carefully  create  characterization.  He 
comprehended  what  a  vast  art  it  really  was. 
The  two  year  course  wound  up  just  as  war 
broke. 

So  now,  the  ghastly  foreign  interlude  over, 
he  emerged  from  it  comparatively  unaffected 
to  seek  his  first  job.  He  joined  Equity  and  was 
sunk  when  they  called  a  general  strike.  The 
only  thing  looming  on  a  dark  horizon  was  a 
road  show.  Appropriately  for  his  mood,  the 
title  of  the  drama  in  which  he  thereupon  went 
barnstorming  was  "I  Love  You."  He  thought 
not  of  the  play,  but  the  girl  he'd  left  behind 
him. 

The  tiny,  ultra-feminine  Helen  captivated 
him.    But  his  courtship  was  shy. 

Returning  from  the  road,  he  sampled  films, 
portraying  a  half-witted  carpenter  in  one  epic 
and  heroing  for  Pearl  White  in  a  serial.  Next 
he  went  out  on  the  road  again,  but  this  time 
with  Ruth  Chatterton  in  "La  Tendresse.  ' 


When  that  closed  he  couldn't  delay  any  more. 
Helen  and  Warren  were  dining  in  her  apart- 
ment when  he  proposed.  It  wasn't  flowery. 
Indeed,  he  wondered  why  she'd  want  to  marry 
a  fellow  like  him. 

His  sister  had  warned  Helen  that  he'd  be  a 
terrible  husband.  So  complex,  inclined  to  be 
stubborn,  indifferent  to  many  ordinary  in- 
clinations! And  Helen  had  replied  that  she 
hadn't  the  faintest  intention  of  matrimony. 
So  she  said  yes  quickly  and  there  was  a  secret 
ceremony  at  an  Episcopal  Church  and  a  honey- 
moon at  Atlantic  City — before  they  let  anyone 
else  in  on  their  news. 

Followed  Summer,  hot  and  jobless.  With 
nothing  in  sight,  Warren  resolved  to  try  Holly- 
wood. They  separated  tearfully  and  for  three 
months  he  sought  in  vain  for  a  movie  tumble 
in  California.  There  wasn't  a  solitary  bid,  so 
he  returned  to  New  York. 

/^^\NE  memorable  day  a  little  theater  group 
^ —  offered  him  a  role.  Warren  was  supposed  to 
be  a  member  of  Parliament.  He  stuffed  him- 
self with  a  pillow  and  orated  so  nobly  that  he 
won  huzzahs.  Somehow  too  dignified  to  be  a 
regulation  juvenile,  he  next  was  the  ultimate 
choice  for  the  young  lover  in  Rachel  Crothers' 
"Expressing  Willie."  From  then  on  he  was 
set.  Continued  good  luck  on  Broadway  and, 
going  to  the  Coast  for  "The  Vinegar  Tree" 
with  Mary  Boland,  he  was  seized  by  the 
studios. 

Many  a  happily  married  actor  starts  step- 
ping after  Hollywood  has  showered  fame  upon 
him.  But  there's  never  been  a  when-ladies- 
meet  climax  in  this  star's  private  life.  Sixteen 
years  have  sped  by  since  the  runaway  wedding 
and  no  other  woman  has  ever  romantically 
sidetracked  him.  Of  course,  he  might  dis- 
course on  how  he's  avoided  passion's  pitfalls. 
Only  he  doesn't  speculate  on  bridges  he  hasn't 
crossed. 

Helen,  meanwhile,  has  buried  her  own  am- 
bition in  his  success.  She  insists  she  has  over- 
come her  old  shyness,  deliberately,  so  that  she 
and  her  husband  will  not  be  imposed  upon. 
She  tags  Warren  as  "almost  stupidly  honor- 
able" at  times.  He  hates  to  argue  and  fight 
for  his  rights.  In  Hollywood  she  feels  those 
who  fling  reserve  to  the  winds  go  farthest. 

Still,  Warren  is  perfectly  satisfied  as  is.  He 
can't  exploit  his  emotions;  in  fact,  he  would  be 
miserable  if  he  were  a  puppet  on  continual 
promenade.  He  says  thanks  but  he'll  take 
Hollywood  his  way. 

The  only  complaint  he  can  be  induced  to 
register  is  about  roles.  Idealism  burns  as 
brightly  as  of  yore,  and  he  longs  for  a  crack  at 
film  characters  of  depth  and  importance. 

I IE  has  never  had   any  particular  struggle 

'  '  and  so  cannot  summon  up  a  saga  of  Horatio 
Alger  proportions.  Never  broken-hearted,  he 
has  no  yesteryear  chapters  on  which  to  rem- 
inisce effectively.  He  abhors  gossip,  and  has 
never  been  known  to  slam  another  actor. 
Which  is  downright  peculiar  in  Hollywood! 

He  can  talk  winningly  on  current  crises, 
literature,  the  drama,  music,  sports,  gardening, 
and  best  of  all — about  the  sea.  But  switch  to 
Warren  William  and  how  he  ticks  and  he's 
dumb.  Too  fatalistic  to  be  lured  into  a  nervous 
tension  by  Hollywood,  he  will  never  succumb 
to  the  grand  gestures. 


104 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER.   1935 


105 


[  CONTINUED  FROM  PAGE  39  ] 

deeper  beauty  is  to  him  as  refreshing  as  a 
frosty  mint  julep  on  a  hot  day.  Or  a  Tom  and 
Jerry  on  a  cold  one. 

Fredric  March  shares  top  honors  in  the 
feminine  heart  pit-a-pat  class.  The  famous 
beauties  of  the  screen  fight  for  him,  demand 
he  play  opposite  them  to  bring  their  film 
romances  to  the  ultimate  in  power  and  appeal. 

Yet  for  Freddie,  in  his  intimate  life,  there 
is  but  one  woman,  companionable  Florence 
March.  Florence  who  is  rather  on  the  in- 
tellectual side,  quiet  and  compelling.  Florence 
who  makes  his  house  a  home. 

Bob  Montgomery,  whose  boyish  charm  and 
good  looks  have  made  him  a  prime  favorite 
with  the  femmes  of  a  nation,  is  most  happily 
married  to  Betty  Montgomery,  who  is  pretty 
in  a  delicate  way  but  certainly  no  match 
for  the  fiery  force  of  Crawford,  the  sophis- 
ticated appeal  of  Harding,  or  the  glowing 
magnetism  of  the  other  lovely  ladies  of  the 
screen  to  whom  Bob  whispers,  in  excellent 
dialogue,  those  intriguing  suggestions. 

DOB,  without  a  doubt,  could  pretty  much  pick 
^and  choose  from  the  loveliest  should  he  want 
a  new,  a  different  wife.    He  doesn't. 

Leslie  Howard  is  still  another.  Leslie  who 
makes  the  girls — young  and  old — troop  into 
darkened  theaters  to  absorb  second  hand  what 
they  may  from  his  unusual  appeal. 

Even  in  his  personal  life  Leslie  has  had 
many  and  persistent  attentions  from  screen 
beauties  who  would  like  to  poach  on  Ruth 
Howard's   private   domain. 

So  what?  They  can't  get  to  first  base. 
Ruth  Howard  holds  a  willing  Leslie  by  far 
more  powerful  ties  than  a  finely  chiseled  brow 
or  dark  glowing  eyes.  Such  beauty  fades; 
Ruth's  personality  is  enriched  by  the  years  of 
their  association  together,  by  her  being  the 
mother  of  Leslie's  two  lovely  children. 

Once  upon  a  time  Bob  Young  was  the  beau 
gallant  for  lovely  Virginia  Bruce.  Then 
Virginia  married  John  Gilbert. 

What  happened  to  Bob?  Did  the  great 
flame  die?  Nonsense.  He  promptly  married 
little  Betty  Henderson,  the  girl  who  sat  behind 
him  in  school  in  the  by-gone  days.  It  wasn't 
any  rebound  marriage  either.  Bob  simply 
woke  up,  realized  where  his  real  happiness  lay, 
and  grabbed  it. 

I IE  wouldn't  let  it  go  now  for  all  the  Janet 

'Gaynors,  the  Jean  Parkers,  the  Merle  Ob- 
erons,  the  Ruth  Chattertons. 

Thus  it  goes,  likewise,  with  Richard  Dix 
whose  rugged  good  looks  led  him  a  merry  chase 
of  romance  among  the  filmland  beauties  and 
who  married  his  erstwhile  secretary,  Virginia. 
She  alone  possessed,  obviously,  what  it  took 
to  tie  tightly  his  wandering  affections. 

The  same  thing  is  true  of  the  wives  of  Paul 
Muni,  John  Boles,  Otto  Kruger,  John  Beal 
and  others. ,  Lovely  women,  all  of  them. 
Women  of  charm.  But  no  Dietrichs,  no 
Lombards,  no  Harlows.  They  frankly  admit 
it  and  forget  about  it.  It  isn't  important  to 
their  happiness. 

Francis  Lederer,  widely  heralded  as  the 
great  lover,  prefers  the  piquant  charm  of 
literary  Mary  Anita  Loos  to  throbbing  beauty. 
Paul  Cavanagh  chooses  writer  Reine  Davies 
to  beau. 


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So  frequently  as  to  be  amazing,  the  eligible 
bachelors  of  filmdom,  for  whose  time  and  at- 
tention ladylike  but  nonetheless  grim  battles 
are  waged  by  the  famous  beauties,  forsake  the 
glamour  girls  for  women  more  like  the  rest  of 
us,  just  average  girls,  just  nice  girls. 

Well,  how  come? 

One  can't,  with  impunity,  approach  a  man 
and  ask  point  blank.  It  isn't  cricket,  for  one 
thing,  and  it's  downright  nosey,  for  another. 
But  one  can  face  facts,  turn  a  mental  hand- 
spring and  hazard  a  guess  or  two. 

Candy  merchants  invariably  permit  new 
employes  to  eat  as  they  will  of  the  saccharine 
wares.  It's  a  slick  system;  within  a  week  they 
are  surfeited. 

So,  it  seems  to  be  with  glamorous  beauty. 
Despite  its  variations  of  line  and  coloring, 
beauty  can  become  cloying  when  served  in 
steady,  generous  rations. 

Less  beautiful  women  apparently  bring  more 
— far  more — to  marriage.  Possessing  less 
physical  appeal  they  needs  must  exert  them- 
selves. Their  wares,  frankly,  must  be  varied 
and  potent.  Wares  such  as  an  even  disposition, 
perfectly  attuned  to  supplement  the  mood  of 
the  man.  A  smoothly  running  household.  A 
charming  hostess.  A  devoted  mother.  Selfless- 
ness to  the  «th  degree  yet  with  it  strength  of 
character. 


Men,  handsome  or  not,  are  boys  at  heart. 
They  need  mothering.  They  want  it.  It's 
good  for  them.  Applause  generously  given  for 
accomplishment.  Consolation  for  disappoint- 
ment. And  above  all,  understanding  which 
takes  both  time  and  patience. 

CUCH  are  the  ways  of  women  who  bring 
Equalities  other  than  beauty  to  their  men, 
and  such  are  their  gifts  in  lieu  of  beauty. 

Lastly,  do  not  forget  the  instinctive  desire 
of  the  male  to  dominate.  He  wants  the  power 
and  the  glory  spotlighted  on  him.  He  wants 
to  be  the  focal  point  for  attention  and  fuss. 
He  wants,  simply,  to  be  the  big  shot. 

Easy  enough  to  attain  when  there  is  no  com- 
petition but  definitely  on  the  difficult  side 
when  the  world  is  ringing  with  the  renown  of 
his  wife,  when  her  beauty  is  flashed  from  every 
billboard,  and  her  name  a  household  word. 

It's  every  man  for  himself,  then,  and  the 
devil  take  the  hindmost.  In  the  scramble  to 
keep  from  being  the  hindmost,  love  goes  over- 
board. 

This  desire  of  men  for  the  spotlight,  the 
center  of  the  stage,  is  a  natural  one.  There  is  a 
sound  reason  for  it,  rebel  at  the  idea  as  women 
may. 

It  is  one  of  the  basic  laws  of  nature.  The 
dominant  male,  lording  his  super  strength  by 


giving  the  female  the  protection  of  it.  Con- 
sider the  jungle  lion  with  his  magnificent  mane 
and  his  mate  so  colorless  in  comparison.  Con- 
sider the  brilliant  peacock  and  the  dull  brown 
peahen.  Or  the  common  little  robin  with  his 
breast  of  flaming  red  where  his  mate  must  be 
content  with  dowdy  gray-brown  feathers. 

Man  wants,  with  that  domination,  security 
of  possession,  freedom  from  nagging  jealousy 
or  tearing  fear  of  loss. 

Somewhere  among  these  guesses  may  lay 
the  answer  to  why  so  many  kings  and  crown 
princes  of  Hollywood  give  their  passing  fancy 
to  a  beauty  and  keep  their  love  for  gentler, 
less  spectacular  women. 

Dorothy  Parker  once  wrote  a  sprightly  bit 
she  called  "Words  of  Consolation  to  be 
Scratched  on  a  Mirror." 

"Helen  of  Troy  had  a  wandering  glance; 

Sappho's  restriction  was  only  the  sky; 
Ninon  was  ever  the  chatter  of  France; 

But  oh,  what  a  good  girl  am  I!" 

If,  in  their  hearts,  these  less  beautiful  wives 
sometimes  envy  the  glamour  of  their  sisters, 
they  may  well  paraphrase  that  last  line  to 
"Oh,  what  contentment  have  I!" 

They  may  well  remember,  also,  two  things: 
that  beauty  is  skin  deep;  and  that  the  lonely 
beauties  envy  them  their  security. 


Don't  Talk  to  Me  About  Diets 


CONTINUED  FROM  PAGE  31 


And  the  first  thing  I  see  is  one  of  the  town's 
most  beauteous  damsels  eating  extra  helpings 
of  boiled  brisket  of  beef. 

While  I  was  recovering  my  poise,  and  my 
appetite,  Charlie  Chaplin  came  in  with 
Paulette  Goddard.  I  didn't  need  to  have 
Charlie  identified  for  me — he  wasn't  so 
effectively  disguised  as  Jean  had  been  in  her 
gray  sweater — and  I  assumed  correctly  that 
the  svelte  young  woman  was  Miss  Goddard. 
Here,  I  said,  are  two  worldlings  who  will  be 
content  to  plumb  for  a  chicken's  oyster  or 
angle  for  that  tiny  white  morsel  which  lies 
under  the  eye  of  a  river  trout.  Immediately 
they  went  into  a  huddle  with  both  Johnnys — 
there  are  two  at  the  Beverly  Hills,  both 
masters  of  the  culinary  art — and  when  the 
dishes  began  to  appear,  I  noticed  that  they, 
too,  were  eating  a  substantial  repast.  Both 
had  large  plates  of  Scotch  broth  with  barley 
and  ox  joint  a  la  Derby,  and  they  didn't  hesi- 
tate to  take  the  latter  firmly  in  their  fingers 
so  as  to  get  all  of  the  meat  that  was  coming  to 
them. 

THAT  was  not  all.  The  hour  of  dessert  had 
'  struck.  Aleene,  fragile,  bird-like,  blonde 
Aleene,  who  looks  the  way  Bessie  Love  used 
to  look,  was  dangling  before  Charlie's  and 
Paulette's  delighted  eyes  a  huge  tray  of  as- 
sorted cakes. 

Aleene,  who  has  a  passion  for  cake  herself — 
and  how  does  she  do  it? — was  recommending 
the  various  brands.  The  suspense  was  terrific, 
but  brief.  Paulette,  good  girl,  chose  chocolate 
cocoanut;  Charlie,  sponge. 

I  looked  around.  In  all  that  roomful  of 
celebrities,  only  four  were  eating  what  anybody 
could  call  a  light  meal.  Three  of  the  four 
were  men.  The  dainty  woman  was  Norma 
Shearer;  she  contented  herself  with  scalloped 
breast  of  chicken — I  wanted  to  tell  her  that 
the  best  place  in  the  world  to  eat  that  dish 


was  on  the  sidewalk  outside  of  Botti's  in 
Rome — and  an  avocado  in  cream.  Ricardo 
Cortez  was  toying  with  plain  broiled  filet  of 
sole  and  chopped  spinach;  George  O'Brien 
had  filet  of  sole,  too,  only  his  were  fried,  and 
instead  of  spinach  he  drank  a  cup  of  coffee 
with  hot  water;  Warner  Baxter  was  luxuriating 
in  what  I  later  learned  was  his  favorite  dish, 
clam  chowder. 

Everybody  else  was  displaying  what  I  was 
soon  to  learn  was  a  typical  Hollywood  atti- 
tude toward  food.  Constance  Bennett  and 
Gilbert  Roland  were  eating  Brown  Derby 
lamb  stew;  long,  lean  Ned  Sparks,  filet  of  sole 
Marguery  followed  by  cocoanut  custard  pie; 
Wesley  Ruggles  and  Arline  Judge,  a  wiener 
schnitzel  and  chocolate  cake;  Charles  Ruggles, 
spaghetti  Derby;  Ernst  Lubitsch,  a  steak 
Tartare;  and  Louella  Parsons,  who  first  gave 
publicity  to  the  famous  Hollywood  Diet,  a 
hamburger  de  luxe  with  mustard  sauce. 

I  took  out  my  own  diet  list.  It  was  a  wow. 
I  could  eat  zwieback  and  joreh  bread,  spinach 
and  krumbles,  zoolac,  fermillac  and  lactone. 
My  high  point  was  one  egg  a  day,  just  like  a 
hen.  My  luncheon  should  be  one  slice  of  very 
coarse  bread  toasted,  without  butter,  and  one 
cup  of  hot  water  flavored  with  coffee  without 
sugar  or  cream. 

But  it's  funny  how  the  very  thought  of 
going  on  a  diet  stimulates  your  food  imagina- 
tion. As  I  meekly  ordered  my  bread  and 
water,  I  saw  myself  as  a  boy  again,  diving 
into  the  big  brown  crock  on  the  lower  shelf 
and  coming  up  with  a  doughnut  impaled 
on  each  of  ten  stubby  fingers.  I  recalled  that 
later  and  more  sophisticated  day  at  the 
zakouska  table  in  the  Chateau  Basque,  high 
on  a  wave-worn  rock  at  Biarritz,  with  the 
proprietor,  a  grand-ducal  old  bird  with  a  long 
beard,  industriously  plying  me  with  successive 
courses  of  smoked  gooseflesh,  raw  herring, 
spiced   eels,   stuffed  chilis,   smoked   sturgeon, 


pickled  mushrooms,  minced  cabbage  and 
fresh  caviar. 

"Aleene,"  I  called,  "bring  me  one  of  those 
hamburgers!" 

All  this  was  luncheon.  That  night,  I  dined 
at  Sardi's,  where  Alex,  the  suave  mattre 
d' hotel  who  used  to  preside  over  the  refined 
revelries  at  the  Beverly  Hills  Hotel,  pointed 
out  the  celebrities  and  their  favorite  dishes. 
Since  Nick,  the  famous  Vine  Street  restaurateur 
— whose  beard  grew  so  fast  he  had  to  shave 
between  noodle  soup  and  hot  cakes — was  sold 
down  the  river  to  the  motion  pictures,  Alex 
and  John  Portilla  are  the  best  known  French 
maitres  in  Hollywood.  John  is  a  Spaniard; 
and  Alex,  whose  last  name  is  Psihoyios,  is  a 
Greek.  Come  to  think  of  it,  Nick  isn't  a 
Frenchman,  either.  But  the  point  is,  Alex 
knows  his  Hollywood  stuff. 

The  diners  I  saw  that  evening  were  cer- 
tainly not  erring  on  the  delicate  side.  Mar- 
lene  Dietrich,  who  is  always  pictured  eating 
in  some  very  foreign  restaurant — and  does 
eat  there  some  of  the  time,  because  I  saw  her 
one  night  with  her  husband  and  daughter 
and  Brian  Aherne  under  the  trees  at  the 
Russian  Eagle — was  doing  very  well  this 
evening  on  a  good  husky  filet  mignon,  which 
had  been  preceded  by  a  Sardi's  hors  (Toeuvres, 
a  meal  in  themselves.  I  couldn't  see  what 
Mr.  Von  Sternberg  was  having  for  his  main 
dish,  but  he  had  Liederkranz  cheese  after  it — I 
didn't  need  to  see  that! — and  a  drink  of 
Sliwovitz  brandy  from  his  own  bottle  which 
Alex  keeps  for  him  in  the  Sardi  wine  cellar. 

THE  hour-glass  Mr.  Menjou  was  making  a 
'  good  meal  on  eminence  of  tenderloin  a  la 
Menjou — roast  beef  hash  to  you  and  me — 
with  a  special  sauce  of  mushrooms,  lamb 
kidneys  and  green  peppers.  His  wife,  Verree 
Teasdale,  required  something  more  sub- 
stantial; she  looked   the  bill  over  carefully, 


106 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


107 


then  ordered  lamb  saute.  .  Alex  says  she 
always  does.  Lili  Damita,  in  the  next  booth, 
was  struggling  with  a  great  plate  of  bouillabaise. 
Busby  Berkeley  and  Myrna  Kennedy  were 
sampling  pressed  wild  duck  and  sweet  pota- 
toes. And  in  the  big  booth  in  the  corner,  the 
whole  Harold  Lloyd  family  was  devouring 
hamburger  Sardi  and  broccoli  Hollandaise. 

Since  that  fateful  day,  when  I  abandoned 
for  all  time  the  idea  of  dieting  in  Hollywood, 
I  have  eaten  many  meals,  not  only  in  these 
two  restaurants  but  in  Perino's,  Levy's,  the 
Vine  Street  Derby  and  The  Hat.  I  have 
sampled  most  of  the  delicacies  of  those  ren- 
dezvous of  elegance,  the  Vendome,  the  Troca- 
dero  and  Victor  Hugo's;  I  have  dined  and 
danced  at  the  Biltmore  Bowl,  in  the  Gold 
Room  at  the  Beverly-Wilshire  and,  of  course, 
in  the  far-famed  Cocoanut  Grove;  but  the 
answer  has  always  been  the  same:  Hollywood 
eats,  and  eats  plenty. 

And  it  isn't  only  the  kind  of  food;  but  the 
size  of  the  portions.  Nowhere,  even  in  New 
York,  except  at  Frank  Case's  Algonquin  which 
also  caters  to  the  theatrical  trade,  are  plates  so 
heaped  as  they  are,  for  example,  at  good  old 
Al  Levy's  tavern.  Al  boasts  that  he  has 
catered  to  three  generations  of  Hollyvvood- 
ians,  and  after  getting  outside  one  of  his 
famous  ragouts  it  is  easy  to  see  why  he  has 
kept  his  trade.  Quality  plus  quantity  is 
Levy's  slogan. 

THE  miracle  of  the  thing  is  that  it  doesn't 
'  seem  to  do  anybody  any  harm.  Even  I,  who 
brought  my  stomach  to  Hollywood  an  inter- 
national, nay,  an  intercontinental  ruin,  have 
experienced  no  increase  in  pain.  Yesterday 
the  ache  lasted  only  two  hours.  Two  hours 
out  of  twenty-four!  That  isn't  much  to  pay 
for  the  happiness  I  get  out  of  this  wonderful 
Hollywood  Diet.  Moreover,  eating  out  here 
in  California  doesn't  seem  to  change  the  waist- 
band. Fat  fellows  like  Irvin  Cobb  and  Wallace 
Beery  stay  fat.  Slim  girls  like  Jean  Harlow 
and  Connie  Bennett  stay  slim.  And  so  every- 
body eats  and  eats,  and  goes  right  on  eating. 

"How  do  they  do  it?"  I  asked  Mario,  the 
headwaiter  at  the  glittering  new  Victor  Hugo, 
"and  keep  their  figures?" 

Mario  used  tc  be  such  a  good  headwaiter  in 
New  York,  and  now  he  is  such  a  good  head- 
waiter  in  California.  In  fact,  he  is  fast  be- 
coming a  native  son.  His  answer  was  brief, 
and,  from  every  Chamber  of  Commerce  stand- 
point, conclusive: 

"It  must  be,"  he  smiled,  "the  climate!" 


Mr.  and  Mrs.  Ralph  Forbes  — 
Heather  Angel  to  you,  of  course.— 
enjoy  an  exciting  afternoon  at  the 
polo   games.      Isn't   Heather   cute? 


very  month  famous  Hollywood 
stars,  executives  and  other 
film  celebrities  make  the 
Savoy- Plaza  their  New  York 
home.  To  attribute  the  popular- 
ity of  this  distinguished  hotel 
to  any  one  feature  would  be 
difficult.  It  is  the  combination  of 
luxurious  living,  supreme  service, 
unexcelled  cuisine,  and  the  most 
beautiful  outlook  in   New  York 

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On  these  pages  letters  from  all  over  the 
world  discuss  films  and  stars.  And  when 
the   movie-goer   speaks,    Hollywood   listens 


|  CONTINUED  FROM  PACK  13  ] 

POWELL  SUBSIDIZED? 

I  LIKE  William  Powell.  I  like  his  acting. 
'  He  has  poise,  lightness,  and  deft  humor.  I 
like  his  plays,  particularly  "The  Thin  Man," 
and  "Star  of  Midnight."  Both  were  clever 
and  amusing,  with  plenty  of  quick  action, 
surprises  and  pat  dialogue.  But,  has  the 
suave  William  been  subsidized  by  the  alcohol 
industry? 

In  scene  after  scene  drinks  appear  with  such 
clockwork  regularity  as  to  give  an  almost-mo- 
notonous touch  in  contrast  to  the  fresh  origi- 
nality and  unexpectedness  of  the  other  details 
of  these  plays. 

One  pauses  in  child-like  wonder  at  the 
amazing  capacity.   . 

Allene  Gates,  Chicago,  Til. 


ON  TEAMING 

IT  seems  that  when  producers  team  up  the 
'stars  for  pictures  they  have  no  regard  as  to 
whether  the  personalities  match.  Ian  Hunter 
seemed  much  too  old  to  play  opposite  Bette 
Davis  in  "The  Girl  from  10th  Avenue,"  and 
Tullio  Carminati  didn't  need  much  more  age 
to  be  the  father  of  Lillian  Harvey  in  "Let's 
Live  Tonight."  I  suggest  teaming  actresses 
with  actors  their  own  age,  and  vice  versa. 
Harold  Rosenthal,  Blytheville,  Ark. 


HOLLYWOOD  OKAYED 

A  N  extended  visit  to  Hollywood  has  proved 
'  Ho  me  that  but  a  small  percentage  of  the 
people  there  live  extraordinary  lives. 

Harry  J.  Frazif.r,  Bellevue,  Nebraska 


Margaret  Sullavan  was  offered  a 
six-room  bungalow  while  on  loca- 
tion for  "So  Red  the  Rose,"  but 
she  chose  to  live  in  a  tent  instead 


After  working  indoors  under  lights  for  weeks  in  "The  Crusades,"  Henry 
Wilcoxon  and  Katherine  De  Mille  enjoyed  sea  breezes  and  sunshine 
when  they   spent  a  holiday   ruling   the   waves   on  Wilcoxon's   yacht. 

108 


_-  J 


ON   RETIRING 

W/HY  can't  actors  retire  gracefully  when 
"  their  popularity  wanes,  instead  of  being 
forced  by  their  tremendous  egotism  to  accept 
unsuitable  roles  and  then — oblivion?  So,  you 
old-timers,  we  salute  you  as  having  done  your 
work  faithfully  and  having  afforded  us  many 
hours  of  pleasure  and  entertainment.  So, 
then,  won't  you  step  aside  for  the  new  Swan- 
sons,  Pickfords,  Barrymores,  Cantors,  and  Jol- 
sons  who  aspire  to  your  places,  and  whom  we 
hope  will  fill  those  places  as  capably  as  you 
have  done? 

Mrs.  A.  G.,  St.  Louis,  Missouri 

LOVE  FOR  FIELDS 

\  Y/E  people  down  here  in  Tennessee  keep  the 
W  guest  room  in  each  of  our  hearts  clean 
swept  and  in  perfect  order  for  W.  C.  Fields. 
We  believe  him  to  be  the  greatest  guy  and  the 
best  actor  on  the  screen.  There's  something  in 
Fields  that  makes  every  fellow  remember  that 
bluff  and  hearty  old  granddad  of  his;  he's  so 
entirely  real  and  so  little  of  artificiality  that  we 
couldn't  keep  from  loving  him  if  we  tried. 
Turner  W.  Clinard,  Charlotte,  Tenn. 

HUMAN  NATURE 

K  /ANY  of  the  screen  and  stage  players 
'  "  'change  planes  here  in  Pittsburgh  on  their 
Coast  to  Coast  trips.  It's  amusing,  and  some- 
times astonishing,  to  compare  their  manners; 
some  are  so  charming  and  kind,  while  others 
are  not.  To  quote  a  young  lady  who  was  asked 
for  her  autograph  by  the  waitress  in  the  air- 
port's lunch  room:  "That's  not  what  I'm  here 
for."  But,  I  think  it  would  be  wrong  and  un- 
fair to  judge  all  by  one. 

Mrs.  M.  Fay,  Pittsburgh,  Pen'n. 


PHOTOPLAY  MAGAZINE   FOR  OCTOBER,    1935 


10? 


THINKING  OF  SELVES? 

A  RE  not  the  comedians  thinking  only  of 
•'^themselves  instead  of  the  public  which 
'made  then  prematurely  independent  when 
they  "retire"  or  contract  for  one  picture  a 
iyear?  What  of  Charlie  Chaplin,  Harold  Lloyd, 
Polly  Moran,  Ben  Blue,  Buster  Keaton,  Joe  E. 
Brown?  More  credit  to  Edward  E.  Horton, 
Charlie  Chase,  Laurel  and  Hardy,  and  the 
others  who  have  given  us  one  good  laugh  after 
another.  If  we  had  more  laughter,  and  more 
■  actors  like  them,  we'd  live  in  a  kinder,  better 
world. 

Marion  M.  Lamb,  Pittsburgh,  Pa. 

I  THINK  it  is  about  time  some  of  the  comedy 
'  producers  realized  that  the  present  crop  of  so- 
Icalled  comedians  like  Clark  and  McCullough, 
Smith  and  Dale,  and  Ben  Blue  are  not  funny 
but  silly.  It  is  a  pity  to  waste  the  film  on  them 
with  so  many  real  comedians  on  the  screen,  like 
Charles  Chase,  Andy  Clyde,  and  Clyde  Cook. 
•The  roles  should  be  given  to  comedians  who 
know  how  to  play  them. 

Maxine  Banta,  Terre  Haute,  Indiana 

UNA  AND  FRANCHOT 

UNA  MERKEL  and  Franchot  Tone  rate 
another  picture  together  for  their  grand 
'work  in  "One  New  York  Night."  They  are  a 
fine  team.  Is  that  right,  Merkel  fans?  Come 
on  and  give  her  a  big  hand. 

Jack  Kilroy,  Port  Huron,  Michigan 


NO  CORSET! 

jil  WONDER  why  so  much  money  is  spent  by 
I'  producers  to  make  perfect  some  details  of  a 
ipicture  while  other  details  are  entirely  neg- 
ilected.  For  instance,  when  a  girl  is  dressed 
in  an  old-fashioned  way,  she  never  takes  the 
trouble  of  wearing  a  corset  corresponding  to 
ler  dress.  Doesn't  she  realize  that  such  negli- 
gence spoils  her  appearance?  The  movies  have 
been  able  to  show  correctly  everything  with 
one  exception:  A  girl  of  the  Victorian  period 
neatly  dressed,  with  proper  corset,  small  waist 
i — every  detail  in  keeping  with  the  period. 
Claude  Lucay,  Buenos  Aires,  Argentine 

EXAGGERATED? 

A  RE  not  the  "evils  of  sex"  somewhat  ex- 
'  *aggerated  by  our  would-be  film  reformers? 
Surely  a  majority  of  adults  and  adolescents 
have  had  upbringing  and  education  good 
enough  to  offset  "evil  effects"  of  our  films. 
As  for  the  juveniles,  to  them  sex  means  but 
one  thing — boredom!  They  chatter  and  fidget 
when  such  a  film  is  on.  Watch  them  at  a 
Western  or  any  action  story — every  fibre  is 
thrilled.  The  greatest  harm  perpetrated  by  a 
nasty  film  is  surely  to  the  man  who  exhibits  it. 
W.  Beecham,  Perth,  Australia 

TO  OLDER  PEOPLE 

I  AM  a  73-year-old  "movie  fan,"  and  I  believe 
'  I  voice  the  sentiments  of  all  older  people  when 
I  say  that  I  think  the  producers  should  make 
more  Will  Rogers,  George  Arliss,  and  Shirley 
Temple  pictures.  They  bring  more  lasting 
pleasure  than  any  other  characters. 

Mrs.  C.  W.  Beam,  Lincolnton,  N.  C. 

FRED  AND  GINGER 

TRED  AST  AIRE  and  Ginger  Rogers  are 
the  king  and  queen  of  screen  musical  roman- 
ces! The  world's  greatest  team,  and  no  excep- 
tions! Each  is  dynamic  alone;  together  they 
are  sensational.  Long  may  they  live  and  dance! 
Lucille  Jennings,  Springfield,  111. 


PORTRAIT  OF  A  FINE  HOTEL 

Live  in  luxury  at  a  sensible  rate  ...  at  the  SHERRY- 
NETHERLAND  . .  .  where  the  advantages  of  established  res- 
idence are  available  by  the  day,  week,  month  or  longer. 

Suites  of  1,  2,  3,  4  and  5  rooms,  each  with  large  serving 
Pantry.  Also  Tower  Suites  of  5  Master  Rooms  and  4 
Baths,  occupying  an  entire  floor. 

Jne  Onerru-rNetkerlana 

Facing  the  Park 
FIFTH   AVENUE  AT   59tii 

NEW  YORK 


The  Arabian  Nights 

ORIGINAL  LANE  TRANSLATION 

For  Lovers  of  the 

De  Luxe 

Rare   and   Exotic 

1260  Pages 

PRICED  AT  ONLY 

JmB^T  9  POSTPAID 

ing  publisher  succeeded  in  securing  the  necessary 
rights  to  enable  him  to  publish  the  entire  contents  ol 
the  original  set  in  one  great,  magnificent  volume — 
and  what  a  volume  it  is!  How  widely,  wonderfully, 
gloriously  different  from  the  simple  children's  volume 
which  so  long  passed  current  as  The  Arabian  Nights 
It  is  printed  on  tine  quality  paper  in  beautifully 
rlear  type,  luxuriously  cloth  bound  in  black  and  red 
and  gold — 124  Oriental  tales,  1260  pages,  rich  in  the 
lure  and  thrill,  fire  and  passion  if  the  mysterious 
East  The  Economy  Educational  League  has  been 
fortunate  in  securing  a  few  copies  upon  a  basis  which 
permits  us  to  offer  it  at  the  amazingly  low  price  o 
S2.98,  postpaid  Order  today  before  the  supply  L* 
exhausted. 

WHAT  lover  ol   rare,   beautiful  and  exotic   books  Send  coupon  today  with  S2.98.     Money  back  if 

has  not  longed  to  own  The  Arabian   Nights  a»  not  satisfactory.      When   oidenng   /equest  catalog 

translated  from  the  Arabic  by  Edward  William  Lane?  ->■  °'ne'  exceptional  book  bargains. 

Who,    having    read    them,    can    ever    forget    these      ~"~  ~~  ~~ "~~  ~  """  """  ™~  —— 

astonishing  stories  of  lion-hearted  heroes  and   their      Economy  Educational  League 
madly  loved  ladies?    Of  silken-clad  beauties  who  turn      19^6  Broadway,  New  York.  N.  /.,  Dept.  P10 
from  the  murmuring  of  amorous  verses  to  the  devising      I  ene'ose  S2.98  tor  which  please  send  me  the  original  Lane 
of   diabolical    tortures   for   erring    lovers!      Onlv    the      translation    of    THE    ARABIAN    NIGHTS    beautifully 
nnssion  and  imairinn  tion  „f  the  <  Irientil  einild  mniurp      ei"xh  hound.      I  understand  that  my  money  will  be  re 
passion  ana  imagination  ot  tne  oriental  couiu  conjure       unUed    uroVided  the  book  does  not   Drove  satisfactory 
up  these  stories  of  love  and  hate,  poison  and  steel, 
intrigue,  treachery  and  black  magic. 

For  many  years  after  Edward  William  Lane  com        Name 

p  eted    his    famous    translation    from    the    original 

Arabic  it  was  published  as  an  elaborate  set  of  vol       Street.  

umes,  priced  at  $60.00  and  upward.     It  was  not,  how- 
ever, until  comparatively  recently  that  an  enterpris-      Town State . 


WILLIAM  WALUNGER 


IN  deep  shadows,  a  beam  of  light  suddenly  sweeps 
across  three  faces  to  make  this  dramatic  photograph. 
Left  to  right,  Cary  Grant,  Gertrude  Michael,  and 
Claude  Rains,  leads  in  Paramount's  "The  Last  Outpost" 


110 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


III 


The  Shadow  Stage 


CONTINUED  FROM  PAGE  69 


MANHATTAN  MOON— Universal 

p\OROTHY  PAGE,  fresh  from  radio  popu- 
larity, and  Henry  Mollison,  of  the  English 
stage,  make  their  American  film  debut  in  a 
light  movie  of  hackneyed  plot.  Ricardo  Cor- 
tez,  an  East  Side  boy  who  becomes  the  owner 
of  a  night  club,  wants  to  meet  society.  He 
buys  an  introduction  to  concert  singer  Dorothy 
Page,  and  falls  in  love  with  her,  only  to  be 
confused  in  his  courtship  by  her  hired  double. 
Hugh  O'Connell  and  Henry  Armetta,  hench- 
men for  Cortez,  furnish  the  laughs. 

DRESSED  TO  THRILL— Fox 

TUTTA  ROLF  is  charming,  but  this,  her  first 
'  American  picture  is  disappointing.  The  little 
French  modiste,  who  loves  and  loses  Canadian 
Officer  Clive  Brook,  rediscovers  him  in  Paris 
when  she  has  become  the  rage  of  the  con- 
tinent as  a  Russian  dancer,  and  his  struggle  to 
choose  between  this  glamorous  new  love  and 
the  memory  of  the  little  dressmaker  make  a 
thin  story,  despite  lavish  staging  and  a  good 
cast. 

KEYSTONE   HOTEL— Warners  Vitaphone 

IF  you  remember  the  custard-pie-cop-chase 
'era  of  screen  humor,  you'll  heave  a  sigh  for 
your  lost  youth.  If  not,  you'll  get  an  eyeful 
of  the  stars  and  startling  antics  of  the  dear, 
dead  days.  Two  reels  of  this  is  unadulterated 
old  time  slapstick  with  Ford  Sterling,  Ben 
Turpin,  Chester  Conklin,  Marie  Prevost,  Hank 
Mann,  Vivien  Oakland  and  Dewey  Robinson. 
A  side  splitting  revival. 

THE  BLACK  ROOM— Columbia 

A  DUAL  role  for  Boris  Karloff,  portraying  on 
'  '  one  side  the  brutal  lord  and  on  the  other 
his  twin  brother  gentle  and  civilized.  Their 
death  at  each  other's  hands  (with  a  weird 
twist  of  course)  realizes  an  ancient  family 
tradition.  Done  in  costume,  with  a  foreign 
background,  makes  it  picturesque,  with  very 
little  else  to  recommend  it.  Marian  Marsh  and 
Katherine  DeMille  are  lovely. 

PURSUIT— M-G-M 

IF  you  like  a  good  old  serial  chase,  with  racing 
'trains  and  roaring  automobiles,  you'll  eat  this 
up.  Chester  Morris  and  Sally  Eilers  try  to 
smuggle  Scotty  Beckett,  a  wealthy  child  across 
the  Mexican  border  to  his  mother  and  away 
from  custody  seeking  relatives.  It's  quite  a 
job.  Loose  story  threads  and  thin  gags  don't 
make  it  too  interesting.  .Henry  Travers, 
Dorothy  Peterson. 

CHEERS  OF  THE  CROWD— Monogram 

A  N  amusing,  but  confused,  picture  dealing 
'  'with  a  press  agent's  idea  of  having  an  old 
carnival  pal  pull  an  "Honest  John"  sandwich 
man  stunt  to  increase  his  theater  attendance. 
Harry  Holman,  as  the  rapid-talking  old  pitch- 
man who  finds  the  planted  $10,000  and  returns 
it  to  the  police  station,  is  the  one  bright  spot 
in  an  otherwise  ineffective  film.  Russell  Hop- 
ton  and  Irene  Ware  fair. 

HERE  COMES  THE  BAND— M-G-M 

A  CONFUSING  but  fairly  amusing  story, 
'  *  largely  because  of  the  contribution  of  Ted 
Healy  and  Nat  Pendleton,  band-minded  taxi 


drivers.  There's  very  little  of  Ted  Lewis  the 
star.  Virginia  Bruce,  though  lovely,  is  a  little 
remote.  Harry  Stockwell,  another  lad  from 
nowhere  with  a  voice,  does  justice  to  several 
songs.  A  large  cast  works  hard  without 
achieving  any  particular  results. 

ALIBI  IKE— Warners 

THE  serpen  version  of  the  late  Ring  Lardner's 
'  Alibi  Ike  stories  provides  a  perfect  vehicle 
for  Joe  E.  Brown — full  of  baseball  and  good 
humor.  Brown  is  appealing  and  amusing  as 
the  Sauk  Center  youth  who,  apologizing  for 
everything,  even  when  he's  right,  wins  the 
"  World  Serious"  for  the  Chicago  Cubs.  Olivia 
de  Havilland  is  romantic  prize,  William  Fraw- 
ley,  Roscoe  Karns,  Ruth  Donnelly,  all  A-l. 

DONT  BET  ON  BLONDES— Warners 

W/HEN  Warren  William  starts  a  freak  in- 
*V  surance  agency  and  writes  a  $50,000.00 
policy  for  Papa  Guy  Kibbee  insuring  him 
against  his  daughter,  Claire  Dodd,  marrying 
within  three  years,  it's  a  good  comedy  situa- 
tion. But  the  comedy  is  muffed,  weighted 
under  with  old  gags,  too  much  burlesque  and 
not  enough  sparkle.    Just  so-so  entertainment. 

JAVA  HEAD— First  Division 

JOSEPH  HERGESHEIMER'S  famous  story 
^of  the  young  Englishman  who  returns  home 
from  the  Far  East  with  a  Chinese  princess 
bride,  makes  a  rather  slow-moving  photoplay. 
But  Anna  May  Wong  as  the  unhappy  princess 
is  beautiful  and  arresting,  and  there  is  also  good 
direction  and  atmosphere  to  recommend  the 
picture.  Elizabeth  Allan,  John  Loder,  and  a 
capable  supporting  cast. 

SHE  GETS   HER  MAN— Universal 

THE  timid  country  mouse,  Esmeralda  (ZaSu 
'  Pitts)  becomes  the  tiger  woman  of  the  hour 
when  she  falls  on  her  face  and  thwarts  the 
bank  robbery  engineered  by  Eddie  Brophy 
and'executed  by  Warren  Hymer,  et  al.  Hugh 
O'Connell.  in  a  Lee  Tracy-ish  way,  brings  her 
fame  and  fortune  with  the  aid  of  his  gal,  Helen 
Twelvetrees,  and  a  lot  of  feverish  running 
around.  But  Esmeralda  pines  for  her  Elmer 
(Lucien  Littlefield).    Don't  bother  too  much. 

THE  GOOSE  AND  THE  GANDER— Warners 

AS  clever  and  delightful  a  comedy  of  em- 
'  'barrassments  as  you've  seen  in  moons. 
Kay  Francis  plays  both  ends  against  the 
middle  in  a  merry  overnight  marital  infidelity 
game  with  George  Brent,  Genevieve  Tobin 
and  Ralph  Forbes.  Nobody  hurt,  but  lots  of 
fun  when  gem  crooks,  imposters,  cops  and 
nosey  relatives  complicate  things.  Some  price- 
less situations,  bright  dialogue.  Done  in  the 
sophisticated  farce  manner — and  well  done. 


Are    You    Following 

"THE   FACTS  OF 

HOLLYWOOD 

LIFE"? 

See    Page  92 


SHIELDED  FROM  WEAR 
BY  PUREST  SILVER 

1  oday  s  silverware,  its  designs  wrought 
to  oterling-like  loveliness,  its  most-used 
surraces  doubly  shielded  ironi  wear  by 
tlie  purest  silver.  I  ours  lor  so  little  .  .  . 
and  you  can  save  trom  Jpa.5o  to  4)10.00 
by  the   Quantity-Discount  Plan. 


Cal  York's  Gossip  of  Hollywood 


[  CONTINUED  FROM  PAGE  78  ] 


Wallace  Beery  and  Spanky  McFarland  consider  themselves  expert  lion 
tamers  since  they  taught  baby  Leo  a  few  tricks.  Wally,  Spanky  and 
Leo  are  playing  together  in  M-G-M's  picture,  "O'Shaughnessy's  Boy" 


DING  and  Dixie  Crosby  left  t'other  evening 
^for  a  shot  at  the  races  at  Saratoga. 

Ma  and  Pa  Crosby,  the  Brothers  Crosby  and 
their  wives,  and  Andy  Devine  made  it  a  bride 
and  groom  charivari  affair  replete  with  rice 
and  shoes. 

A  bit  confusing,  withal,  in  view  of  the  three 
young  Crosbys. 

THERE  is  something  new  under  the  Holly- 
wood    sun — the    new    Katharine    Hepburn 
personality. 

Once  the  bane  of  the  publicity  department's 
existence,  Katie's  right-about-face  has  left 
them  gasping.  Downright  camaraderie  and  all 
that  sort  of  thing. 

Clad  in  one  of  her  tailored  get-ups  she  wears 
as  a  boy  in  "  Sylvia  Scarlett"  she  came  a-calling 
in  the  publicity  department  the  other  day,  a 
picture  of  beaming  good  nature.  So  exuberant, 
in  fact,  she  vaulted  the  railing  and  out  the  door. 

kJOMINEE  for  the  swell  people  department: 
'  ^Roy  Beaver,  prop  man  on  "The  Rain- 
makers" with  funsters  Wheeler  and  Woolsey, 
The  company  was  sweltering  under  an  Imperial 
Valley  dose  of  116  degrees  on  location. 
Woolsey's  rainmaker  machine  flopped,  so 
Beaver  donated  a  daily  ten-gallon  keg  of  icy 
lemonade.  Without  benefit  of  front  office  okay. 

I  ADIES  of  the  screen  playing  with  paper 
■-dolls?  Teh!  Teh!  Yet  that's  just  what  the 
old  snooper  saw  on  the  "Freckles"  set.  Well, 
yes,  the  ladies  were  Virginia  Weidler,  8,  and 
her  stand-in. 

A  DD  Hollywoodia:  bewhiskered  little  old 
'  'Wallace  Howe,  valet  and  handy  man,  fuss- 
ing over  Harold  Lloyd  in  the  same  capacity 
for  seventeen  years.  Somewhere,  in  every 
Lloyd  opus,  Howe's  face  peeks  out  in  a  bit. 

f  PLEASE  TURN  TO  PAGE   120  1 


\  WONDER  why  no  one  thought  of  this  be- 
W  fore?  Lyle  Talbot,  dismayed  by  the  hot 
and  then  cold  state  of  his  romance  with  Peggy 
Watters,  the  Alabama  charmer,  called  in  all 
his  friends,  including  Peggy,  of  course,  and 
poured  cocktails. 

They  drank  to  the  off-again-on-again  heart 
flutters  while  Lyle  distributed  favors  showing 
Cupid  busying  himself  mending  broken  arrows. 
It  was  all  very  novel,  and  it  seems  to  have 
worked.  Up  to  this  writing  Lyle  hasn't  had  a 
tiff  with  the  little  lady,  and  that  used  to  happen 
about  every  week. 

WICTOR  McLAGLEN  is  burned  up.  Peo- 
"  pie  have  been  accusing  him  of  promoting 
Fascism,  just  because  he  heads  the  regimented 
cavalry  band  "The  McLaglen  Lighthorse." 
Vic  wants  it  understood  that  the  organization 
is  purely  social,  recreational,  and  strictly 
American.  It  has  grown  by  leaps  and  bounds 
and  it  takes  up  about  all  of  Vic's  spare  time. 

IF  you  have  had  a  suppressed  desire  to  climb 
your  family  tree  and  see  if  you  really  did  come 
from  William  the  Conqueror's  line,  take  a  tip 
from  Lyle  Talbot — and  lay  off. 

Lyle  succumbed  to  the  ancestral  curiosity 
lure.  He  hired  a  genealogist  and  bit  his  nails 
while  the  investigation  proceeded. 

Finally  came  the  report.    The  Talbots  were 


an  old  English  band  of  bad  fighting  men,  it 
said.  In  fact,  so  bloody  were  they  that  mothers 
gradually  cooked  up  a  well  known  saying  to 
warn  their  tots  away  from  naughtiness. 

"Stop  doing  that,"  they'd  say,  "or  the 
Talbots  will  get  you." 

Lyle  swished  out  his  wallet  at  once.  "That's 
enough,"  he  yelped,  "better  not  go  any 
further." 

\VOU  should  give  a  gander  to  the  new  Jack 
'  Oakie!  There's  exactly  35  pounds  and  4}/£ 
inches  less  of  him.  A  verra  verra  strict  diet 
did  the  trick,  lassies. 

Fruit  and  spinaches  under  the  eagle  eye  of 
a  medico. 

Ah,  beauty,  thy  price! 

CHE  who  has  thrilled  thousands  and  stood 
^unafraid  before  their  eyes,  quivered,  quaked, 
and  almost  collapsed  on  the  set  at  the  start  of 
the  first  day's  shooting  on  "The  Love  Song." 

Yep — it  was  lovely  Lily  Pons — THE  Pons 
of  the  Met. 

She  couldn't  take  it  from  grips,  publicity 
men  and  what-nots. 

The  set  was  temporarily  closed  until  la  Pons 
regained  her  emotional  balance. 

One  thought,  though,  cheered  her  through 
the  ordeal;  she'd  experienced  the  same  agony 
in  stage  and  mike  fright. 


A  fellow  can't  even  find  privacy  in 
a  telephone  booth  in  Hollywood! 
The  candid  camera  snapped  this 
very  intriguing  picture  of  Frank 
Morgan    through    the    glass    door 


112 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


113 


Why  Jack  Oakie  Has  Changed 

[  CONTINUED  FROM  PAGE  65  ] 


a  really  deep  friendship,  I  waited  rather 
smugly  for  life  to  "slap  him  down"  just  once. 
I  waited  confidently  for  some  jolt  to  wipe  that 
perennial  smile  off  his  face  for  just  twenty-four 
hours. 

"  It  will  do  him  a  world  of  good,"  I  joined 
the  pompous  conclaves  of  his  studio  pals. 
"He's  really  a  great  artist,  but  he's  so  busy 
showing-off  to  the  nearest  audience,  he's  so 
busy  collecting  laughs  at  every  party  in  town, 
he'll  never  get  to  the  very  top  where  he  belongs. 
Why,  look  how  he  goes  over  walking  through 
his  picture,  just  being  Jack  Oakie  in  every 
darned  production.  But  wait,  something  is 
going  to  trip  him  up  one  of  these  days  and  send 
him  sprawling.    Do  him  no  end  of  good,  too." 

Well,  eight  years  is  a  long  time  to  wait  for 
that  satisfying  moment  when  you  can  say,  "I 
told  you  so."  Very  recently  something  tripped 
Jack  up,  something  that  has  caused  his  funny, 
corrugated  smile  to  vanish  for  days  at  a  time. 
He  still  collects  laughs,  but  it's  easy  to  see  that 
he  has  lost  his  old  taste  for  guffaws. 

THE  other  day  I  ran  into  Jack  on  the  Para- 
'  mount  lot.  Six  months  had  passed  since 
our  last  meeting.  I  was  stopped  by  his  familiar 
greeting  of,  "Hi,  babe.  Whereyabeen?  Where- 
yagoing?  Whatchabeendoing?"  But  some- 
how it  didn't  boom  out  at  me  with  the  old 
Oakie  ear-splitting  vigor.  And  then  I  noticed 
that  his  smile  was  strangely  smooth  looking, 
that  it  had  lost  a  lot  of  its  puckers. 

We  went  to  his  dressing-room  for  a  talk. 
After  all,  we  had  six  months  to  hash  over. 
Jack  started  the  conversational  wheels  spin- 
ning with  his  usual  buffoonery. 

Had  I  heard  how  he  had  made  the  dour  and 
disapproving  executive's  wife  collapse  into 
hysterical  laughter  at  her  own  prim  party  the 
other  night? 

Did  I  know  about  his  latest  fishing  trip  with 
Gary  Cooper,  Dick  Arlen  and  W.  C.  Fields, 
and  how  they  were  stranded  on  a  yacht  with 
only  four  cases  of  beer  for  nourishment  because 
they  had  left  the  ordering  of  the  food  supplies 
to  Fields? 

Did  I  want  to  hear  his  latest  imitation  of 
Bing  Crosby  singing  "  I  Surrender,  Dear"? 

But  thirty  minutes  later,  with  the  corners  of 
his  mouth  strangely  stiff,  Jack  was  telling  me 
that  life  had  finally  "slapped  him  down."  He 
said: 

"  It  was  the  deaths  in  rapid  succession  of 
three  friends  last  year,  Dorothy  Dell,  Lew 
Cody  and  then  Bill  Boyd.  I'm  not  super- 
stitious about  death  or  even  afraid  of  it.  In 
fact,  I've  never  thought  about  it  at  all  until 
lately.  At  first  the  sudden  passing  of  those 
three  swell  people  left  me  just  numb  and 
shocked.  But  gradually  during  the  months 
that  followed — more  than  a  year  now — I've 
had  some  disturbing  doubts  about  my  pet 
theory  that  life  is  just  one  long  laugh,  just  a 
good  joke. 

"You  see,  I  began  to  wonder  if  maybe  we 
aren't  given  our  short  span  on  earth  to  accom- 
plish something,  to  leave  some  sort  of  a  record. 
I  went  over  the  records  of  good  and  fine  things 
these  three  people  had  left  behind  them,  and 
wondered  what  mine  would  be.  So  far  it's  just 
a  million  laughs.  And,  Julie,  I  don't  like  the 
sound  of  that — just  a  million  laughs. 

"I've  beeii  a  show-off  all  my  life,  born  that 
way,  I  guess.  Don't  interrupt,  you  know  I'm  a 
show-off,  that  I'll  probably  always  be  one,  but 


from  hereon  all  my  showing-off  will  be  done  in 
front  of  the  camera.  Mrs.  Oflield's  little  boy  is 
retiring  as  the  life  of  Hollywood's  parties  and  is 
about  to  take  life  seriously. 

"Funny,  isn't  it,  getting  growing  pains  at 
thirty-three?" 

But  Jack's  belated  entry  into  the  realm  of 
adult  responsibilities  and  accountabilities  isn't 
funny  or  strange,  it  simply  completes  the  pat- 
tern of  a  really  amazing  childhood  and  youth. 

You  see,  Jack's  actual  entry  into  the  world 
was  belated.  He  came  along  years  after  his 
parents  had  given  up  their  prayers  and  hopes 
for  a  son.  And  you  know  the  answer  to  that 
sort  of  drama,  a  thoroughly  pampered  young 
man,  only  Jack  didn't  pamper  too  easily. 

Now  add  to  this  situation  a  mother  who  was 
a  well  known  psychologist  who  believed  in  the 
unhampered  expression  of  a  child's  individual- 
ity, a  rich  father,  the  town's  leading  banker, 
and  a  worshipping  sister  five  years  his  senior, 
and  you  have  a  good  working  blueprint  of  the 
Offield  (Jack's  real  name)  family  life  in 
Muskogee,  Oklahoma. 

Mrs.  Offield  continued  to  run  an  exclusive 
seminar)7  for  young  girls  -in  her  home  following 
her  marriage  because  she  had  to  keep  herself 
busy  and  occupied,  and  the  fifteen  carefully 
selected  students  enthusiastically  joined  the 
family's  unified  adoration  of  Jack. 

When  he  was  still  in  the  toddling  age  he  was 
included  in  all  the  seminary  class  plays  at  the 
insistence  of  the  girls. 

When-he  was  just  emerging  from  the  romper 
age  he  discovered  how  easily  he  could  make 
people  roar  with  laughter.  He  could  put  on  his 
sister's  second  best  hat,  go  into  a  funny  walk, 
squeak  out  a  little  song  and  the  seminary 
students,  his  family  and  even  big  black 
Narcissus  in  the  kitchen  held  their  sides  with 
merriment. 

When  he  was  seven  he  was  permitted  to  stay 
up  for  the  school's  monthly  dancing  parties, 
and  the  girls  never  refused  his  invitation  to 
waltz  in  favor  of  some  romantic  adolescent 
their  own  height  and  age. 

In  fact  no  one  in  the  twenty-two-room  house 
filled  with  women  seemed  able  to  refuse  Jack 
anything. 

CVEN  his  father,  who  tried  on  occasion  to  be 
'—stern  with  his  only  son,  could  not  hold  out 
against  the  youngster's  strange  appeal. 

Jack  once  told  me  that  when  he  was  eight, 
his  parents  took  him  to  see  his  first  circus.  The 
large  tent  with  its  myriad  lanes  of  ropes, 
bleachers,  trapeze  equipment  and  ladders  en- 
chanted him.  He  didn't  even  see  the  clowns, 
the  acrobats  or  the  animals,  only  that  beauti- 
ful, dirty,  dun  colored  flapping  tent. 

On  the  way  home  he  asked  his  father  for  a 
circus  tent.  That  night  he  asked  both  his 
father  and  mother  tor  a  circus  tent,  and  at 
breakfast  the  next  morning  he  remembered  to 
mention  his  longing  again. 

And  believe  it  or  not,  within  a  week,  Papa 
Offield  managed  to  secure  a  very  old  but  large 
circus  tent  from  a  bankrupt  traveling  show, 
and  he  had  it  erected  in  the  backyard.  And 
Jack's  mother  didn't  wince  once  (that  is,  not 
openly)  when  that  eyesore  of  soiled  canvas  was 
raised  over  her  favorite  half  acre  of  lawn  and 
flower  beds. 

That  tent  became  Jack's  stage,  and  the 
entire  male  population  of  Muskogee  between 
the  ages  of  six  and  twelve  became  his  audience: 


The  MAN  who 
put  the  MAN 
in  roMANce! 

His   first  picture 
since  Monte  Cristo 


- 


Jb 


Handcuffed 

TO   THE    GIRL  WHO 
DOUBLE-CROSSED  HIM 


A  hundred  steps  ahead 
of  any  picture  this  year 

LUCIE  MANNHEIM  •  GODFREY 
TEARLE  •  PEGGY  ASHCROFT 
Directed  by  ALFRED  HITCHCOCK     />J^ 

Director  of   The  Man  Who  Knew  Too  Much  \J    fj 

A  GB  PRODUCTION 


114 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,   1935 


TEST.. .the  PERFOLASTIC  GIRDLE 

.    ...  dt  our  expense  ! 


*SJ  have 
REDUCED* 
MY  HIPS 
9  INCHES" 


"I  read  an  'ad'  of  the 
Perfolastic  Company 
. .  .  and  sent  (or  FREE 
folder." 


"The  massage  -  like 
action  did  it... the  (at 
seemed  to  have  melted 
away." 


"They  allowed  me  to 
wear  their  Perforated 
Girdle  for  10  days  on 
trial." 


"In  a  very  short  time 
I  had  reduced  my  hips 
9  INCHES  and  my 
weight  SO  pounds." 


YOUR  WAIST 
AND     HIPS 

DAYS 
OR 


REDUCE 

I M<Hfi  10 

.  . .  it  costs  you  nothing! 

YX7E  WANT  you  to  try  the  Perfolastic 

Girdle    and    Uplift    Brassiere.     Test 

them  for  yourself  for  10  days  absolutely 

FREE.     Then,   if  without   diet,   drugs  or 

exercise,  you  have  not  reduced  at  least  3  inches 
around  waist  and  hips,  they  will  cost  you    nothing! 

Reduce, Quickly, Easily  and  Safely! 

ID  The  massage-like  action  of  these  famous  Perfo- 
lastic Reducing  Garments  takes  the  place  of  months 
of  tiring  exercises  and  dieting.  Worn  next  to  the 
body  with  perfect  safety,  the  Perfolastic  gently  mas- 
sages away  the  surplus  fat  with  every  movement, 
stimulating  the  body  once  more  into  energetic 
health. 

Don$tWaitAnyLonger..ActToday! 

GJ  You  can  prove  to  yourself  quickly  and  definitely 
whether  or  not  this  very  efficient  girdle  and  bras- 
siere will  reduce  you.  You  do  not  need  to  risk  one 
penny  .  .  .  try  them  for  10  days  ...  at  our  expense. 


SEND    FOR    TEN    DAY    FREE    TRIAL    OFFER! 


PERFOLASTIC,  Inc. 

Dept.  9110,  41  EAST  42nd  ST.,  New  York,  N.  Y. 
Please  send  me  FREE  BOOKLET  describing  and  illus- 
trating the  new  Perfolastic  Girdle  and  Brassiere,  also 
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10 -DAY   FREE  TRIAL  OFFER. 

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Use  Coupon  or  Send  Name  and  Address  on  Penny  Post  Card 


He  tempted  the  reluctant  ones  with  promises 
of  food  and  an  opportunity  to  sleep  all  night  in 
the  tent  on  one  of  the  eighteen  cots  he  had 
managed  to  coax  from  his  father.  Mrs. 
Offield  and  the  indulgent  Narcissus  doled  out 
anywhere  from  twenty  to  thirty  lunches  and 
dinners  each  day  to  Jack's  famished  audiences, 
without  a  whimper. 

When  Jack  was  twelve  Babe  Ruth  became 
his  idol  and  his  father  had  the  tent  taken  down 
and  a  baseball  diamond  put  down  in  its  place. 
A  year  later  the  diamond  was  turned  into  a 
track  because  Jack's  medium  for  showing-off 
had  been  visibly  affected  by  the  flying  feet  of 
famous  runners. 

Mr.  Offield  died  when  Jack  was  fifteen  and 
the  family  wealth  dried  up  a  year  later  in  a 
group  of  Oklahoma  oil  wells.  But  in  the 
pinched  years  that  followed  Mrs.  Offield  never 
permitted  her  children  to  brush  against  the 
harsh  reality  of  "being  poor  folks." 

\  V /HEN  she  learned  the  worst,  she  hopped  a 
**  train  for  New  York  City,  found  herself  a  job 
clerking  in  an  exclusive  book  store  and  then 
sent  for  her  children.  And  Jack  remembers 
that  there  was  such  a  determined  air  of  cheer- 
fulness about  her  that  he  didn't  quite  dare  ask 
why  they  had  to  live  in  a  cramped,  dark  flat 
that  was  servantless  and  startlingly  shabby. 

But  within  forty-eight  hours  Jack  had  for- 
gotten his  drab  surroundings,  he  had  found  a 
new  audience,  the  neighborhood  gang.  And 
then  he  was  occupied  with  the  business  of  win- 
ning over  a  new  school  teacher  and  principal 
and  then  the  several  hundred  housewives  who 
lived  in  the  Olfield's  flat  building. 

After  graduation  from  high  school,  Jack 
went  to  work  and  even  this  first  plunge  into  the 


economic  struggle  left  him  miraculously  un- 
marked. He  found  the  broker's  offices  where 
he  was  a  "runner"  just  another  stage,  and  his 
long  faced  bosses  just  a  new  and  highly  exciting 
audience  to  conquer  with  laughter. 

It  was  Jack's  luck  that  the  big  boss  liked  his 
showing-off.  He  was  soon  taking  Jack  to  all 
his  exclusive  clubs  for  lunch  and  dinner  to 
amuse  his  banker  and  broker  friends.  Later 
the  boss  placed  Jack  in  a  number  of  benefit 
shows  put  on  by  New  York's  Junior  League 
and  other  society  organizations.  It  was  from 
this  springboard  that  he  took  an  easy  dive  into 
Broadway's  footlights. 

The  rest  of  the  story  is  familiar  to  every 
Oakie  fan!  His  stage  apprenticeship  and  his 
friendship  with  Joan  Crawford  way  back  in 
1923  when  she  was  a  chorus  girl  and  he  was  a 
chorus  boy  in  "Innocent  Eyes;"  the  astonish- 
ing philosophy  of  patience  and  perseverance 
Joan  taught  Jack,  the  lesson  that  helped  him 
joke  his  way  to  Hollywood  and  success. 

\  V/ITH  a  quip  or  a  witticism  he  could,  and  still 
"  can,  coax  a  vacation  or  a  coveted  part  from 
any  grim  visaged  studio  executive,  just  as  he 
used  to  wheedle  circus  tents  and  baseball 
diamonds  from  his  father.  No  wonder  he  used 
to  say,  "Life  is  just  a  million  laughs." 

But  reality  has  finally  left  a  bruise  on  Jack's 
laughing  soul,  the  reality  of  death. 

At  thirty-three,  Jack  has  decided  to  grow  up, 
to  take  the  business  of  life  and  living  seriously. 
It  will  be  interesting  to  see  how  it  affects  Jack, 
what  it  does  to  his  work,  what  it  does  to  his 
life. 

It  will  be  interesting  to  watch  but  I  wish 
it  hadn't  had  to  happen.  Clowns  are  so  rare — 
and  anyone  can  be  serious. 


You  may  not  believe  it,  but  here's  a  family  party — mother  and  son! 
Helen  Broderick,  in  "Top  Hat,"  and  her  big  boy,  Brodericlc  Crawford 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,   1935 


15 


THE  FAN  CLUB  CORNER 


MOVIE  fan  clubs  are  growing  in  number 
and  popularity.  Groups  of  movie-minded 
young  people  in  every  locality  are  busy  organiz- 
ing clubs  to  sponsor  their  favorite  screen  stars 
or  general  fan  clubs  to  increase  their  knowledge 
and  enjoyment  of  the  movies.  I  have  had 
many  requests  as  to  how  to  form  a  fan  club. 
A  few  months  back  I  gave  full  directions  as  to 
how  to  go  about  organizing  a  fan  club.  If 
you  look  in  your  Photoplay  for  May  you  will 
find  same.  I  will  print  this  information  again 
in  the  near  future  so  be  on  the  look-out  for  it. 

To  the  Lanny  Ross  Fan  Club  of  Pittsfield, 
Mass.  I  would  be  glad  to  mention  your  club  in 
my  corner. 

Why  not  send  me  in  one  of  your  monthly 
bulletins  so  that  I  can  see  just  how  you  are 
progressing. 

The  Ruth  Roland  Fan  Club  bulletin  "Ruth's 
Rambles,  Jr."  has  just  arrived  and  it  is  chock 
full  of  news.  The  fans  are  all  so  pleased  with 
Ruth's  broadcast  over  station  KMTR  of  Holly- 
wood, every  Thursday  night  at  8:15.  (But 
Coast,  Central  or  Eastern  Standard  Time  not 
specified.)  They  would  like  all  her  fans  who 
haven't  written  congratulations  to  her  to  do  so 
as  she  would  be  very  pleased  to  hear  from  all 
of  you.  Any  fans  wishing  to  get  clippings  for 
their  scrapbooks  write  to  the  Ruth  Roland  Fan 
Club,  4822  Meade  Ave.,  Chicago,  and  they  will 
furnish  you  with  information  as  to  how  to 
secure  them. 

Lucille  Carlson,  president  of  the  Alice  White 
Club,  sent  in  an  extremely  interesting  club 
paper.  Among  other  things  she  reports  that 
Una  Merkel  has  become  one  of  the  honorary 
members  of  the  club. 

Anyone  wishing  to  join  a  Lina  Basquette 
Club  write  to  Lenore  Heridon,  President,  5737 
S.  Artesian  Ave.,  Chicago,  111. 

She  would  like  to  have  some  new  members 
in  the  club. 

To  Victor  P.  King,  publicity  manager  of  the 


Madge  Evans  Fan  Club  of  Brandon,  Mani- 
toba, Canada:  This  is  the  first  time  that  your 
letter  has  reached  my  desk  and  I  would  be  only 
too  glad  to  hear  from  you  and  have  you  as  a 
member  of  our  circle.  Do  you  publish  a 
monthly  bulletin?    If  so  send  it  in  to  me. 

Terry  Scalella  has  resigned  as  president  of 
the  Gene  Raymond  Fan  Club  News  and  has 
appointed  Eva  Highsmith  to  replace  him.  He 
says  that  Eva  has  done  very  fine  work  in  the 
past  and  he  is  sure  that  she  will  be  able  to 
carry  on  in  the  future.  I  was  pleased  to  hear 
that  the  club  has  six  new  members.  Dues 
have  been  reduced  until  January,  1936,  to 
twenty-five  cents. 

Ramon  Novarro  Service  League  Members 
have  been  performing  many  good  deeds  among 
their  friends.  It  is  nice  to  hear  of  people  being 
kind  to  others.  They  have  appointed  a  new 
secretary  in  London,  Miss  Page,  of  Tufnell 
Park. 

They  have  a  new  branch  league  in  Birming- 
ham, England,  and  one  in  Austria. 

I  would  like  very  much  to  receive  bulletins 
from  any  fan  clubs  publishing  one.  If  you  are 
interested  in  securing  new  members  write  to 
me  and  I  will  print  your  address  in  my  column 
so  that  they  might  write  to  you. 

Listed  below  are  the  addresses  of  some  of  the 
clubs  open  for  new  members:  Norma  Shearer 
Club,  Hans  Faxdahl,  Pres.,  1947  Broadway, 
New  York;  Alice  White  Club,  Lucille  Carlson, 
Pres.,  East  Main  Street,  Detroit  Lakes,  Minn.; 
John  Boles  Music  Club,  Lillian  Musgraves, 
Pres.,  2700  Vincent  Ave.,  Minneapolis,  Minn.; 
Tom  Brown  Club,  Donato  Cedrone,  Pres.,  288 
Nevada  Street,  Newtonville,  Massachusetts; 
Bing  Crosby  Club,  Fay  Zinn,  Pres.,  95  North 
Walnut  Street,  East  Orange,  New  Jersey;  Joan 
Crawford  Fan  Club,  Marian  L.  Dommer,  Pres., 
9717  81st  Street,  Ozone  Park,  New  York; 
Clark  Gable  Fan  Club,  Ruth  Filler,  Pres., 
3506  West  64th  Street,  Chicago,  Illinois. 


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■::.:'W    -                                                   '                        '■-.                     ■"'..■     :v        '.',        •     /.:■    V      ."; 

Ronald  Colman  has  one  of  the  most  brilliant  roles  of  his  screen  career 
as  Sidney  Carton,  Dicken's  famous  character  in  "The  Tale  of  Two 
Cities."       Jack     Conway     directed     the     film     version     for     M-G-M 


RICHARD  ARLEN 


PICKS 


NATURAL  LIPS 

AS  LOVELIEST! 


HERE'S  WHAT  RICHARD  ARLEN  SAW 


UNTOUCHED 


Film  star 
chooses 
girl  with 
Tangee  lips 
in  Hollywood 
test 


Richard  Arlen  makes  lipstick 
test  between  scenes  of  "Let 
'em  Have  It,"  a  Reliance 
Pictures  production. 


•  And  most 
men  agree  with 
Richard  Arlen  ! 
They  prefer  lips  that  are  rosy  and  soft . . .  not 
coated  with  paint !  If  you  want  your  lips  to  be 
lovelier,  use  Tangee  Lipstick.  It  can't  give  you 
"that  painted  look",  because  //  isn't  paint. 
Instead,  it  brings  out  your  own  natural  color 
.  .  .  makes  your  lips  kissable  .  .  .  more  appeal- 
ing. For  those  who  prefer  more  color,  espe- 
cially for  evening  use,  there  is  Tangee  Theatrical. 
Try  Tangee.  In  two  sizes,  39c  and  $1.10.  Or, 
for  a  quick  trial,  send  10c  for  the  special  4- 
piece  Miracle  Make-Up  Set  offered  below. 

•  BEWARE    OF    SUBSTITUTES         ,/ 

ask  tor  Tangee  and  be  sure  you  see  the  name  Tangee 
on  the  package.  Don't  let  some  sharp  sales  person 
switch  you  to  an  imitation. . .  there's  only  one  Tangee. 


T|  Worfd's  Most  Famous  lipstick 
4N5TC 
ENDS   THAT   PAINTED   LOOK 


•   4-PIECE  MIRACLE  MAKE-UP  SET 

THE  GEORGE  W.  LUFT  COMPANY     P105 
417  Fifth  Avenue,  New  York  City 
Rush  Miracle  Make-Up  Set  of  miniature  Tangee 
Lipstick,  Rouge  Compact,  Creme  Rouge,  Face 
Powder.  I  enclose  1 00  (stamps  or  coin).  1 5^  in  Canada. 

Shade    □  Flesh   □    Rachel    □  LjSht  Rachel 


Name 

Address- 
City 


State- 


116 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


NO  MORE  BULGING  SHOES 

Don't  let  bunions  make  life  miserable  for  you. 
Dr.  Scholl's  Bunion  Reducer  relieves  the  pain  at 
once  and  removes  shoe  pressure  on  the  tender 
part.  It  reduces  by  the  natural  process  of  ab- 
sorption. Worn  invisibly.  Hides  the  bulge, 
preserves  shapeliness  of  stylish  shoes.  Made 
of  soft  rubber.  50#  each. 

For  wear  outside  the  stocking,  Dr.  Scholl's  Bunion  Pro- 
tector. Made  of  leacherwith  soft  felt  padding  to  protect 
jaintfrom  shoe  pressure  a~d  preserve  shape  of  shoes. 
75fi  each.  Sold  at  all  dru".  dept.  and  shoe  stores.  Write 
for  FREE  BOOKLET,  "The  Bunion"  to  Dr.  Scholl's, 
Inc.,  341  W.  Schiller  St.,  Chicago,  111. 


D-'Scholls 

FOOT  COMFORT  APPLIANCES 

AND    REMEDIES    FOR   ALL   FOOT  TROUBLES 


High  School  Course 
in  2  Years 


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Standardtexts  supplied.    Diploma  awarded.  Full  credit  forH.S. 

subjects    already   completed.    Send    for   Free   Bulletin  TODAY. 

American  School,  Dept.  H-743,  Drexel  at  58th,  Chicago 


WHEN  BUYING  SHEET  MUSIC 

ask  your  dealer  to  show  you 

CENTURY  CERTIFIED  EDITION] 

IT  COSTS  ONLY  15    A  COPY 

Catalogue  of  3000  Selections 

FREE    ON    REQUEST 

I  CENTURYMUSIC PUBLISHING  CO. 

245  W.40thSTREET  N.Y.C. 


OnlvlOca  Dav  Jul 


Vz  Price 


Save 


rer    H 
Alao   portable  at  reduced  prices. 

SEND  NO  MONEY 

All  Uitt  models  completely  refiniahed  like 
brand    new.     FULLY  GUARANTEED. 
liiK  free  catal,.;  nh»WH  actual  in  ichiiH'H 
in  full  cole,™    LowPstpriMR.  Si>ndatonce 

Free  course  in  typing  included. 
INTERNATIONAL    TYPEWRITER    EXCHANG 
231  W.  Monroe  St.,     Dept.  1062,     CHICAGO 


have  PRETTY  ANKLES 

Support  and  relieve  swelling  and  varicose  veins 
with  Dr.  w  alters  nesli  colored  gum  rubber 
reducing    hose.       Perfect    fitting— i.nprove 
shape  at  once.      They  have  helped  many 
thousands  of  people  in  the  last  25  years. 
11  inch  not  covering  foot  $3.75  per  pair     < 
14     "     partly  covering  "    $6.75    "        "      j?/ 
Send  ankle  and  calf  measure.    Pay  by 
check  or  money  order  (no  cash)  or  pay 
postman. 

Dr.  JEANNE  P.  H.  WALTER 

389  Fifth  Ave.,  New  York  €^-^ 


FREE 


ORIENTAL  SCARF 

(PURE  SILK) 

(Sells  regularly  for  $1 .00) 
Just  to  acquaint  you  with  my  Oriental  ar- 
%-t  tides.  Only  1  to  a  person.  This  lovely  scarf, 
one  yard  square,  with  its  woven  Chinese  de- 
signs in  harmonious  colors.  Use  as  tabic 
decoration  scarf,  or  Bridge  Prize.  Come-  in 
Q  Blue  &  Tan.  Q  Green  &  Tan.  D  Maroon 
&  Tan,  □  Soft  Chocolate.  Check  color 
wanted. 

I  will  also  send  you  my  full  list  of  Oriental 
-^^\&  Mandarin  Lounging  Pajamas.  Silk  Kimonos, 
Geisha  Girl  Cigarette  Boxes,  etc.     All   per- 
1  sonally  imported  by  me. 

Send  only  30c  (silver  or  stamps)   i<>  cover 
"~*  tt    postage  and  packing      Money  refunded  im- 
.yj'L  mediately  if  not  satisfied. 
JIM?         DOROTHY  BOYD  ART  STUDIO 
'I'^IV  77  Minna  Ave.  at  First,  San  Francisco,  Calif. 


PxF 


SCREEN   MEMORIES   FROM   PHOTOPLAY 

15  Years  Ago 


C^OSSIP:  Harold  Lloyd  was 
^-^busy  denying  rumors  that  he 
and  Bebe  Daniels  were  engaged. 
As  proof,  he  showed  telegrams 
from  Lila  Lee,  Mildred  Davis, 
and  other  lady  admirers  saying, 
"  If  Bebe  and  I  were  engaged,  all 
these  girls  wouldn't  be  sending 
me  wires."  He  and  Mildred 
have  been  happily  married  now 
for  twelve  years.  Mollie  King 
had  just  left  the  screen  to  take 
care  of  her  baby  son,  Kenneth  Dade  Alexander, 
Jr.;  Mildred  Harris  was  suing  Charlie  Chaplin 
for  divorce,  on  grounds  of  cruelty.  David 
Wark  Griffith  had  just  incorporated,  with  a 
capital  of  fifty  million  dollars.  Today, 
Griffith  is  reputed  broke.  Hoot  Gibson,  com- 
paratively unknown,  was  identified  as  "the 
young  man  who  rides  bucking  broncos  for 
Universal."     Hoot's  fame  and  popularity  be- 


MARY  PICKFORD 


gan  to  spread  rapidly  about  this 
time.  It  was  worthy  of  mention 
in  this  issue  that  "Connie  Tal- 
madge  has  not  been  reported 
engaged  to  anybody  this  month." 
The  contract  problem  of  the  day 
was  whether  or  not  Nazimova 
would  sign  again  with  Metro. 
With  the  boyish  figure  all  the 
rage,  ladies  were  going  in  stren- 
uously for  reducing.  Sylph-lik- 
Mae  Murray  recommended  a 
milk  diet.  Dorothy  Dalton  said  hard  work. 
Alice  Brady's  recipe  was  exercise.  Take  your 
choice.  Films  of  the  month  included:  Norma 
Talmadge  in  "  Yes  or  No;"  "One  Hour  Before 
Dawn,"  starring  H.  B.  Warner  and  Anna  Q. 
Nilsson;  Alma  Rubens  and  Montagu  Love  in 
"The  World  and  I  lis  Wife;"  Conrad  Nagel  in 
"The  Fighting  Chance;"  Mabel  Xormand  in 
"The  Slim  Princess."    Cover:  Mary  Pickford. 


10  Years  Ago 


A  DECADE  ago  the  rage  of 
'  *  the  hour  was  the  Charles- 
ton. Rudy  Valentino  and  his 
wife  staged  a  Charleston  con- 
test. Winner  was  Bessie  Love. 
Photoplay's  photographer  took 
pictures  of  Bessie,  Charleston- 
ing,  step  by  step.  Our  favorite 
step  was  No.  Three:  "Bend 
body  forward,  knees  bent,  place 
hands  on  knees  while  moving 
knees  inward  and  outward, 
crossing  arms  with  hands  on  knees,  scissor 
fashion."  And  they  called  it  a  dance!  Man 
of  the  Hour  was  Jack  Gilbert.  His  romantic 
role  in  "The  Merry  Widow"  put  him  up  as  the 
only  serious  rival  of  Rudy  Valentino.  Gilbert's 
closest  rival  for  screen  popularity  was  Ronald 
Colman.  Barbara  La  Marr  had  just  returned 
to  Hollywood,  on  a  stretcher,  determined  to 
make  a  really  fine  picture  after  the  two  poor 


RUDOIPH  VALENTINO 


ones  which  threatened  to  wreck 
her  career.  Her  film,  "The  Girl 
from  Montmarte"  was  released  in 
October,  and  Barbara  died  in 
January,  only  twenty-six  years 
old,  and  one  of  the  most  beauti- 
ful, intelligent  and  talented  girls 
that  ever  hit  Hollywood.  She 
had  been  married  five  times.  The 
new  fashion  note  was  Russian 
boots — okayed  by  the  film  col- 
ony because  Pola  Negri  looked 
so  smart  in  them.  The  month's  film  offerings 
included:  "The  Merry  Widow,"  with  Jack 
Gilbert  and  Mae  Murray;  "Little  Annie 
Rooney,"  starring  Mary  Pickford;  "Winds  of 
Chance,"  with  Anna  Q.  Nilsson,  Ben  Lyon. 
Viola  Dana;  Bebe  Daniels  in  "Wild,  Wild 
Susan;"  "The  Wanderer."  with  William 
Collier,  Jr. 

Cover  Girl,  Esther  Ralston. 


5  Years  Ago 


HOLLYWOOD  was  in  the 
throes  of  talkie-panic  just 
five  years  ago.  Tearjerker  of 
the  month  was  the  star  of 
silents  who  said  to  his  director 
friend,  "  Wwwwwill  you  llllllllend 
me  tttttten  bucks  till  this 
tttttalkie  craze  bbbblows  over?" 
Then  there  was  the  crack, 
"Pictures  have  gone  from  bad 
to  voice."  David  Belasco  said, 
"Talking  Pictures  are  a  great 
mistake.  If  I  were  younger  I  would  go  into  the 
production  of  silent  pictures.  Good  silent 
pictures  would  sweep  the  country."  Today 
the  same  kind  of  discussion  is  going  on  about 
color.  What  will  be  the  status  of  black-and- 
white  films  in  1940?  Recent  weddings  in- 
cluded the  marriage  of  Cedric  Gibbons  and 
Dolores  Del  Rio,  and  that  of  Nils  Asther  and 
Vivian  Duncan.    The  Gibbons  are  still  happily 


DOtORES  DEI  RIO 


together.  Nils  and  Vivian  broke 
up  soon  after,  a  tragic,  bitter 
heart-break  for  both.  Romantic 
rumors  about  Rex  Bell  and  Clara 
Bow  had  reached  a  new  high 
because  Rex,  on  Clara's  request, 
dyed  his  ruddy  locks  black  and 
had  his  bushy  eyebrows  plucked. 
The  miniature  golf  craze  had 
hit  movie-town.  Mary  Pick- 
ford was  having  a  course  laid  out 
on  Hollywood  Boulevard  as  we 
went  to  press.  There  was  a  picture  of  a 
brunette,  playing  bits,  named  Harriet  Lake. 
The  lady  is  now  a  blonde,  starring  in  hits,  and 
her  name  is  Ann  Sothern.  Films  of  the 
month:  Eddie  Cantor's  first  movie,  "Whoopie;" 
John  Barrymore  in  "Moby  Dick;"  "Abraham 
Lincoln,"  with  Walter  Huston;  Jeanette  Mac- 
Donald  in  "Monte  Carlo." 
Cover  Girl  was  Bebe  Daniels. 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 


117 


Casts  of  Current  Photoplays 

COMPLETE     FOR     EVERY     PICTURE     REVIEWED     IN     THIS     ISSUE 


"ALIBI  IKE"— Warners.— From  the  story  by 
Ring  Lardner.  Directed  by  Raymond  Enright.  The 
cast:  Frank  X.  Farrell,  Joe  E.  Brown;  Jack  Mack, 
Eddie  Shubert;  Owner  of  the  Cubs,  Joseph  King;  Cap, 
William  Frawley;  Valet  at  Hotel,  Adrian  Rosley;  Mug- 
Crawford'),  2nd  I.I.,  Huey  White;  Minister,  Spencer 
Charters;  Dolly,  Olivia  de  Havilland;  Bess,  Ruth 
Donnelly;  Carey,  Roscoe  Karns;  Lefty  Crawford,  Paul 
Harvey;  Conductor,  Joseph  Crehan;  Lieut,  of  Crawford, 
Pat  Collins;  Smitly,  Gene  Morgan. 

"  BLACK  ROOM.  THE"— Columbia.— From  the 
story  by  Arthur  Strawn.  Screen  play  by  Henry 
Meyers  and  Arthur  Strawn.  Directed  by  Roy 
William  Neill.  The  cast:  Gregor,  Boris  Karloff; 
Anton,  Boris  Karloff;  Thea,  Marian  Marsh;  Lt. 
Lussan,  Robert  Allen;  Col.  Hassel,  Thurston  Hall; 
Mashka,  Katherine  DeMille;  Beran,  John  Buckler; 
De  Berghman,  Henry  Kolker;  /./.  Hassel,  Colin 
Tapley;  Peter,  Torben  Meyer;  Karl,  Egon  Brecher; 
Franz,  John  Bleifer;  Josef,  Fredrik  Vogeding;  Doc/or, 
Edward  Van  Sloan. 


"BORN  FOR  GLORY"— GB— From  the  novel 
by  C.  S.  Forester.  From  the  scenario  by  J.  O.  C 
Orton.  Directed  by  Walter  Forde.  The  cast: 
Elizabeth  Brown,  Betty  Balfour;  Albert  Brown,  John 
Mills;  Lieut.  Somerville,  Barry  Mackay;  Ginger, 
Jimmy  Hanley;  Max,  Howard  Marion-Crawford; 
Captain  Holt,  H.  G.  Stoker;  Kapitan  Yon  Lulz,  Percy 
Walsh;  William  Brown,  George  Merritt;  William 
Brown,  Jr.,  Cyril  Smith. 

"BRIGHT  LIGHTS"— First  National.— From 
the  story  by  Lois  Leeson.  Screen  play  by  Bert  Kal- 
mar  and  Harry  Ruby.  Directed  by  Busby  Berkeley. 
The  cast:  Joe  Wilson,  Joe  E.  Brown;  Fay  Wilson, 
Ann  Dvorak;  Peggy,  Patricia  Ellis;  Dan  Wheeler, 
William  Gargen;  Otto  Schlcmmer,  Joseph  Cawthorn; 
J.  C.  Anderson,  Henry  O'Neill;  Wilbur,  Arthur 
Treacher;  Wellington,  Gordon  Westcott;  Post  Office 
Attendant,  Joseph  Crehan;  Depot  Detective,  William 
Demarest;  Taxi  Driver,  Jack  Wise;  Doorman  at 
Theater,  Phil  Ryley;  Cop  at  Theater,  Tom  Kennedy; 
Mr.  Aldridge,  Howard  Hickman;  News  Photographer, 
Gene  Morgan;  Critic,  William  Geffery;  Russ  Kendel, 
Eddie  Larkin;  Airport  Attendant,  Irving  Bacon; 
Woman  in  Plane,  Grace  Hayle;  Box-office  Man  at 
Bijou,  Sam  Ash;  Band  Leader,  Charles  Kaley;  Box- 
office  man.  Milt  Kibbee;  Occupants  of  box  in  theater, 
William  Davidson  and  August  Tulare. 

"CHEERS  OF  THE  CROWD"— Monogram  — 
From  the  story  and  screen  play  by  George  Waggner. 
Directed  by  Vin  Moore.  The  cast:  Lee  Adams, 
Russell  Hopton;  Mary,  Irene  Ware;  Walton,  Bradley 
Page;  Honest  John,  Harry  Holman;  Lil  Langdon, 
Betty  Blythe;  O'Reilly,  Wade  Boteler;  Belly,  Roberta 
Gale;  Eddie,  John  Quillan;  Barney,  John  H.  Dilson. 

"CHINA  SEAS"— M-G-M  —  From  the  story  by 
Crosbie  Garstin.  Screen  play  by  Jules  Furthman 
and  James  Keven  McGuinness.  Directed  by  Tay 
Garnett.  The  cast:  Alan  Gaskell,  Clark  Gable; 
China  Doll,  Jean  Harlow;  Jamesy  Macardle,  Wallace 
Beery;  Davids,  Lewis  Stone;  Sybil,  Rosalind  Russell; 
Dawson,  Dudley  Digges;  Sir  Guy,  C.  Aubrey  Smith; 
McCaleb,  Robert  Benchley;  Rockwell, William  Henry; 
Mrs.  Yollberg,  Live  Demaigret;  Mrs.  Timmons, 
Lillian  Bond;  Timmons,  Edward  Brophy;  Yu-Lan, 
Soo  Yong;  Carol  Ann,  Carol  Ann  Beery;  Romanoff, 
Akim  Tamiroff;  Ngah,  Ivan  Lebedeff. 

"CRUSADERS,  THE"  —  Paramount.  —  Screen 

play  by  Harold  Lamb,  Dudley  Nichols  and  Waldemar 
Young.  Directed  by  Cecil  B.  DeMille.  The  cast: 
Berengaria,  Loretta  Young;  Richard,  Henry  Wilcoxon; 
Saladan,  Ian  Keith;  Alice,  Katherine  DeMille;  The 
Hermit,  C.  Aubrey  Smith;  Conrad  of  Monlferral, 
Joseph  Schildkraut;  Blondel,  Alan  Hale;  Philip  of 
France,  C.  Henry  Gordon;  Sancho,  George  Barbier; 
-Blacksmith,  Montagu  Love;  Frederick  of  Germany, 
Hobart  Bosworth;  Hugo  of  Burgandy,  William  Far- 
num;  Earl  Robert  of  Leicester,  Lumsden  Hare;  John 
Lackland,  Ramsey  Hill;  Karakush,  Pedro  de  Cordoba, 
Michael,   Prince  of  Russia,   Paul  Satoff. 

"DANTE'S  INFERNO"— Fox.— Screen  play  by 
Philip  Klein  and  Robert  M.  Yost.  Directed  by 
Harry  Lachman.  The  cast:  Jim  Carter,  Spencer 
Tracy;  Belly  McWade,  Claire  Trevor;  Pop  McWade, 
Henry  B.  Walthall;  Jonesy,  Alan  Dinehart;  Alexander 
Carter,  Scotty  Beckett;  Dean,  Robert  Gleckler; 
Dancers,  Rita  Cansino  and  Gary  Leon;  Inspector 
Harris,  Willard  Robertson;  Captain  Morgan,  Morgan 
Wallace. 

"DIAMOND  JIM"  —  Universal.  —  From  the 
novel  by  Parker  Morell.  Screen  play  by  Preston 
Sturges.  Directed  by  Edward  Sutherland.  The  cast: 
Diamond  Jim  Brady,  Edward  Arnold;  Emma  Perry, 
Jean  Arthur;  Jane  Matthews,  Jean  Arthur;  Lillian 
Russell,  Binnie  Barnes;  Jerry  Richardson,  Cesar 
Romero;  Horsley,  Hugh  O'Connell;  Pawnbroker, 
George  Sidney;  Harry  Hill,  William  Demarest; 
Sampson  Fox,  Eric  Blore,  A.  E.  Moore,  Robert 
McWade;  Mrs.  Perry,  Maidel  Turner;  John  L. 
Sullivan  (as  a  young  man),  Bill  Hoolahahn;  Secretary 
to  Horsley,  Fred  Kelsey;  Drunk,  Otis  Harlan;  Station 


Agent,  Charles  Sellon;  Railroad  President,  Henry 
Kolker;  Brady  (as  a  hoy),  George  Ernest;  Physician, 
Purnell  Pratt;  Brady's  Mother,  Helen  Brown;  Brady's 
Father,  Robert  Emmett  O'Connor;  Bartender,  Lew 
Kelley;  Jewelers,  Albert  Conti  and  Armand  K.iliz. 
Also,  Dorothy  Granger,  Dot  Farley,  Barbara  Baron- 
dess,  Arthur  Houseman,  Matt  McHough,  Del 
Henderson,  Irving  Bacon,  Mary  Wallace,  Richard 
Tucker,  John  Miltern. 

"DON'T  BET  ON  BLONDES"— Warners.— 
From  the  story  by  Isabel  Dawn  and  Boyce  De  Gaw. 
Directed  by  Robert  Florey.  The  cast:  "Odds"  Owt  n, 
Warren  William;  "Numbers,"  William  Gargan; 
Marilyn  Young,  Claire  Dodd;  Switchboard  Operator, 
Mary  Treen;  Brains,  Vince  Barnett;  Doc,  Spencer 
Charters;  Philberi  O.  Slemp,  Hobart  Cavanaugh; 
Professor  Gruher,  Herman  Bing;  Markham,  Coay 
Clement;  David  YanDusen,  Errol  Flynn;  Colonel 
Jefferson  D.  Youngblood,  Guy  Kibbee;  Ella  Purdy, 
Maude  Eburne;  Boardman,  Walter  Byron;  J.  Mor- 
timer Slade,  Jack  Norton;   Steve,  Eddie  Shubert. 

"DRESSED  TO  THRILL"— Fox.— From  the 
play  "La  Couturiere  de  Luneville"  by  Alfred  Savoir. 
Screen  play  by  Samson  Raphaelson.  Directed  by 
Harry  Lachman.  The  cast:  Colette  Dubois,  Tutta 
Rolf;  Nadia  Pelrova.  Tutta  Rolf;  Bill  Trent,  Clive 
Brook;  Gaston  Duponi,  Robert  Barrat;  Anne  Trepied, 
Nydia  Westman;  Henri,  George  Hassell;  Sonya, 
Mme.  Smirnova;  Raskolnikoff,  Leonid  Snegoff ;  Charles 
Penfield,  G.  P.  Huntley,  jr  ;  Auctioneer,  Andre 
Cheron. 

"EVERY  NIGHT  AT  EIGHT"— Paramount.— 
From  the  original  screen  story  by  Stanley  Garvey. 
Screen  play  by  Gene  Towne  and  Graham  Baker. 
Directed  by  Raoul  Walsh.  The  cast:  "Tops"  Car- 
dona,  George  Raft;  Dixie  Dean,  Alice  Faye;  Susan 
Moore,  Frances  Langford;  Daphne  O'Connor,  Patsy 
Kelly;  Three  Radio  Rogues,  Henry  Taylor,  Jimmie 
Hollywood  and  Eddie  Bartel;  Harry,  Harry  Barris; 
Master  of  Ceremonies,  Walter  Catlett;  Trick  Drum- 
mer, Dillon  Ober;  Italian  Singer,  Eddie  Conrad; 
Chicken  Lady,  Florence  Gill;  Sound  Effects  Man, 
Charles  Forsyth;  Joe  Schmidt,  Herman  Bing;  Martin, 
Booth  Howard;  Huxley,  John  H.  Dilson;  New  Em- 
ployee, Louise  Larabee;  New  Employee,  Louise  Mc- 
Names;  Piano  Mover,  Herb  Ashley;  Mrs.  Snyder, 
Louise  Carver;  Fresh  Sailor,  Richard  Powell;  Mail 
Sorter,  Lynton  Brent;  Telephone  Operator,  Phyllis 
Crane;  Telephone  Operator,  Gertie  Green;  Chief 
Operator,  Nina  Gilbert. 

"FARMER  TAKES  A  WIFE,  THE"— Fox.— 
Based  on  the  novel  "Rome  Haul"  by  Walter  D.  Ed- 
monds. Screen  play  by  Edwin  Burke.  Directed  by 
Victor  Fleming.  The  cast:  Molly  Larkins,  Janet 
Gaynor;  Dan  Harrow,  Henry  Fonda;  Jotham  Klore, 
Charles  Bickford;  Fortune  Friendly,  Slim  Summer- 
ville;  Elmer  Olway,  Andy  Devine;  Sam  Weaver, 
Roger  Imhof ;  Delia,  Jane  Withers;  Lucy  Gurget,  Mar- 
garet Hamilton;  Blacksmith,  Siegfried  Rumann;  Sol 
Tinker,  John  Qualen;  Ivy,  Kitty  Kelly;  Freight 
Agent,  Robert  Gleckler;  Lottery  Agent,  Frank  Melton; 
Lottery  Agent,  Lee  Kohlmar. 

"GOOSE  AND  THE  GANDER,  THE  "—War- 
ners.— From  the  story  and  screen  play  by  Charles 
Kehyon.  Directed  by  Alfred  E.  Green.  The  cast: 
Georgiana,  Kay  Francis;  Bob  McNear,  George  Brent; 
Betty,  Genevieve  Tobin;  Lawrence,  John  Eldredge; 
Connie,  Claire  Dodd;  Ralph  Summers,  Ralph  Forbes; 
Aunt  Julia,  Helen  Lowell;  Winkelsleinberger,  Spencer 
Charters;  Arthur,  William  Austin;  Sweeney,  Eddie 
Shubert;  Butler,  Charles  Coleman;  Miriam  Brent, 
Olive  Jones;  Teddy,  Gordon  Elliott;  Murphy,  John 
Sheehan;  Hotel  Detective,  Wade  Boteler. 

"HERE  COMES  THE  BAND"— M-G-M  - 
From  the  original  screen  play  by  Paul  Sloane,  Ralph 
Spence  and  Victor  Mansfield.  Directed  by  Paul 
Sloane.  The  cast:  Ted  Lowry,  Ted  Lewis;  Margaret, 
Virginia  Bruce;  Happy,  Ted  Healy;  Piccolo  Pete,  Nat 
Pendleton;  Ollie  Walts,  Harry  Stockwell;  Don  Trevor, 
Donald  Cook;  Spanky,  Spanky  McFarland;  Colonel 
Wallace,  Addison  Richards;  Judge,  Robert  McWade; 
Scurry,  Charles  Lane;  Simmons'  Lawyer,  Henry 
Kolker;  Simmons,  Robert  Gleckler;  Banker,  Richard 
Tucker;  Salesman,  Bert  Roach;  Dentist,  Tyler 
Brook;  DeValerie,  Ferdinand  Gottschalk;  Miss  Davie, 
May  Beatty.     Also  Ted  Lewis'  Orchestra. 

"IRISH  IN  US,  THE"— First  National.— Story 
idea  by  Frank  Orsatti.  Screen  play  by  Earl  Baldwin. 
Directed  by  Lloyd  Bacon.  The  cast:  Danny  O'Hara, 
James  Cagney;  Pat  O'Hara,  Pat  O'Brien;  Lucille 
Jackson,  Olivia  de  Havilland;  Mike  O'Hara,  Frank 
McHugh;  Carbarn,  Allen  Jenkins;  Ma  O'Hara,  Mary 
Gordon;  Captain  Jackson,  J.  Farrell  MacDonald; 
Doc  Mullins,  Thomas  Jackson;  Joe  Delaney,  Harvey 
Perry;  Mike,  Al  Hill. 

"JALNA"— RKO-Radio.— From  the  novel  by 
Mazo  de  la  Roche.  Screen  play  by  Anthony  Veiller. 
Directed  by  John  Cromwell.  The  cast:  Alayne,  Kay 
Johnson;  Renny,  Ian  Hunter;  Nicholas,  C.  Aubrey 
Smith;  Maurice,  Nigel  Bruce;  Eden,  David  Man- 
ners; Meg,  Peggy  Wood;  Gran,  Jessie  Ralph;  Piers, ; 
Theodore  Newton;  F.rnest,  Halliwell  Hobbes;  Finch, 
George  Offerman,  Jr.;  Wake,  Clifford  Severn;  Pheas- 
ant, Molly  Lamont;  Rags,  Forrester  Harvey. 


I  COULDN'T 

TAKE  A  STEP 

IN  PEACE! 


very  Move, 
Every  Position, 
Cost  Me  Pain" 

ANY  person  with  Piles  knows  what  suffer- 
ing is.  Piles  cause  you  physical  suffering. 
They  cause  you  mental  distress.  They  make 
you  look  worn  and  haggard. 

Piles  can  take  various  forms  —  internal  or 
external,  itching  or  painful,  bleeding  or  non- 
bleeding  —  but  whatever  form  they  take,  they 
are  a  cause  of  misery  and  a  danger. 

A  Scientific  Formula 

Effective  treatment  today  for  Piles  is  to  be 
had  in  Pazo  Ointment.  Pazo  is  a  scientific  treat- 
ment for  this  trouble  of  proven  efficacy.  Pazo 
gives  quick  relief.  It  stops  pain  and  itching.  It 
assures  comfort,  day  and  night. 

Pazo  is  reliable  because  it  is  threefold  in  effect. 
First,  it  is  soothing,  which  tends  to  relieve  sore- 
ness and  inflammation.  Second,  it  is  lubricating, 
which  tends  to  soften  hard  parts  andalso  to  make 
passage  easy.  Third,  it  is  astringent,  which  tends 
to  reduce  swollen  parts  and  to  stop  bleeding. 

Now  in  3  Forms 

Pazo  Ointment  now  comes  in  three  forms:  (1) 
in  Tubes  with  Special  Pile  Pipe  for  insertion 
high  up  in  the  rectum;  (2)  in  Tins  for  applica- 
tion in  the  ordinary  way;  (3)  in  Suppository 
form  (new).  Those  who  prefer  suppositories 
will  find  Pazo  the  most  satisfactory,  as  they  are 
self-lubricating  and  otherwise  highly  efficient. 

Try  It  Free! 

All  drug  stores  sell  Pazo  in  the  three  forms 
described.  But  a  liberal  trial  tube  is  free  for  the 
asking.  Just  put  your  name  and  address  on  a  pen- 
ny postcard  or  the  coupon  below  and  by  return 
mail  you'll  get  the  free  tube.  Write  for  it  today 
and  prove  the  needlessness  of  your  suffering. 

Grove  Laboratories,  Inc. 
Dept.  3  7-P,  St.  Louis,  Mo. 

Gentlemen:  Please  send  me,  in  PLAIN  WRAPPER, 
your  liberal   free   trial   size   of   PAZO  Ointment. 

NAME 


ADDRESS. 

CITY. -  STATE. 


18 


THOSE  TIRED 

EYES! 

Murine  relieves  and  re- 
laxes tired  eyes.  Removes 
irritating  particles.  Refresh- 
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mended  for  nearly  40  years. 
For  all  ages.  Ask  your  druggist. 

' for  Your  EVES 


FADED      HAIR 

Women,  girls,  men  with  gray,  laded,  streaked  hair.  Sha  m  poo 
and  color  ycurhairatthe  same  time  with  new  French 
discovery  "SHAMPO-KOLOR,"  takes  few  minutes,  leaves 
hair  soft,  glossy,  natural.  Permits  permanent  wave  and  curl. 
Free  Booklet,  Monsieur  L.  P.  Valligny,  Dept.  43, 254  W.  3 1  St.  New  York 

Sylvia  of  Hollywood 

Now  Reveals  How  You  Can  Acquire  the 
Beauty  of  the  Screen  Stars 

You  have  always  wanted  to  be  beautiful  .  .  .  attractive 
.  .  .  glamorous.  Now  you  can  be!  For  the  very  same 
methods  which  the  famous  stars  of  the  screen  and  stage 
use  to  acquire  and  maintain  their  beauty  are  now  re- 
vealed bv  Sylvia  of  Hollywood  in  her  new  book.  No 
More  Alibis.    Send  $1.00  to— 

MACFADDEN    BOOK    COMPANY,    INC. 
Dept.    P-10,    1926    Broadway,    New   York,    N.    Y. 


STOPPED    IN     ONE    MINUTE 

Are  you  tormented  with  the  itching  tortures  of  eczema, 
rashes,  eruptions,  or  other  skin  afflictions?  For  quick 
and  happy  relief ,  use  cooling,  antiseptic,  liquid  D.  D.  D. 
Prescription.  Its  gentle  oils  soothe  the  irritated  and 
inflamed  skin.  Clear,  greaseless  and  stainless — dries 
fast.  Stops  the  most  intense  itching  instantly.  A  35o 
trial  bottle,  at  drug  stores,  proves  it — or  money  back. 

D.D.D.    PAeAcSuLj&tL&vL 


LIGHTEN  YOUR  HAIR 
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1 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,    1935 

"JAVA  HEAD" — First  National. — Based  on 
the  novel  by  Joseph  Hergesheimer.  Directed  by  J. 
Walter  Ruben.  The  cast:  Nellie  Vollar,  Elizabeth 
Allan;  Jeremy  Ammidon,  Edmund  Gwenn;  Taou 
Yuen,  Anna  May  Wong;  Gerril  Ammidon,  John 
Loder;  William  Ammidon,  Ralph  Richardson;  Barzil 
Dunsack,  Herbert  Lomas;  Edward  Dunsack,  George 
Curzon. 

"KEYSTONE  HOTEL"—  Warners- Vitaphone. 
— Story  and  screen  play  by  Joe  Traub.  Directed  by 
Ralph  Staub.  The  cast:  Ford  Sterling,  Ben  Turpin. 
Chester  Conklin,  Marie  Prevost,  Hank  Mann,  Vivien 
Oakland  and  Dewey  Robinson. 

"LITTLE  BIG  SHOT"— Warners.— From  the 
story  by  Harrison  Jacobs.  Screen  play  by  Jerry  Wald, 
Julius  J.  Epstein  and  Robert  Andrews.  Directed  by 
Michael  Curtiz.  The  cast:  Gloria  Gibbs,  Sybil  Jason; 
Jean,  Glenda  Farrell;  Steve  Craig,  Robert  Armstrong; 
Mortimer  Thompson,  Edward  Everett  Horton;  Jack 
Dore,  Jack  LaRue;  Kell  Norton,  Arthur  Vinton;  Bert, 
J.  Carrol  Naish;  Onderdonk,  Edgar  Kennedy;  Gibbs, 
Addison  Richards;  Henchman,  Joe  Sawyer;  Matron, 
Emma  Dunn;  Henchman,  Ward  Bond;  Rajah  Louie, 
Tammany  Young;  Henchman,  Murray  Alper;  Hench- 
man, Marc  Lawrence;  Lieut.  Adams,  Guy  Usher; 
Second  Matron,  Mary  Foy. 

"MANHATTAN  MOON"— Universal.— From 
the  original  story  by  Robert  Harris.  Screen  play  by 
Barry  Trivers  and  Ben  Grauman  Kohn.  Directed 
by  Stuart  Walker.  The  cast:  Dan  Moore,  Ricardo 
Cortez;  Yvonne,  Dorothy  Page;  Toots  Malloy,  Doro- 
thy Page;  Reggie  Van  Dorset,  Henry  Mollison;  Speed, 
Hugh  O'Connell;  Luigi,  Luis  Alberni;  Tony,  Henry 
Armetta;  Eddie,  Regis  Toomey;  Secretary,  L'Estrange 
Millman;  Lunch  Man,  Irving  Bacon. 

"MURDER  MAN.'THE"- M-G-M  —  From  the 
story  by  Tim  Whelan  and  Guy  Bolton.  Screen  play 
by  Tim  Whelan  and  John  C.  Higgins.  Directed  by 
Tim  Whelan.  The  cast:  Steve  Gray,  Spencer  Tracy; 
Mary  Shannon,  Virginia  Bruce;  Captain  Ccle,  Lionel 
Atwill;  Henry  Mander,  Henry  Stephens;  Robins, 
Robert  Barrat;  Shorty,  James  Stewart;  Pop  Grey, 
William  Collier,  Sr.;  Carey  Booth,  Bobby  Watson; 
Red  Maguire,  William  Damarest;  Sweeney,  John 
Sheehan;  Rafferty,  Lucien  Littlefield;  Sol  Herlzberger, 
George  Chandler;  Buck  Hawkins,  Fuzzy  Knight; 
Lillian  Hopper,  Louise  Henry;  Colville,  Robert  War- 
wick; Tony,  Joe  Irving;  Pendleton,  Ralph  Bushman. 

"PURSUIT "—M-G-M.— From  the  story  by  Law- 
rence G.  Blochman.  Screen  play  by  Wells  Root.  Di- 
rected by  Edwin  L.  Marin.  The  cast:  Mitchell, 
Chester  Morris;  Maxine,  Sally  Eilers;  Donald, 
Scotty  Beckett;  Reynolds,  Henry  Travers;  Shawn, 
C.  Henry  Gordon;  Mrs.  McCoy,  Dorothy  Peterson; 
Auto  Camp  Proprietor,  Granville  Bates;  Hale,  Minor 
Watson;  Jake,  Harold  Huber;  Jo-Jo,  Dewey  Robin- 
son; Cop,  Erville  Alderson. 

"RETURN  OF  PETER  GRIMM,  THE"— RKO- 
Radio. — From  the  play  written  and  produced  by 
David  Belasco.  Screen  play  by  Francis  Edwards 
Faragoh.  Directed  by  George  Nicholls,  Jr.  The  cast : 
Peter  Grimm,  Lionel  Barrymore;  Catherine,  Helen 
Mack;  Dr.  Macpherson,  Edward  Ellis;  Mr.  Bathol- 
ommey,  Donald  Meek;  William,  George  Breakston; 
Frederik,  Allen  Vincent;  James,  James  Bush;  Mrs. 
Balholommey,  Ethel  Griffies;  Colonel  Lawton,  Lucien 
Littlefield;  Maria,  Greta  Meyer. 


MercolizedWax 


Keeps  Ski"  Young 


Absorb  blemishes  and  discolorations  using 
Mercolized  Wax  daily  as  directed.  Invisible 
particles  of  aged  skin  are  freed  and  all 
defects  such  as  blackheads,  tan,  freckles  and 
large  pores  disappear.  Skin  is  then  beauti- 
fully clear,  velvety  and  so  soft — face  looks 
years  younger.  Mercolized  Wax  brings  out 
your  hidden  beauty.  At  all  leading  druggists. 
Phelactine  removes  hairy  growths 
— takes  them  out — easily,  quickly 
and  gently.  Leaves  the  skin  hair  free. 

i — Powdered  Saxolite; — i 

I  Reduces  wrinkles  and  other  age-signs.  Sim-  I 
I  ply  dissolve  one  ounce  Saxolite  in  half-pint  I 
|  witch  hazel  and  use  daily  as  face  lotion.  | 


"SHANGHAI  " — Walter  Wanger-Paramount. 
From  the  original  story  and  screen  play  by  Gene 
Towne,  Graham  Baker  and  Lynn  Starling.  Directed 
by  James  Flood.  The  cast:  Barbara  Howard,  Loretta 
Young;  Dmitri  Koslov,  Charles  Boyer;  His  Excellency, 
Lun  Sing,  Warner  Oland;  J.  B.,  Alison  Skipworth; 
Tommy  Sherwood,  Fred  Keating;  Truesdale,  Charles 
Grapewin;  Hilton,  Walter  Kingsford;  Mrs.  Truesdale, 
Josephine  Whittell;  Mrs.  Hilton,  Olive  Tell;  Corona, 
Libby  Taylor;  Ambassador's  Son,  Keye  Luke;  Wang, 
Willie  Fung;  Manager  Stock  Exchange,  Booth  How- 
ard;  Von  Hueffer,  Arnold  Korff. 

"SHE  GETS  HER  MAN"— Universal.— From 
the  original  story  by  Arken  Kandel  and  David  Dia- 
mond. Screen  play  by  Aben  Kandel.  Directed  by 
William  Nigh.  The  cast:  Esmeralda,  ZaSu  Pitts; 
Windy  (Richard  Wiley),  Hugh  O'Connell;  Francine, 
Helen  Twelvetrees;  Elmer,  Lucien  Littlefield;  Flash, 
Eddie  Brophy;  Spike,  Warren  Hymer;  Goofy,  Bert 
Gordon;  Chick,  Ward  Bond;  Barlin,  Richard  Alex- 
ander. Also  King  Baggot,  Gertrude  Astor,  Charles 
Regan,  Leo  Dillon,  George  de  Norman,  Jack  Perry, 
Freddie  Welch,  Marion  Schechter,  Sailor  Vincent, 
Johnny  Indressina,  Phil  Bloom,  Dave  Wingrin, 
Dutch  Hendrian,  Jack  Silver,  Danny  Sullivan,  Puggy 
White,  Virginia  Gre. 

"STEAMBOAT  ROUND  THE  BEND"— Fox.— 
From  the  novel  by  Ben  Lucien  Burman.  Screen  play  by 
Dudley  Nichols  and  Lamar  Trotti.  Directed  by  John 
Ford.  The  cast:  Doctor  John  Pearly,  Will  Rogers; 
Fleety  Belle,  Anne  Shirley;  Captain  Eli,  Irvin  S.  Cobb; 
Sheriff  Rufe  Jelters,  Eugene  Pallette;  Duke,  John 
McGuire;  New  Moses,  Berton  Churchill;  Eje,  Francis 
Ford;  Pappy,  Roger  Imhof;  Mall  Abel,  Raymond 
Hatton;  Chaplain,  Hobart  Bosworth;  Jonah,  Stepin 
Fetchit. 

"WE'RE  IN  THE  MONEY"— Warners.— From 
the  story  by  George  R.  Bilson.  Screen  play  by  F. 
Hugh  Herbert  and  Brown  Holmes.  Directed  by  Ray- 
mond Enright.  The  cast:  Ginger  Stewart,  Joan  Blon- 
dell;  Dixie  Tilton,  Glenda  Farrell;  Homer  Bronson, 
Hugh  Herbert;  C.  Richard  Courtney,  Ross  Alexander; 
Max,  Hobart  Cavanaugh;  Phil  Ryan,  Phil  Regan; 
Claire  LeClaire,  Anita  Kerry;  Stephen  Dinsmore, 
Henry  O'Neill;  O'Rourke,  Edward  Gargan;  Jevons, 
E.  E.  Clive;  Big  Chief  Ponliac,  Myron  Cox. 

"WESTWARD  HO!"— Republic— From  the 
story  by  Lindsley  Parsons.  Screen  play  by  Lindsley 
Parsons,  Harry  Friedman  and  Robert  Emmett.  Di- 
rected by  R.  N.  Bradbury.  The  cast:  John  Wyall, 
John  Wayne;  Mary  Gordon,  Sheila  Mannors;  Jim 
Wyall,  Frank  McGlynn,  Jr.;  Ballard,  Jack  Curtis; 
Red,  Yakima  Canutt;  Young  John,  Bradley  Metcalf; 
Mark  Wyall,  Hank  Bell;  Hannah  Wyall,  Mary  Mc- 
Claren;  Lafe  Gordon,  Jim  Farley;  Young  Jim,  Dickie 
Jones. 

"WOMAN  WANTED"  —  M-G-M.  —  From  the 
story  by  Wilson  Collison.  Screen  play  by  Leonard 
Fields  and  Dave  Silverstein.  Directed  by  George  B. 
Seitz.  The  cast:  Ann,  Maureen  O'Sullivan;  Tony, 
Joel  McCrea;  District  Attorney,  Lewis  Stone;  Smiley, 
Louis  Calhern;  Sweeney,  Edgar  Kennedy;  Belly, 
Adrienne  Ames;  Peedles,  Robert  Grieg;  Joe  Metz, 
Noel  Madison;  Casey,  Granville  Bates;  Collins, 
William  B.  Davidson;  Lee,  Richard  Powell;  Con- 
stable, Erville  Alderson;  Gertie,  Gertrude  Short. 


Jane  Withers  joined  in  animated  conversation  with  Irving  Berlin,  fa- 
mous composer  of  popular  songs,  when  Berlin  visited  the  20th-Century- 
Fox    lot    recently    to    watch    the    starlet    perform    in    "Meal    Ticket" 


PHOTOPLAY  MAGAZINE  FOR  OCTOBER,   1935 


119 


Addresses  of  the  Stars 


HOLLYWOOD,  CALIF. 

Paramount  Studios 


Benny  Baker 
George  Barbier 
Wendy  Barrie 
Mary  Boland 
Grace  Bradley 
Carl  Brisson 
Kathleen  Burke 
Burns  and  Allen 
Kitty  Carlisle 
Dolores  Casey 
Claudette  Colbert 
Gary  Cooper 
Jack  Cox 
Bing  Crosby 
Katherine  DeMille 
Marlene  Dietrich 
Frances  Drake 
Mary  Ellis 
Glenn  Erikson 
W.  C.  Fields 
William  Frawley 
Trixie  Friganza 
Cary  Grant 
Julie  Haydon 
Samuel  Hinds 
David  Holt 
John  Howard 
Marsha  Hunt 
Dean  Jagger 
Helen  Jepson 
Roscoe  Karns 
Rosalind  Keith 
Walter  C.  Kelly 
Jan  Kiepura 
Billy  Lee 

20th  Century-Fox  Studios,    1401    N.  Western 
Ave. 


Baby  LeRoy 
Carole  Lombard 
Ida  Lupino 
Fred  Mac  Murray 
Marian  Mansfield 
Herbert  Marshall 
Gertrude  Michael 
Raymond  Milland 
Joe  Morrison 
Grete  Natzler 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Elizabeth  Patterson 
Joe  Penner 
George  Raft 
Jane  Rhodes 
Lyda  Roberti 
Charlie  Ruggles 
Marina  Schubert 
Randolph  Scott 
Sylvia  Sidney 
Alison  Skipworth 
Sir  Guy  Standing 
Fred  Stone 
Gladys  Swarthout 
Akim  Tamiroff 
Colin  Tapley 
Kent  Taylor 
Lee  Tracy 
Virginia  Weidler 
Mae  West 
Henry  Wilcoxon 
Toby  Wing 


Astrid  Allwyn 

George  Arliss 

Mona  Barrie 

Warner  Baxter 

Thomas  Beck 

William  Benedict 

Barbara  Blane 

John  Boles 

Rita  Cansino 

Ronald  Colman 

Jane  Darwell 

Alan  Dinehart 

James  Dunn 

Jack  Durant 

Alice  Faye 

Stepin  Fetchit 

Ketti  Gallian 

Janet  Gaynor 

Pietro  Gentili 

Frances  Grant 

Harry  Green 

Jack  Haley 

Edward  Everett  Horton 

Rochelle  Hudson 

Arline  Judge 


Paul  Kelly 
Rosina  Lawrence 
Edmund  Lowe 
Fredric  March 
Nino  Martini 
John  J.  McGuire 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Warner  Gland 
Pat  Paterson 
Regina  Rambeau 
Bill  Robinson 
Will  Rogers 
Gilbert  Roland 
Tutta  Rolf 
Simone 

Slim  Summerville 
Shirley  Temple 
Andrew  Tombes 
Claire  Trevor 
Edward  Trevor 
Henry  B.  Walthall 
Jane  Withers 
Loretta  Young 


RKO-Radio   Pictures,   780   Gower   St. 


Walter  Abel 
Fred  Astaire 
Lucille  Ball 
James  Barton 
John  Beal 
Willie  Best 
Eric  Blore 
Helen  Broderick 
Margaret  Callahan 
Dave  Chasen 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Preston  Foster 
Helen  Gahagan 
Wynne  Gibson 
James  Gleason 
Betty  Grable 
Margot  Grahame 
Alan  Hale 
Jane  Hamilton 
Margaret  Hamilton 
Ann  Harding 

United  Artists  Studios, 

Eddie  Cantor 
Charles  Chaplin 
Douglas  Fairbanks 


Katharine  Hepburn 
Maxine  Jennings 
Molly  Lamont 
Helen  Mack 
Ray  Mayer 
Raymond  Middleton 
Helen  Parrish 
Evelyn  Poe 
Lily  Pons 
Gene  Raymond 
Virginia  Reid 
Erik  Rhodes 
Buddy  Rogers 
Ginger  Rogers 
Anne  Shirley 
Lionel  Stander 
Barbara  Stanwyck 
Kay  Sutton 
Frank  Thomas,  Jr. 
Helen  Westley 
Bert  Wheeler 
John  Wood 
Robert  Woolsey 


1041    N.  Formosa  Ave. 


Miriam  Hopkins 
Joel  McCrea 
Mary  Pickford 


Columbia  Studios,    1438  Gower  St. 


Robert  Allen 
Jean  Arthur 
Michael  Bartlett 
Wyrley  Birch 
Tala  Birell 
Nana  Bryant 
Leo  Carrillo 
Nancy  Carroll 
Andy  Clyde 
Walter  Connolly 
Douglas  Dumbrille 
Leon  Errol 
Thurston  Hall 
Arthur  Hohl 
Victor  Jory 


Fred  Keating 
Arthur  Killian 
Peter  Lorre 
Marian  Marsh 
Ken  Maynard 
George  McKay 
Robert  Middlemass 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Lloyd  Nolan 
Arthur  Rankin 
Florence  Rice 
Ann  Sothern 
Raymond  Walburn 


CULVER  CITY,  CALIF. 


Don  Barclay 
Billy  Bletcher 
Charley  Chase 
Billy  Gilbert 
Oliver  Hardy 

Metro-Goldwy 
Brian  A  heme 
Elizabeth  Allan 
Lionel  Barrymore 
Granville  Bates 
Wallace  Beery 
Robert  Benchley 
Constance  Bennett 
Virginia  Bruce 
John  Buckler 
Ralph  Bushman 
Charles  Butterworth 
Bruce  Cabot 
Mary  Carlisle 
Constance  Collier 
Cicely  Courtneidge 
Joan  Crawford 
Live  de  Maigret 
Dudley  Digges 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Louise  Fazenda 
Betty  Furness 
Clark  Gable 
Greta  Garbo 
Gladys  George 
Igor  Gorin 
Jean  Harlow 
Frank  Hayes 
Helen  Hayes 
Louis  Hayward 
Ted  Healy 
Louise  Henry 
William  Henry 
Jean  Hersholt 
Irene  Hervey 
Gyles  Isham 
Allan  Jones 
June  Knight 
Otto  Kruger 
Frances  Langford 


Hal   Roach  Studios 

Patsy  Kelly 
Stan  Laurel 
Billy  Nelson 
Our  Gang 
Douglas  Wakefield 

n-Mayer  Studios 

Myrna  Loy 
Paul  Lukas 
Jeanette  MacDonald 
Mala 

Marx  Brothers 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Chester  Morris 
Edna  May  Oliver 
Maureen  O'Sullivan 
Reginald  Owens 
Cecilia  Parker 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
Eleanor  Powell 
William  Powell 
Luise  Rainer 
May  Robson 
Mickey  Rooney 
Shirley  Ross 
Rosalind  Russell 
Norma  Shearer 
Frank  Shields 
Harvey  Stephen 
Henry  Stephenson 
Harry  Stockwell 
Lewis  Stone 
Gloria  Swanson 
William  Tannen 
Robert  Taylor 
Franchot  Tone 
Spencer  Tracy 
Charles  Trowbridge 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


UNIVERSAL  CITY,  CALIF. 


Universal 


Baby  Jane 
Binnie  Barnes 
Willy  Castello 
June  Clayworth 
Andy  Devine 
Jean  Dixon 
Irene  Dunne 
Marta  Eggerth 
Sally  Eilers 
Valerie  Hobson 
Jack  Holt 
Buck  Jones 
Boris  Karloff 
John  King 


Studios 
Frank  Lawton 
Edmund  Lowe 
Bela  Lugosi 
Henry  Mollinson 
Hugh  O'Conmll 
Dorothy  Page 
Marina  Passerowa 
ZaSu  Pitts 
Jean  Rogers 
Cesar  Romero 
Gloria  Stuart 
Margaret  Sullavan 
Clark  Williams 
Jane  Wyatt 


BURBANK,  CALIF. 


Warners-First 

Eddie  Acuff 
Ross  Alexander 
John  Arledge 
Mary  Astor 
Robert  Barrat 
Joan  Blondell 
George  Brent 
Joe  E.  Brown 
James  Cagney 
Hobart  Cavanaugh 
Colin  Clive 
Ricardo  Cortez 
Joseph  Crehan 
Marion  Davies 
Bette  Davis 
Olivia  de  Haviland 
Paul  de  Ricou 
Dolores  Del  Rio 
Claire  Dodd 
Robert  Donat 
Maxine  Doyle 
Ann  Dvorak 
John  Eldredge 
Gordon  Elliott 
Patricia  Ellis 
Helen  Ericson 
Florence  Fair 
Glenda  Farrell 
Errol  Flynn 
Kay  Francis 
William  Gargan 
Virginia  Grey 
Hugh  Herbert 
Leslie  Howard 
Warren  Hull 
Ian  Hunter 
Josephine  Hutchinson 


National  Studios 
Sybil  Jason 
Allen  Jenkins 
Al  Jolson 
Ruby  Keeler 
Anita  Kerry 
Guy  Kibbee 
Joseph  King 
Margaret  Lindsay 
Anita  Louise 
Helen  Lowell 
Barton  MacLane 
Everett  Marshall 
Frank  McHugh 
James  Melton 
Martha  Merrill 
Jean  Muir 
Paul  Muni 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed 
Philip  Regan 
Edward  G.  Robinson 
Mary  Russell 
Joseph  Sauers 
Louise  Seidel 
Winifred  Shaw 
Eddie  Shubert 
Lyle  Talbot 
Verree  Teasdale 
Martha  Tibbetts 
Genevieve  Tobin 
June  Travis 
Mary  Treen 
Rudy  Vallee 
Warren  William 
Donald  Woods 


Lloyd  Hughes,  616  Taft  Bldg.,  Hollywood,  Calif. 

Harold  Lloyd,  6640  Santa  Monica  Blvd.,  Hollywood, 

Calif. 

Neil  Hamilton,  351  N.  Crescent  Dr.,  Beverly  Hills, 

Calif. 

Ned  Sparks,  1765  No.  Sycamore  Ave.,  Hollywood. 


Add  a  little  Sparkle 


...  to  the  Day's  Long  Grind 

<^*HE  typing  won't  seem  quite  so  endless 
*-^when  you  use  a  sprightly  sheet  of  Carter's 
Midnight  Carbon.  It  was  designed  for  folks 
like  you  who  like  things  with  a  dash!  It's  a 
good  worker,  too,  for  all  its  gay  silver  dress. 
Makes  sharp,  clear  copies,  and  is  clean  to 
handle.  Send  10^  for  a  couple 
of  sample  sheets  of  Mid- 
night. Address  Dept.  P4— 
The  Carter's  Ink  Com- 
pany, Cambridge  Branch, 
Boston,  Massachusetts. 


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at  Lebanon,  Tennessee.  •  Accepted  by  all  educational  in- 
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work.  We  do  the  selling.  Write  at  once. 

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5657   Hollywood   Blvd.,   Dept.  6 

Hollywood,  California 


Gray  Hair 


JNow,  without  any  risk,  you  can  tint  those  streaks  or 
patches  of  gray  or  faded  hair  to  lustrous  shades  o£ 
blonde,  brown  or  black.  A  small  brush  and  Browna- 
tone  does  it.  Prove  it — by  applying  a  little  of  this 
famous  tint  to  a  lock  of  your  own  hair. 

Used  and  approved — for  over  twenty-four  years 
by  thousands  of  women.  Brownatone  is  safe.  Guar- 
anteed harmless  for  tinting  gray  hair.  Active  coloring, 
agent  is  purely  vegetable.  Cannot  affect  waving  of 
hair.  Is  economical  and  lasting — will  not  wash  out. 
Simply  retouch  as  the  new  gray  appears.  Imparts 
rich,  beautiful  color  with  amazing  speed.  Just  brush 
or  comb  it  in.  Shades:  "Blonde  to  Medium  Brown" 
and  "Dark  Brown  to  Black"  cover  every  need. 

BROWNATONE  is  only  50c— at  all  drug  and 
toilet  counters — always  on  a  money-back  guarantee. 


Cal  York's  Gossip  of  Hollywood 


[  CONTINUED  FROM  PAGE  112 


It's  out!  And  it  didn't  hurt  a  bit— maybe!  When  little  "Alfalfa" 
Switzer  of  "Our  Gang"  had  trouble  with  a  loose  tooth,  Director  Gus 
Meins  stopped  the  cameras  long  enough  to  fix  it  with  a  piece  of  string 


I  SAW  Kay  Johnson  on  the  set  of  "Jalna" 
'  where  hubby  John  Cromwell  was  issuing 
orders. 

''Mind  your  husband  directing  you?"  I 
asked. 

"Yes  and  no,"  replied  Miss  Johnson.  "If 
you  mean,  do  I  do  what  he  says — you're  darn 
right  I  do.  If  you  mean  does  it  bother  me — 
I  should  say  not.    I  love  it." 

That's  the  kind  of  a  wife  to  have. 

IT  happened  during  the  making  of  a  recent 
'George  Arliss  picture. 

Arliss  was  to  open  the  picture  by  walking 
into  the  scene.   He  conferred  with  the  director. 

"What  have  I  been  doing?"  he  asked. 

"Why — nothing  that  I  know  of,"  said  the 
director.    "What  do  you  mean?" 

"What  have  I  been  doing  before  I  walk  in?" 
Arliss  explained.  "I  must  have  been  doing 
something.  I  must  be  thinking  about  some- 
thing." 

"I  don't  know  what  you  mean,"  said  the 
director. 

"  Where  have  I  been?"  Arliss  tried  again. 
"What's  out  there,  where  I  came  from?" 

"Oh,"  said  the  director.  "Don't  worry 
about  that.  Just  walk  in.  You  don't  have  to 
be  thinking  about  anything,  because  you 
haven't  been  anywhere.  Look,"  he  said,  tri- 
umphantly, "there's  nothing  out  there  past 
that  door — not  even  a  set!" 

IT  seems  that  Mrs.  Offield,  who  is  Jack 
'Oakie's  best  girl  as  well  as  his  mother,  was 


showing  some  friends  around  the  lot  at  Para- 
mount. She  spied  "  Cracker"  Henderson,  who 
stands  in  for  son  Jack,  and  she  wanted  the 
folks  to  meet  him. 

Mrs.  Offield  beckoned  to  him. 

Cracker  came  over,  bowed  low. 

"I  want  you  to  meet  Cracker  Henderson," 
said  Ma  Offield,  "he's  Jack's  step-in." 


TO  your  collection  of  odd  ambitions  add  that 
'  of  Sally  Eilers.    Sally  says  her  goal  in  life  at 
present  is  to  play  in  "just  one  artistic  screen 
flop." 

/^UR  personal  vote  goes  to  Alison  Skipworth 
^■^as  the  best-natured  and  most  serenely 
tolerant  actress  in  town.  Of  course,  everybody 
takes  advantage  of  her  for  that  very  reason, 
but  Skippy  just  sits  and  smiles.  If  the  company 
is  working  late,  they  all  want  their  close-ups 
taken  first,  so  they  can  get  out  and  keep  that 
date — and  Skippy  waits  and  waits  and  waits, 
never  a  cross  word,  never  even  a  sigh. 

The  assistant  directors,  the  camera  boys  and 
the  props  adore  her,  would  do  anything  on 
earth  for  her.  And  of  course,  Alison  Skip- 
worth  has  always  been  my  favorite  person  ever 
since  I  happened  on  her  one  morning,  having 
pancakes  and  beer  for  breakfast! 

"DOMAN    SCANDALS"    brewed    the    ro- 
'^mance  which  led  to  Gloria  Stuart's  mar- 
riage with  Arthur  Sheekman,  who  wrote  dia- 
logue for  the  Eddie  Cantor  picture. 

Therefore  when  Gloria  and  Art  got  married 
and  later  had  a  daughter,  it  was  only  fitting 
and  proper  that  she  should  be  named  after 
Gloria's  character  in  "Scandals."  She  was. 
Sylvia  Vaughn  Sheekman  got  her  handle  right 
from  a  moving  picture  script. 

At  present  Sylvia  Vaughn  is  doubtless  won- 
dering when  her  mama  and  papa  are  going  to 
come  home  again.  They're  in  Honolulu  on  a 
vacation  prior  to  Gloria's  return  to  the  screen. 

IT'S  never  too  late  to  learn.  Nossir. 
\  Stumbling  on  the  set  of  "Magnificent  Ob- 
session" the  other  day,  we  practically  tripped 
over  Bert  Lytell  former  picture  star  and  now 
important  stage  star  sitting  in  a  canvas  backed 
chair  and  hanging  on  every  word  and  action 
that  Director  John  Stahl  made.  Bert  says  he's 
going  to  learn  the  tricks  of  first  rate  directing, 
and  although  he's  been  in  the  business  for  more 
years  than  you  could  imagine,  he's  starting 
right  at  the  bottom,  like  any  other  student  in 
choosing  a  new  metier. 


Johnny  Weissmuller  is  determined  to  make  an  expert  swimmer  of  this 
pup.  He  gives  it  a  swimming  lesson  daily  in  his  private  pool.  Johnny 
is  busy  these  days  at  M-G-M.  working  in  his  third  "Tarzan"  picture 


120 


W.    F.    HALL    PRINTING    CO. 


EMBER 


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CAROLI 

tOMBAR 

BY 
TCHETCHE 


WHY  THE  MILLION    DOLLAR   PICTURES 

ARE   COMING   BACK 


.Henry  the  eighth 

knew  nis   etiq  uette 


•re  lie  met  the  iiaughty  Aragon 
sent  by  opain  to  be  his  wile  .  .  . 
belore  be  poured  out  bis  beart  to  the 
young  ana  luscious  Anne  IJoleyii  .  .  . 
belore  be  wooed  the  poor,  pale  Jane 
Oeymour  .  .  .  belore  be  stormed  the 
Irigid  heart  ol  Anne  ol  LJeves,  or 
the  warmer  ones  ol  Catherine  ELow- 
ard,  his'  rose  witbout  a  thorn,  and 
dutilul  Catherine  larr,  .Henry  the 
Eigbth  had  the  Sense  to  do  one  tiling 
as  necessary  as  it  was  lastidious;  that 
bis  breath  might  be  above  reproach, 
he  chewed  the  leal  ol  mint.  Egotist 
tbut  he  was,  he  realized  that  neither 
bis  riches  nor  his  charm,  his  posi- 
tion nor  his  power,  could  be  ol  great 
avail  ll  be  had  halitosis.  Even  a  king 
couldn  t  get  away  with  it  .  .  . 


I  ou  JN  ever  Know 
lou  never  Know  when  you  have 
halitosis  (unpleasant  breath).  1  hat  s 
the  insidious  thing  about  this  unlor- 
givable  social  lault.  What  is  more, 
everyone  is  likely  to  have  it  at  some 
time  or  other  because,  even  in  nor- 
mal mouths,  lermentation  ol  tiny 
lood  particles  goes  on.  Objection- 
able odors  are  bound  to  rise. 

J-he  wise  precaution,  the  wholly 


JANE  SEYMOUR 


ANNE  of  CLEVES 


delightful  one,  is  to  rinse  the  mouth 
with  Eisterine  —  every  day  and  be- 
tween times  belore  business  or  social 
engagements.  Eisterine  s  antiseptic 
and  germicidal  action  quickly  halts 
lermentation.  J.  ben  it  overcomes  the 
odors  that  lermentation  causes.  J.  he 
breath  becomes  wholesome,  sweet, 
agreeable.  J.  he  entire  mouth  leels 
clean,  Iresh,  invigorated. 

Don  t  olleiid  others  needlessly 
when  it  is  so  easy  to  make  yoursell 
agreeable  with  this  trustworthy  de- 
odorant. Eambert  xharmacal  Com- 
pany, iJt.   Eouis,  JVLissoun. 


CATHERINE  HOWARD     CATHERINE  PARR 


JListerine  puts  your  breath  beyond  ollense 

yJuicKiy   Checks  Halitosis 


uV>vsvk 


PHOTOPLAY  MAGAZINE   FOR  NOVEMBER,    1935 


A  RECKLESS,  BEAUTIFUL  WOMAN . . 

Cool,  calculating,  hard,  she  spun  the 
Wheel  of  Fortune  in  a  roaring  cauldron 
of  untamed,  clashing  humanity  .  .  .  the 
Gold  Coast  .  .  .  Against  this  sweeping 
canvas  of  a  nation  in  the  making,  Samuel 
Goldwyn  has  created  a  production  so 
magn  ^"ent,  challenging  and  thrilling 
?')  to  the  imagination  that  it  will  hold  you 
spellbound.     \ 


SAMUEL 
GOLDWYN 

presents 


with 


MIRIAM  HOPKINS 
EDW.  G.  ROBINSON 
JOEL  MCCREA  • 


Directed  by  HOWARD  HAWKS 

Screenplay  by  Charles  MacArthur  and  Ben  Hechl     •     Releosed'thru  United  Arlists 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,    1935 


"Broadway  Melody  of  1936"  glorious  successor 
to  the  picture  which  7  years  ago  set  a  new 
standard  in  musicals.  Roaring  comedy,  warm 
romance,  sensational  song  hits,  toe-tapping 
dances,  eye-filling  spectacle,  a  hand-picked  cast. 
THE    GREATEST   MUSICAL 


SHOW  IN  SCREEN  HISTORY! 


JACK  ELEANOR         ROBERT 


UNA    MERKEL  •  FRANCES    LANGFORD 
SID    SILVERS  -BUDDY    EBSEN 
JUNE  KNIGHT  •  VILMA  EBSEN 
HARRY  STOCKWELL  •  NICK  LONG,  JR. 
A  Metro-Goldwyn-Maycr  Picture 

Directed  by  Roy  Del  Ruth  •  Produced by  John  W .  Considmu.  Jr. 


Next  Month! 

Never  before  revealed! 

The  Private  Life  of 

Fred  Astaire! 

Frederick  L.  Collins  brings  you  the  real 

"inside"  story  of  the  greatest  male  star 

of  the   screen   today. 

The  Voice  from  the  Grave 

That  Is  Guiding  Hollywood. 

Whose  Is  It? 

Astounding   in   its  warnings,   amazing   in 

its   truths,    awesome    in    its    predictions. 

Don't  miss  this  startling   revelation. 


Nelson  Eddy, 
the  Magnificent 

Next  month  you  will  see  the   handsome 

singing    star    Nelson    Eddy    wearing    the 

latest    Fall    suits. 


Exclusively  for  Photoplay, 

Marlene  Dietrich  has  broken 

her  long  silence  on  her 

directorial  split  with 

Josef  Von  Sternberg 

Read    what    Dietrich    thinks    about    her 
own   future. 


ANOTHER  MURDER!  ANOTHER 
BODY  IS  FOUND— FACE  DOWN,  a 
brutal-looking  knife  sticking  from  its 
back!  Who  has  been  marked  for  the 
kill  this  time?  ALL  IN  THE  THIRD  IN- 
STALLMENT OF  "FACE  DOWN."  This 
master  mystery  of  Hollywood  rushes  on 
at  an  even  more  breath-taking,  hair- 
raising  pace. 


These  and  many  other 

absorbing  features  are  in 

December  PHOTOPLAY, 

out  November  5 


PUBLISHED  MONTHLY  BY 

MACFADDEN  PUBLICATIONS,  INC. 

BERNARR  MACFADDEN,  PRESIDENT 

IRENE  T.   KENNEDY,  TREASURER 

WESLEY  F.  PAPE,  SECRETARY 

PUBLISHING  OFFICE 

333  N.  MICHIGAN  AVE.,  CHICAGO.  ILL 

BUSINESS  AND  EDITORIAL  OFFICES 

1926  BROADWAY,  NEW  YORK  CITY 

LONDON  AGENTS 

MACFADDEN  MAGAZINES,   LTD. 

30  BOUVERIE  ST.,  LONDON,  E.  C.  4. 

TRADE  DISTRIBUTORS 

ATLAS   PUBLISHING  COMPANY, 

18,  BRIDE  LANE,  LONDON,  E.  C.  4. 

CURTIS  HARRISON 

ADVERTISING  MANAGER,  GRAYBAR  BLDG. 

420  LEXINGTON  AVE.,   NEW  YORK,   N    Y. 

CHARLES  H.  SHATTUCK 

MANAGER  CHICAGO  OFFICE 

YEARLY  SUBSCRIPTION:   $2.50  IN  THE  UNITED 

STATES,     ITS    DEPENDENCIES,    MEXICO    AND 

CUBA;  $3  00  IN  CANADA;  $3.50  FOR  FOREIGN 

COUNTRIES.   REMITTANCES  SHOULD  BE  MADE 

BY   CHECK,   OR  POSTAL   OR   EXPRESS  MONEY 

ORDER       CAUTION  —  DO     NOT     SUBSCRIBE 

THROUGH    PERSONS    UNKNOWN    TO    YOU 

ENTERED    AS    SECOND-CLASS    MATTER    APRIL 

24,   1912,  AT   THE   POSTOFFCE  AT  CHICAGO, 

ILL.,    UNDER    THE    ACT    OF    MARCH    3,     1879. 

COPYRIGHT,   1935,  BY 
MACFADDEN   PUBLICATIONS,   INC.,  NEW  YORK 


PHOTOPLAY 

THE     ARISTOCRAT     OF     MOTION     PICTURE     MAGAZINES 


KATHRYN 
RUTH 


DOUGHERTY,     PUBLISHER 
WATERBURY,      EDITOR 


WILLIAM  T.WALSH,  MANAGING  EDITOR 
IVAN  ST.  JOHNS,  WESTERN  EDITOR 
WALLACE     HAMILTON     CAMPBELL.      ART     EDITOR 


VOL.  XLVIII    NO.  6 


NOVEMBER,    1935 


HIGH-LIGHTS       OF       THIS       ISSUE 

Close-Ups  and  Long-Shots  .             Kathryn  Dougherty  13 

Hollywood  Scrambled  Love     .      .     Dorothy  Manners  22 

Why  Gable  Has  Stayed  At  The  Top  .  .  Chet  Greene  24 
"The  Fretting  Frog" — The  Story  of  Claudette  Colbert's 

Leap  To  The  Top  ....  Gregory  La  Cava  26 
Song  Hits  Make  Stars  and  Stars  Make  Song  Hits    . 

Warren  Reeve  28 

Why  Virginia  Bruce  Won't  Marry  for  Five  Years  . 

As  told  to  Gladys  Hall  30 

Why  The  Million  Dollar  Pictures  Are  Coming  Back    . 

Marian  Stevens  34 

Face  Down,  a  fascinating  mystery,  in  its  second  in- 
stallment  Charles  J.  Kenny  38 

Cal  York's  Gossip  of  Hollywood 40 

A  Present  For  Mother      ....       Kirtley  Baskette  44 

Photoplay's  Memory  Album 

Edited  by  Frederick  L.  Collins  45 

Seymour — Photoplay's  Style  Authority 53 

What  Matters  Most  in  Life?                   Howard  Sharpe  70 

Photoplay's  Hollywood  Beauty  Shop 

Carolyn  Van  Wyck  74 

PHOTOPLAY'S       FAMOUS       REVIEWS 

Brief  Reviews  of  Current  Pictures 8 

The  Shadow  Stage 66 

PERSONALITIES 

The  Pictures  Tell  the  Story 16 

And  So  You  Think  He's  Funny!            .Muriel  Babcock  32 

Spinning  Around  With  Mitzi 65 

She  Had  To  Be   Famous                 Anthony  McAllister  72 

The  Facts  of  Hollywood   Life 113 

All  Hollywood  Plays  This  New  Game 117 

On  the  Cover,  Carole  Lombard,  Painted  by  Tchetchet 


INFORMATION       AND        SERVICE 

Letters 4 

Hollywood  Menus 78 

Ask  the  Answer  Man .82 

Casts  of  Current  Photoplays 116 

Addresses  of  the  Stars 119 

3 


Mr.  and  Mrs.  Melvyn  Doug- 
las (Helene  Gahagan) 
hurry  in  to  their  seats  to 
see     "Top     Hat"     unfolded 


ARTICLE  TIMELY 

I  CERTAINLY  think  the  article,  "What 
'  Really  Happens  to  Movie  Children,"  in  the 
August  Photoplay  was  very  timely,  as  I  can 
imagine  the  crowds  of  mothers  that  must  be 
flocking  to  Hollywood  to  show  the  studios 
their  "Shirley  Temples."  I  surely  hope  that 
many  of  these  mothers  will  read  this  article 
and  benefit  by  Mrs.  Shirley's  [mother  of  Anne 
Shirley — Ed.]   advice. 

0.  Henry  Hertzler,  Lancaster,  Penna. 

NEW  INSTITUTION 

"  DECKY  SHARP"  has  definitely  established 
^Technicolor  as  a  grand  old  American  in- 
stitution, a  necessity  to  moving  pictures.  How 
drab  and  dull  films  now  seem  after  revelling 
in  the  artistic  coloring  of  Miriam  Hopkins'  hit 
vehicle!  This  color  process  is  a  boon  to  life- 
less, matter-of-fact,  otherwise  colorless  photo- 
graphic adventures! 

Rubye  M.  Chapman,  Montgomery,  Ala. 

COVERS  PRAISED 

CELLOW  fans  please  join  me  in  paeans  of 
'  praise  to  the  editor  and  owners  of  Photoplay 
who  have  given  us  Monsieur  Tchetchet  whose 


You  can  only  tell  a  few 
what  you  think  of  a  film 
and  players.  You  reach 
thousands  in  "Letters 


Playwright  Benn  Levy  and 
wife,  Constance  Cummings, 
were  among  the  notables  at 
the     "Top     Hat"     premiere 


give  us  the  loveliest  of  them  all — Greta 
Garbo — the  woman  with  the  whole  world  in 
her  eyes! 

Betty  Bayliss,  Atlanta,  Ga. 


••       McLAGLEN  NOT  UGLY 


portraits  have  appeared  on  the  covers  of  this 
magazine.  Recall  the  first — the  beautiful 
Irene  Dunne.  Tchetchet 's  brush  gave  us  an 
acute  likeness,  and  what  could  have  been  more 
fitting  for  his  introduction  to  us  than  this  pic- 
ture of  one  who  represents  American  woman- 
hood of  the  loveliest  type?  Tchetchet  next 
painted  Joan  Bennett — and  behold!  She  lived 
before  our  very  eyes!  He  caught  her  delicate 
childlike  sweetness  in  a  portrait  that  is  breath- 
taking in  its  beauty.  The  fragile  type.  And 
then  September's  Photoplay  with  Ann  Hard- 
ing gracing  the  cover.  Against  a  background  of 
royal  blue,  the  magician  set  Miss  Harding V 
classic  beauty,  and  we  have  her  exactly  as  she 
is — a  lady  who  looks  every  inch  a  queen. 

It  cannot  be  that  Photoplay  and  the  artist 
could  fail  to  give  us,  in  this  series  of  paintings, 
a  portrait  of  a  woman  who  is  no  one  type,  but 
all  types,  from  naive  to  sophisticate.     Please 


COR  the  most  part  I  like  your  magazine,  but 
I  must  say  that  I  resent  the  use  of  the  word 
"ugly"  in  Walter  Ramsey's  article  [The  Man 
Who  Plays  "The  Informer,"  September  Pho- 
toplay— Ed.  |  as  applied  to  the  personal  ap- 
pearance of  Victor  McLaglen.  It  is  a  horrid 
word  and  has  no  place  whatever  in  a  descrip- 
tion of  Mr.  McLaglen.  Mere  regularity  of 
feature  does  not  constitute  beauty,  nor  does 
the  lack  of  it  produce  ugliness.  Surely  strength 
of  character  is  stamped  on  this  man's  face,  a 
warm  heart  greets  us  in  his  infectious  smile, 
and  a  great  beauty  of  soul  looks  out  through 
his  eyes.     It  is  enough. 

Elsie  M.  King,  Santa  Cruz,  Calif. 

WANTED:  COMPOSERS 

IN  this  day  of  radio,  you  can't  fool  the  people 
'  with  bits  from  operas  and  symphonies  in 
the  movies.  I  think  the  motion  picture  studios 
need  more  first  class  composers  to  write 
[  please  turn  to  page  6  1 


JUST  A  MASQUERS'  MESS 


Sam  Hardy  did  a  land-of- 
fice business  at  the  cigar 
stand — or  is  he  trying  to 
slip  that  fistful  to  camera- 
man   Fink?       Fink    no    say 


Lee  Tracy  did  very  hand- 
somely by  the  food,  and  it 
certainly  looks  as  if  the 
boys  didn't  go  hungry.  One 
grand    V    glorious    outing! 


People  from  all  over 
the  world  discuss  pic- 
tures and  stars  on 
these  pages.  When 
movie-goers  speak, 
Hollywood    listens 


On  locatio  n — 
Margaret  Sulla- 
van  can  do  three 
things  at  one  and 
the  same  time  dur- 
ng  lunch  period 
of  the  "So  Red  the 
Rose"  company: 
Eat,  read,  and 
rest.  But  John 
Boles,  taking  out 
time  on  location 
with  "Rose  of  the 
Rancho,"has  a  big 
time  with  a  turtle. 
Hungry        again 


I  CONTINUED  PROM  PAGE  4  ] 

original  music.  Here's  hoping  for  a  better  use 
of  music  in  llie  movies. 

Ross  Spencer,  Denver,  Colorado 

TO  KAREN  MORLEY 

IT  is  difficult  to  realize  that  the  mild,  soft- 
' spoken  miner's  girl  of  "Black  Fury,"  and  the 
insidious,  tawdry  moll  of  "Scarface"  were  por- 
trayed by  the  same  actress.  Only  one  as  versa- 
tile as  Karen  Morley  could  be  capable  of  both. 
She  gave  a  characterization  in  "Black  Fury" 
that  will  live  long. 

Eudora  Lundblad,  St.  Paul,  Minn. 

HEPBURN   BACKED 

|  HAVE  read  your  article:  "Is  Hepburn  Kill- 
'  ing  Her  Own  Career?"  T  want  the  world 
to  know  exactly  what  I  think  of  Katharine 
Hepburn.  Since  "Bill  of  Divorcement,"  I 
have  worshipped  her  no  less.  I  love  her  for 
what  she  is — so  different  from  the  rest.  I 
don't  believe  that  Hepburn's  career  is  over. 
Garbo   has   been    in    Hollywood   ten   years — a 


full  fledged  star  for  over  half  that  time.  Garbo 
has  made  twenty  pictures;  Hepburn  eight,  in- 
cluding "Alice  Adams."  And  Kirtley  Baskette 
says  she  is  slipping.  When  I  attended  "Break 
of  Hearts,"  the  ushers  were  far  from  "playing 
solitaire  on  the  empty  seats." 

Marion  Boyd.  Atlanta.  Ga. 

UNFAIR.  UNJUST 

HERMIT  me  to  say  that  I  felt  the  com- 
'  parison  in  the  September  Photoplay  of  Ann 
Harding's  exclusiveness  and  Hepburn's  "screen 
suicide"  was  both  unfair  and  unjust.  Hepburn 
lias  no  logical  reason  for  her  actions,  while 
Ann  Harding  has  had  all  the  reason  in  the 
world  for  keeping  to  herself.  She  has  done  so 
with  dignity  and  sincerity. 

Mrs.  G.  K.,  Erie,  Pa. 

ALBUM   PRAISED 

THANK  you  ever  so  much  for  giving  Photo- 
'  play  readers  the  interesting  Photoplay's 
Memory  Album.  It  is  nice  to  meet  the  stars 
of  yesterday  who  made  possible  the  art  of  the 


cinema,  and  Photoplay  is  to  be  congratulated 
for  keeping  their  memory  alive. 

John  S.  Antkowiak,  Buffalo,  N.  Y. 

HAS  SUBSTANCE 

W/HY  not  have  more  movies  that  have  sub- 
vv  stance  to  them  like  "Break  of  Hearts"? 
I  call  this  a  worthwhile  picture:  worthwhile  to 
produce,  and  worthwhile  to  see. 

Duane  R.  Bassett,  Bennington,  Vt. 

ALL  FOR  COLOR 

THERE  has  been  much  praise  of  "  Becky 
'  Sharp,"  of  the  beauty  and  naturalness  of 
the  color  effects.  A  few,  of  course  find  flaws, 
though  mostly  minor  ones.  For  instance,  the 
lip  make-up  seemed  crude  to  some,  and  others 
noticed  an  unpleasant  contrast  in  the  appear- 
ance of  Becky's  hands.  I  thought  the  acting 
splendid,  and  the  color  effects  added  greatly 
to  the  charm  of  the  picture.  It  surely  was 
easier  to  understand  Becky's  allure,  when  view- 
ing her  warm,  glowing  beauty  in  its  true  tints. 
From  small  hamlets  to  large  cities  motion 
pictures  have  greatly  influenced  and  improved 
the  styles,  manners,  and  speech  of  men  and 
women. 

Will  this  new  Technicolor  bring  still  further 
improvement — that  of  correct  use  of  color  com- 
binations in  dress,  to  fit  each  particular  type? 
Women  may  read  much  advice  on  style  and 
beauty,  but  actually  to  see  for  oneself,  con- 
tinually, the  effects  created  by  color  experts 
on  living,  moving  figures  would  be  a  much 
more  effective  lesson  along  that  line. 

D.  L.  R.,  Minneapolis,  Minn. 

LIFE  AS   IT  IS 

I  AM  one  of  the  thousands  of  busy  mothers 
'  who  find  real  enjoyment  and  relaxation  in 
the  movies.  There  is  nothing  like  them  for 
banishing  care  and  making  life  more  worth- 
while. Why  can't  we  have  more  shows  de- 
picting life  as  it  really  is  in  the  home  of  the 
common  people?  If  we  could  see  our  own 
problems  on  the  screen  we  would  get  a  new 
[  please  turn  to  page  92  | 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER.    1935 


•S&-*'-'"^ 


THREE    HOURS    OF    ENTERTAINMENT 

THAT   WAS    THREE    CENTURIES    IN    THE    MAKING 

"From  heaven  to  earth, from  earth  to  heaven  . .  .  imagination  bodies  forth  the  forms  of  things  unknown" 


WARNER         BROS. 

will  present  for  two  performances  daily,  in  selected  cities  and  theatres, 

Max   Reinhardt's 

first   motion   picture  production 


<t 


A  MIDSUMMER 
NIGHT'S  DREAM" 

from  the  classic  comedy  by 

WILLIAM     SHAKESPEARE 

accompanied  by  the  immortal  music  of 

FELIX     MENDELSSOHN 

The     Players 

JAMES    CAGNEY  JOE    E.   BROWN  DICK    POWELL 

ANITA    LOUISE  OLIVIA    DE    HAVILLAND  JEAN    MUIR 

HUGH    HERBERT  FRANK    McHUGH  ROSS    ALEXANDER 

VERREE    TEASDALE  IAN    HUNTER  VICTOR JORY 

MICKEY    ROONEY  HOBART    CAVANAUGH  GRANT    MITCHELL 

Augmented  by  many  hundreds  of  others  in  spectacular  ballets 
directed  by  bronislava  nijinska  and  njni  theilade.  The  music  arranged  by 
erich  wolfegang  k o r n go l d .  The  costumes  by  m a x  ree.  The  entire  pro- 
duction under  personal  direction  of  max  reinhardt  and  william   dieterle. 


IMPORTANT    NOTICE 

Since  there  has  never  been  a  motion  picture  like  a  midsummer  night's  dream, 

its  exhibition  to  the  public  will  differ  from  that  of  any  other  screen  attraction. 

Reserved  seats  only  will  be  available  for  the  special  advance  engagements, 

which  will  be  for  a  strictly  limited  period.  Premieres  of  these  engagements 

will  be  not  only  outstanding  events  in  the  film  world,  but  significant  civic  occasions. 


msmm 


BRIEF  REVIEWS 

OF       CURRENT       PICTURES 

CONSULT  THIS  PICTURE 
SHOPPING  GUIDE  AND  SAVE 
YOUR    TIME,    MONEY   AND    DISPOSITION 

•  INDICATES      PICTURE      WAS      NAMED      AS      ONE     OF     THE     BEST     UPON     ITS     MONTH     OF     REVIEW 


ALIBI  IKE — Warners. — Ring  Lardner's  famous 
baseball  story  is  brought  to  the  screen  by  Joe  E. 
Brown  in  a  film  full  of  fun  and  good  humor.  Olivia 
de  Havilland,  Roscoe  Karns.     (Oct.) 

•  ACCENT  ON  YOUTH— Paramount.— A  most 
delightful  comedy-romance,  with  Herbert  Mar- 
shall the  playwright  in  his  forties  devotedly  but  un- 
knowingly loved  by  his  young  secretary,  Sylvia 
Sidney.  Phillip  Reed  is  the  other  man.  Excellently 
acted."     (Sepi.) 

AGE  OF  INDISCRETION— M-G-M.—  The  old 
divorce  question  all  over  again,  with  David  Jack  Holt 
stealing  the  picture  as  the  child  victim.  Paul  Lukas, 
Madge  Evans,  Helen  Vinson,  May  Robson.     (.Aug.) 

ALL  THE  RING'S  HORSES— Paramount.— An 
entertaining  but  familiar  story  of  the  king  and  the 
commoner  who  look  alike  and  change  places.  Carl 
Brisson  is  charming,  and  Mary  Ellis,  in  her  screen 
debut,  delightful.      (May) 

ALIAS  MARY  DOW— Universal.— A  clean  and 
amusi  ng  little  picture  with  Sally  Eilers  at  her  best  as  a 
tough  babe  suddenly  dropped  into  the  midst  of  riches 
when  she  impersonates  a  kidnapped  daughter.  Ray 
Milland.     (Aug.) 

ANNA  KARENINA— M-G-M.— The  persuasive 
genius  of  Greta  Garbo  raises  this  rather  weak  picture 
into  the  class  of  art.  Fredric  March  is  unconvincing 
as  the  lover  for  whom  Greta  sacrifices  everything. 
Freddie  Bartholomew  delightful  as  her  young  son. 
(Sept.) 

ARIZONIAN,  THE— RKO-Radio.— A  perfectly 
swell  Western,  with  all  the  trimmings  and  Richard 
Dix  a  real  villain-scaring  he-man.  Margot  Grahame 
is  lovely  as  the  leading  lady.  Preston  Foster,  Louis 
Calhern.     (Aug.) 

BABY     FACE     HARRINGTON— M-G-M.— An 

amusing  enough  little  picture  with  Charles  Butter- 
worth  as  the  timid  soul  mistaken  for  a  big-shot 
gangster.  Una  Merkel,  Nat  Pendleton,  Donald 
Meek.   (June) 

•  BECKY  SHARP— Pioneer-RKO  Release.— In 
this  gorgeous  symphony  of  color  an  excellent 
comedy  drama  has  been  drawn  from  Thackeray's  lead- 
ing character  in  "Vanity  Fair,"  and  Miriam  Hopkins 
gives  a  sparkling  performance  as  the  conniving  flirt. 
Excellent  cast.     (Sept.) 

•  BLACK  FURY— First  National— A  saga  of 
the  coal  mines  presenting  with  intense  realism 
and  power  the  elemental  problems  of  the  miners. 
Paul  Muni  gives  a  memorable  performance,  and 
Karen   Morley   lends  excellent    support.      (June) 

BLACK  ROOM,  THE— Columbia.— Boris  Karloff 
in  a  costume  picture  with  foreign  settings  and  family 
traditions,  portraying  a  dual  role.  Katherine  De 
Mille.     (Oct.) 

BLACK  SHEEP— Fox.— A  cleverly  concocted 
story,  with  Edmund  Lowe  in  top  form  as  a  shipboard 
card-sharp  who  tries  to  save  his  son,  Tom  Brown, 
from  the  foils  of  lady  thief  Adrienne  Ames  and  loses 
his  own  heart  to  Claire  Trevor.  Nice  direction  by 
Allan  Dwan      (Aug.) 

BORN  FOR  GLORY  —  Gaumont- British.  —  A 
thrilling  naval  picture  that  will  move  you  deeply. 
John  Mills,  assisted  by  Betty  Balfour  and  Barry 
Mackay,  does  a  commendable  piece  of  acting.     (Oct.) 

BREWSTER'S  MILLIONS— United  Artists- 
Jack  Buchanan  and  Lili  Damita  in  a  fairly  entertain- 
ing musical  comedy  version  of  the  familiar  story  of 
a  young  man  who  must  spend  millions  in  order  to 
inherit  a  still  greater  fortune.      (July) 

•  BREAK  OF  HEARTS— RKO-Radio— Per- 
formances of  sterling  merit  by  Katharine  Hep- 
burn and  Charles  Boyer  place  this  on  the  "Don't 
miss  it  "  list  in  spite  of  a  rather  thin  modern-Cinder- 
ella love  story.  Excellent  support  by  John  Beal,  Jean 
Hersholt  and  others.  (  Aug.) 

BRIDE  OF  FRANKENSTEIN,  THE— Universal. 

— Boris  Karloff  rises  from  the  flames  again  to  seek 
a  mate  and  one  is  created  for  him.  Lots  of  chills,  and 
a  new  high  in  fantastic  horror      Good  cast.     (July) 

BRIGHT  LIGHTS  —  First  National.  —  Joe  E. 
Brown,  in  a  lively  drama  of  a  vaudeville  comedian 
who  is  almost  ruined  by  too  much  success,  surpasses 
all  of  his  previous  attempts.  Ann  Dvorak,  Patricia 
Ellis,  William  Gargan.     (Oct.) 


BROADWAY  GONDOLIER  —  Warners.  — 
Laughter  and  sweet  music,  with  Dick  Powell  a  cabbie 
who  gondolas  his  way  to  radio  fame,  and  Joan 
Blondell.  Louise  Fazenda,  Adolphe  Menjou  and 
Grant  Mitchell  to  help  him.      (Sept.) 

•  CALL  OF  THE  WILD  — 20th  Century- 
United  Artists. — A  vigorous,  red-blooded  screen 
version  of  Jack  London's  novel  that  you  are  sure  to 
enjoy.  Clark  Gable,  Loretta  Young,  Jack  Oakie. 
Reginald  Owen,  and  the  great  dog.  Buck.     (July) 

CALM  YOURSELF— M-G-M— A  good  cast  in  a 
weak  story,  with  Robert  Young  the  enterprising  ad- 
man who  gets  mixed  up  in  a  lot  of  grief,  and  Madge 
Evans,  Betty  Furness,  Nat  Pendleton  and  others 
struggling  through  the  melodramatic  situations  with 
him.     (Sept.) 

CAPTAIN  HURRICANE— RKO-Radio.— A  dull 
story  with  a  grand  cast.  Too  bad  they  didn't  find 
a  better  vehicle  for  stage  star  James  Barton's  screen 
debut.  Helen  Westley,  Henry  Travers.  Gene  Lock- 
hart.      (May) 

CAR  99 — Paramount. — An  entertaining  and  ex- 
citing picture  which  Junior  will  want  to  see  twice,  with 
Sir  Guy  Standing  good  as  the  master  mind  of  a  bank 
robbing  gang,  protecting  himseh  by  masquerading  as 
a  professor.      (May) 

•  CARDINAL  RICHELIEU— 20th  Century 
United  Artists.  —  A  beautiful  historical  drama 
with  George  Arliss  at  his  best  as  the  great  Cardinal 
of  France.  Maureen  O'Sullivan,  Edward  Arnold. 
(June) 

CASE  OF  THE  CURIOUS  BRIDE,  THE— First 
National. — A  mystery  handled  in  the  casual  manner 
movie  audiences  love,  with  Warren  William  as  the 
amateur  sleuth  and  Margaret  Lindsay  the  bride 
whose  curiosity  is  aroused.  Murder  thrills.  Good 
(July) 

CASINO    MURDER    CASE,    THE— M-G-M.— 

Paul  Lukas  is  the  Philo  Vance  who  steps  in  and  solves 
the  mystery,  with  Alison  Skipworth,  charming  Rosa- 
lind Russell,  Ted  Healy  and  Louise  Fazenda  lending 
good  support.      (May) 

CHARLIE  CHAN  IN  EGYPT— Fox— Warner 
Oland.  as  the  Chinese  philosopher-detective,  goes  to 
the  tombs  of  the  Pharaohs  this  time  to  encounter 
murder  and  unravel  the  mysteries.  Pat  Patterson, 
Thomas  Beck,  Stepin  Fetchit.  A-l  for  Chan  fans. 
(Sept.) 

CHASING  YESTERDAY— RKO-Radio.— Ana- 
tole  France's  "The  Crime  of  Sylvestre  Bonnard" 
loses  importance  in  the  screen  telling.  Good  per- 
formances by  Anne  Shirley,  O.  P.  Heggie.  Helen 
Westley  and  Elizabeth  Patterson.  But  the  film  story 
is  pallid.     (June) 

CHEERS  OF  THE  CROWD— Monogram— The 
story  of  the  sandwich  man  who  finds  ten  thousand 
dollars  and  returns  it,  made  into  a  confusing  and  in- 
effective movie.     Russell  Hopton,  Irene  Ware.    (Oct.) 

•  CHINA  SEAS— M-G-M.— The  combination 
you  must  enjoy  (Gable,  Harlow  and  Beery)  in 
a  fast  moving  story  crammed  with  thrilling  adven- 
tures and  exciting  situations  of  modern  priates  in 
Oriental  waters.  Lewis  Stone  and  Robert  Benchley 
are  not  to  be  overlooked.     (Oct.) 

CHINATOWN  SQUAD.— Universal.— Speedy  di- 
rection and  a  competent  cast  make  good  entertain- 
ment of  this  mystery  wherein  Lyle  Talbot,  who  drives 
a  sightseeing  bus  through  Chinatown,  solves  two 
murders  and  wins  Valerie  Hobson.    (Aug.) 

CLAIRVOYANT,  THE— GB— An  absorbing  film 
with  Claude  Rains  excellent  as  a  fake  fortune  teller 
who  discovers  he  has  real  clairvoyant  powers  when  in 
the  presence  of  Jane  Baxter.  Fay  Wray  good  as  his 
wife.     (Sept.) 

COLLEGE  SCANDAL— Paramount.— A  clever 
double  murder  mystery  played  against  a  breezy  col- 
lege backdrop  makes  this  a  great  evening  for  amateur 
sleuths.  Arline  Judge,  Kent  Taylor,  Wendy  Barrie. 
Edward  Nugent,  Mary  Nash.     (Aug.) 

COWBOY       MILLIONAIRE,       THE— Fox.— A 

Western  for  sophisticates,  and  an  hilarious  comedy. 
George  O'Brien  and  Edgar  Kennedy  tops  as  "local 
color"  on  a  dude  ranch.  Evalyn  Bostock.  Maude 
Allan.      (July) 


•  CRUSADES,  THE— Paramount.— A  colorful 
epic  of  the  familiar  religious  lore  directed  bv  the 
master  of  spectacles,  Cecil  B.  De  Mille,  in  the  typical 
De  Mille  manner.  An  ordinary  story  attempts  to 
supply  the  love  interest,  but  you'll  enjoy  the  colorful 
pageantry  and  heraldic  display.  Loretta  Young. 
Henry  Wilcoxon.  Ian  Keith.     (Oct.) 

DANTE'S  INFERNO— Fox.— Spencer  Tracy  as 

an  unscrupulous  amusement  king  tries  his  hand  at 
materializing  Dante's  verbal  version  of  the  inferno. 
There  is  also  a  brief  glimpse  of  Hades — in  case  you're 
interested.  The  struggles  of  a  good  cast  against  this 
spectacle's  wandering  story  are  colossal.     (Oct.) 

•  DARING  YOUNG  MAN,  THE— Fox.— Re- 
freshingly different  material  and  clever  dialogue 
distinguish  this  picture  about  two  young  people 
(Jimmy  Dunn  and  Mae  Clarke)  who  are  good  re- 
porters on  rival  papers  and  constantly  getting  them- 
selves into  mad  situations  trying  to  outwit  each 
other  on  hot  tips.     (July) 

DEATH  FLIES  EAST— Columbia.— A  rather  dull 
and  illogical  picture  with  Conrad  Nagel  and  Florence 
Rice  rising  above  screen-story  difficulties  and  Oscar 
Apfel,  Raymond  Walburn  and  Irene  Franklin  strug- 
gling for  laughs  with  un-funny  material.     (June) 

DEVIL  IS  A  WOMAN,  THE— Paramount  — 
Marlene  Dietrich  in  a  series  of  static  and  exquisite 
views.  The  story  lacks  motivation  and  Von  Stern- 
berg's direction  has  drained  all  animation  from  the 
cast.  Cesar  Romero,  Edward  Everett  Horton. 
Lionel  Atwill.      (May) 

DIAMOND  JIM— Universal.— Edward  Arnold  is 
outstanding  in  a  brilliant  characterization  of  Broad- 
way's renowned  spender  of  the  colorful  "gay  nine- 
ties," Diamond  Jim  Brady.  Binnie  Barnes  plays  an  in- 
effectual Lillian  Russell.  Jean  Arthur  brilliant  with  a 
supporting  role.     (Oct.) 

DINKY — Warners. — The  youngsters  will  enjoy 
Jackie  Cooper  as  the  boy  who  is  sent  to  an  orphanage 
when  his  mother  (Mary  Astor)  goes  to  prison  falsely 
accused.     Roger  Pryor.  Henry  Armetta.     (July) 

DOG  OF  FLANDERS,  A— RKO-Radio.— Fine 
performances  by  young  Frankie  Thomas  and  O.  P. 
Heggie  make  this  Ouida  classic  really  live  on  the 
screen.  It's  a  film  children  will  love  and  parents  will 
enjoy.      (May) 

DON'T  BET  ON  BLONDES— Warners.— Guy 
Kibbee  allows  the  suave  Warren  William  to  sell  him 
a  freak  policy  insuring  him  against  his  daughter's 
(Claire  Doddj  marrying  within  three  years.  A  good 
comedy  situation  hampered  by  old  gags.     (Oct.) 

•  DOUBTING  THOMAS— Fox.— One  of  the 
best  Will  Rogers'  pictures  This  time  Will's 
wife  (Billie  Burke)  gets  the  acting  bug,  and  Will 
turns  crooner  to  cure  her.  Alison  Skipworth,  Sterling 
Holloway.      (July) 

DRESSED  TO  THRILL— Fox.— Despite  lavish 
staging  and  a  good  cast,  the  story  of  the  little  French 
modiste  who  loses  her  lover,  Clive  Brook,  only  to  re- 
discover him  in  Paris  when  she  is  the  toast  of  the 
Continent  is  very  thin  and  unconvincing  but  Tutta 
Rolf  is  charming  in  her  American  picture  debut. 
(Oct.) 

EIGHT  BELLS — Columbia. — A  fairly  entertain- 
ing boat  trip  with  Ralph  Bellamy,  a  demoted  sea 
captain,  saving  the  day  in  a  maritime  crisis.  Ann 
Sothern  is  the  romantic  prize.     (July) 

ESCAPADE— M-G-M.— Miscast  as  a  lady-killer 
artist.  William  Poweil  is  sacrificed  to  the  American 
film  debut  of  Luise  Rainer.  Rainer  is  very  interesting, 
a  new  screen  personality,  and  may  make  you  forget 
the  sex-melodramatics  of  the  weak  story.      (Sept.) 

•  ESCAPE  ME  NEVER— Brifsh  &  Dominions- 
United  Artists. — A  magnificent  screen  ver- 
sion of  the  stage  success,  with  Elisabeth  Bergner 
giving  one  of  the  finest  performances  ever  recorded, 
as  the  waif  who  is  "adopted"  by  a  young  madcap 
musical  genius.  Excellent  support  by  Hugh  Sinclair 
and  Griffith  Jones.     (Aug.) 

EVERY  NIGHT  AT  EIGHT— Paramount  — 
Really  a  photographed  radio  program  with  plenty  of 
pleasant  entertainment  contributed  by  George  Raft, 
Alice  Faye,  Frances  Langford  and  Patsy  Kelly. 
(Oct.) 

[  PLEASE  TURN  TO  PAGE   110  1 


8 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,    1935 


N 


FOR  LOVERS  OF 


ftUiSiCkUb 


%*> 


The  romantic  idol  of  radio  and  opera 
comes  to  the  screen  —  and  triumphs 
in  a  sensational  debut!  Millions  will 
thrill  as  Martini  portrays  a  struggling 
young  tenor  who  sings  a  song  of  love 
on  the  heart-strings  of  one  woman 
and  the  purse-strings  of  another! 

Here  is  a  cast  of  famous  names  from 
the  opera,  the  radio,  the  screen,  the 
concert  stage.  Here  is  romance  at  its 
happiest,  songs  at  their  brightest, 
dances  at  their  gayest! 

NINO  MARTINI,  idol  of  the  Metropoli- 
tan  Opera  and  popular  radio  programs. 
With  his  magnetic  personality,  his 
magnificent  voice,  he  flashes  to  star- 
dom as  the  screen's  new  romantic  hero. 


MARIA  GAMBARELLI,  famous  ballet 
dancer   and   protege   of  Pavlowa. 


SCHUMANN-HEINK,  best  loved  of 
all  operatic  prima  donnas,  now 
brings  her  inspiring  voice  to  the 
screen. 


Beautiful  GENEVIEVE  TOBIN,  sparkling 
in  another  sophisticated  role. 


A  FOX 

PICTURE 


A  JESSE  L.  LASKY  PRODUCTION  with 

NINO   MARTINI 

GENEVIEVE  TOBIN 

ANITA  LOUISE 

MARIA  GAMBARELLI 

MME.  ERNESTINE  SCHUMANN-HEINK 

REGINALD  DENNY 

VICENTE  ESCUDERO 

world's  greatest  gypsy  dancer 
Directed  by  Alfred  E.  Green 


ROBIN  HOOD  AND  HIS 


You're  right.  The  man  be- 
hind that  beard  is  Warner 
Baxter.  With  his  director 
William  Wellman,  he  scans 
the  rushes  of  "Robin  Hood 
of    Eldorado,"    on    location 


10 


Warner  Baxter  is  not  only 
an  excellent  actor  but  he 
is  also  pretty  handy  in  a 
kitchen.  His  famous  chili 
and  beans  is  considered  a 
very   popular  dish   in  camp 


MERRY  MEN  AND  GIRLS 


Bruce  Cabot,  another  mem- 
ber of  the  cast  of  "Robin 
Hood  of  Eldorado,"  is  de- 
termined to  make  a  ringer 
pitching  horse  shoes  with 
Eric    Linden    near    location 


It  looks  as  though  Warner 
Baxter  and  his  companions 
Mrs.  and  Mr.  Wellman,  and 
Kay  Hughes  are  displaying 
signs  of  sentiment  before 
they   depart  from   location 

II 


Hollywood  Goes  To  The  Rodeo 


The  Weissmullers  just 
wouldn't  miss  a  Ro- 
deo. And  Lupe  Velez 
takes  the  fun  big,  but 
Johnny's  a  serious  one 


A  tense  moment,  as 
the  expressions  of 
Don  Alvarado,  Binnie 
Barnes,  and  Bill  Gor- 
gon graphically  show 


It's  as  though  the 
Joel  McCreas  (Fran- 
ces Dee)  felt  the 
neck-snapping  bronc 
busting     themselves 


12 


P  H  O  T  O  P  L  AY 

CLOSE-UPS 

AND    LONG-SHOTS 


BY  KATHRYN  DOUGHERTY 


THIS  little  anecdote  of  our  beloved  Will  Rogers  is  a  worthy  tribute  to  the  man 
himself — his  own  words,  too. 

Sometime  ago  while  in  Hollywood,  I  was  with  others  talking  to  Will,  when 
someone  suggested  that  he  seemed  to  do  his  acting  with  ease. 

"Well,"  Will  replied,  "if  you're  doing  what  you  like  to  do,  and  people  like  what 
you're  doing,  it  just  ain't  no  trouble  at  all  to  anybody." 

There's  a  lot  of  profound  philosophy  in  those  simple  words.    And  how  character- 
istic of  Will ! 


/^^HICAGO  exhibitors  have  been  putting  "bank  nights"  over  in  a  big  way. 
^ — You've  heard  of  "bank  nights,"  of  course;  perhaps  you  have  them  in  your  city, 
too.  But  in  case  you  don't  know,  "bank  night"  is  a  minor  equivalent  for  a  sweep- 
stake drawing.  Not  so  minor,  either,  for  two  hundred  movie  houses  in  Chicago 
have  been  giving  away  weekly  some  $25,000  in  cash. 

If  you  happen  to  hold  the  right  ticket  you  win  the  grand  prize.  But  you  must 
be  present  when  the  drawing  is  made.  Lots  of  people  with  tickets  can't  get  in — 
crowds  of  from  10,000  to  ^OOO  are  attracted  to  the  theater. 

The  whole  enterprise  has  grown  so  big  it  is  rapidly  getting  out  of  control  of  its 
sponsors. 

t 

THE  film  exchange  managers  don't  like  it.  It  is  almost  impossible  to  unscramble 
'  the  division  of  box-office  between  theater  and  exchanges  for  pictures  playing  on 
a  percentage. 

Starting  last  March,  with  a  few  houses,  "bank  nights"  have  grown  like  a  Florida 
land  boom. 

Meantime,  the  courts  have  already  been  called  in.  In  Xew  York  City  in  test 
cases  the  plaintiff  argued,  in  substance,  that  theaters  using  this  method  to  attract 
audiences  were  operating  games  of  chance.  A  Brooklyn  judge  ruled  that  "lucky" 
was  legal.     In  Wisconsin,  Ohio  and  Nebraska  cases  are  pending  in  the  courts. 

All  this  is  good  for  neither  exhibitors,  producers  nor  picture  patrons.  A  theater 
is  no  place  for  a  lottery. 

THEN  there's  that   old  standby  evil — the  double  feature.     I've  never  known 
'  motion  picture  theatergoers  to  proclaim  their  enthusiasm  for  the  "two-in-one" 
show.     Exhibitors,  in  general,  appear  to  regard  it -as  necessary — because  "com- 
petition requires  it." 

As  for  the  producers  themselves,  you  can  sadden  most  of  them,  in  their  gayest 
mood,  by  just  casually  bringing  up  the  subject. 

13 


Darryl  Zanuck  showed  spirit  and  courage  by  refusing  to  exhibit  "Les  Miserables" 
tagged — and  damned — on  a  double  bill.  Other  pictures  of  other  companies, 
recently  released,  or  about  to  be,  represent  such  a  huge  investment  and  are  on  such 
a  gigantic  scale  that  they  must  be  run  by  themselves. 

Maybe  we  are  about  to  see  the  beginning  of  the  end  of  the  double  feature  nuisance. 


THE  Little  Theater  has  continued  to  show  marked  vitality  during  the  past 
summer  season.     The  prediction  made,  a  number  of  years  ago,  that  motion  pic- 
tures would  eventually  kill  this  movement  proved  to  be  a  false  prophecy. 

On  the  contrary,  these  dramatic  art  centers  scattered  throughout  the  land  have 
been  watched  very  carefully  by  the  studios,  not  only  in  the  hope  but  in  the  expecta- 
tion, of  unearthing  new  talent  for  Hollywood. 

While  the  flowering  of  the  screen  was  in  progress,  the  stage  as  a  definite  money- 
making  business  was  dying  of  inanition. 


OF  laic,  i(  is  true,  "road  shows"  have  been  coming  back.  Witness,  for  example, 
the  remarkable  run  of  "Three  Men  on  a  Horse."  Perhaps  the  turning  tide  of 
prosperity  may  have  something  to  do  with  this,  but,  by  and  large,  the  "legitimate 
stage"  is  practically  non-existent  in  centers  where  it  formerly  flourished. 

Even  vaudeville  has  been  steadily  going  down  and  down.  The  performers  have 
not  lost  their  skill.  It  is  the  times  that  have  changed.  The  juggler,  the  tight-rope 
walker  and  the  trained  seal  have  lost  their  allure.  But  not  so  with  the  Little 
Theater  movement.  That  seems  to  possess  the  vitality  of  the  earth  from  which  it 
springs.  However,  popular  as  it  is,  today  it  is  largely  regarded  as  a  means  to  an 
end — playwrights  hope  to  win  the  attention  of  Broadway,  and  the  actors  have  the 
same  goal  in  mind,  or — beyond  that — Hollywood. 


F  motion  pictures  had  never  been  invented,  one  might  safely  suggest  that  Little 
Theaters  today  would  be  as  numerous  as  automobile  service  stations. 
But,  in  my  belief,  that  is  no  matter  for  regret.    It  would  be  as  difficult  to  imagine 
a  world  without  films  as  it  would  be  to  conceive  one  without  autos. 


ACCORDING  to  Motion  Picture  Herald:  "One  of  the  severest  blows  dealt  the 
cause  of  vaudeville  in  recent  years  lies  in  the  record  of  the  exclusively  films 
policy  of  Loew's  Capitol  on  Broadway,  where  'China  Seas'  completed  three  suc- 
cessful weeks,  when  stage  shows  were  eliminated  for  the  first  time  since  the  theater 
was  opened  in  1919. 

"The  Loew  circuit  and  others  believe  that  with  a  large  percentage  of  meritorious 
films  being  released  there  will  be  no  need  for  bolstering  stage  shows  even  on  Broad- 
way, while  the  booking  agents  blame  the  increased  trend  to  theater  poolings  and 
the  accompanying  decrease  in  competition,  as  well  as  the  labor  situation,  for 
accelerating  the  'back  to  film'  movement. 

"Considered  highly  indicative  of  the  general  trend  is  that  whereas  Loew's  five 
years  ago  scheduled  stage  shows  in  thirty-six  of  its  theaters  as  a  regular  policy  and 
last  year,  with  fluctuations,  in  twelve,  this  year  only  three  theaters  will  play 
vaudeville  regularly — Loew's  State,  New  York;  the  Century,  Baltimore;  and  the 
Fox,  Washington,  all  week  stands." 


A 


STAR  can  put  a  dozen  persons  on  the  road  to  fame  and  wealth  by  an  idea 
from  which  she  never  directly  derives  a  penny.  A  new  idea  for  a  coiffure, 
ami  the  hairdresser  is  made  famous  overnight.     The  new  style  becomes  the  rage. 

But,  remember,  it  is  the  star's  own  individuality  that  creates  the  novelty — 
though  the  man  who  follows  her  suggestions  gets  the  credit. 

And  so  it  may  be  with  gowns,  too.  The  famous  ones  of  the  screen  more  often 
than  not  know  what  best  becomes  them. 

Their  judgment  of  themselves  in  such  matters  is  a  combination  of  intuition  and 
intelligence,  because  they  were  born  with  the  ability  to  know  how  to  attract  and 
please  others. 

14 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,    1935 


15 


99 


So  Red 
the  Rose! 


The  Flower  of  Southern  Chivalry 

with  the   Shining  Glory 

Woman's   Tears      ■     ■     - 


"SO  RED  THE  ROSE,"  starring  MARGARET   SULLA  VAN   and  Waiter  Connolly   with 
Randolph  Scott.  Directed  by  King  Vidor.  From  Stark  Young's  novel.  A  Paramount  Picture. 


JOAN  BLONDELL  and 
George  Barnes  have  been 
together  constantly  for  the 
past  four  years.  They  fell  very 
solidly  in  love  a  year  before 
they  were  married.  They  saw 
no  one  but  each  other  all  during 
the  courtship.  They  worked  to- 
gether all  day  on  the  set,  and 
then  saw  each  other  every  eve- 
ning, including  holidays. 

Even  on  New  Year's  Eve, 
when  everyone  is  touched  with 
a  gregarious  yearning,  George 
and  Joan,  that  betrothed  year, 
slipped  into  his  car  and  rode  out 
miles  to  the  desert — away  from 
the  world. 

They  went  to  parties — yes — 
but  they  stuck  together  like 
postage  stamps.  And  this  was 
before  they  were  married. 

After  the  ceremony,  Joan  and 
George  literally  never  stirred 
out  of  one  another's  sight. 

16 


The  Pictures  Tell  the  Story 


George  photographed  all 
Joan's  pictures.  He  watched 
her  through  a  camera  finder 
when  he  wasn't  watching  her 
out  of  his  own  two  eyes.  Be- 
tween scenes,  Joan  ambled  over 
to  the  camera  and  sat  beside 
George. 

Then  home.  If  they  went  out, 
it  was  together  —  no  matter 
where.  That's  a  tough  assign- 
ment for  Romance. 

It's  even  tougher  in  Holly- 
wood where  every  member  of  the 
screen  colony  finds  his  or  her 
orbit  narrowed  down  to  the 
same  old  things,  day  in  and  day 
out.  Where  stars  actually  flee 
from  themselves  on  trips  to  any- 
where —  just  to  change  the 
scenery. 

Love,  like  anything  else,  must 
have  a  change  now  and  then. 

And  now,  Joan  has  riled  for 
divorce. 


Ronald  Colman  has  one  of  the  best  parts  of  his 
film  career  as  Sydney  Carton,  Charles  Dickens'  ace 
of  gentlemen  adventurers  in  the  epic  novel  of  the 
French      Revolution,      "A     Tale      of     Two     Cities" 


Ann  Dvorak  and  Joe  E.  Brown  have  been  doing  right 
well,  thank  you,  in  their  tops  comedy,  "Bright  Lights,"  in 
which  you  see  them  here.  Ann  is  now  working  in  "Thanks 
a  Million,"  in  which  Fred  Allen,  stage  star,  makes  his 
screen  debut.     Joe   E.  is  to  do   "I'm   In   the   Legion" 


Hmm-mm,  howsa  about  this,  folks?  The  petite  blonde 
Alice  Faye,  in  the  Fox  film  "Music  and  Magic."  Alice 
has  certainly  risen  to  high  rating  since  her  advent 
into  the  movies  less  than  two  years  ago.  And  now  she 
goes    senorita,    which    should    prove    very    interesting 


William  Walling,  Jr. 


Dainfy  Joan  Bennett  comes  into  her  own  in  the  lead- 
ing role  of  "Rich  Man's  Daughter,"  for  Columbia. 
George  Raft  will  play  opposite  her.  Also  in  the 
cast    are    Billie    Burke    and    bluff    Walter    Connolly 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,    1935 


21 


Why  Coty  (^/t^b    ^^l^U^P/  will 
lianoe    all   your   ideas    about   race    powder 


Whatever  your  experiences  Lave  been 
with  other  powders  .  .  .  prepare  to  forget 
them  when  you  try  Coty  Air  Spun. 

For  in  a  very  real  and  dramatic  way  Coty 
Air  Spun  Powder  is  entirely  different  from 
any  face  powder  you  have  ever  used. 

Where  other  powders  are  made  by  "me- 
chanical" methods— by  grinding  and  sifting 
— this  new- type  powder  is  spun  by  air. 

Imagine!  A  powder  buffed  by  rushing 
torrents  of  air!  Swirled  in  a  fantastic  snow- 
storm! Spun  and  driven  until  it  reaches  a 
softness  and  a  smoothness  never  equaled 
by  any  other  face  powder. 

The  texture  of  Coty  Air  Spun  is  so 
smooth  that  the  powder  lies  flat  and  even 


on  your  skin,  brings  a  new  softness  to  your 
complexion,  hides  tiny  lines  and  blemishes. 

The  shades,  spun  in,  look  like  warm,  liv- 
ing skin  tints — young  and  radiant.  Scents 
are  subtler  and  longer-lasting. 

And  Air  Spun  Powder  clings  longer!  For 
it  is  a  scientific  fact  that  the  smoother  the 
powder,  the  "friendlier"  it  is  to  skin  texture. 

A  NEW,  LARGER  BOX,  $1.00 

Coty  Air  Spun  Powder  —  in  its  famous 
odeurs,  L'Origan,  L'Aimant,  "Paris,"  Emer- 
aude — comes  in  a  new,  larger  box... almost 
half  again  as  large.The  newest  shades  are — 
"Soleil  d'Or"  and  "Perle  Rose." 

Come  with  Coty  to  a  new  world  of  beauty! 


MEW,  TENDER   TEXTURE 

— Because  it  is  Air  Spun — 

The  moment  you  touch  Air  Spun  Powder  you 
can  tell  the  difference ...  the  texture  is  so  smooth. 
This  smoother  powder  lies  even  and  flat  on  the 
skin. ..  hides  tiny  lines  and  wrinkles... gives  a 
new  softness  to  your  complexion. 


WARMER,  YOUNGER  SHADES 

— because  it  is  Air  Spun— 
Each  of  Coty's  12  shades  is  matched  to  a  perfect 
debutante  complexion.  Then  the  tints  are  air 
spun  into  the  powder. . .  smoothly,  subtly 
blended.  In  this  way  Coty  brings  new  warmth 
. . .  truer,  younger  tones  to  face  powder. 


LOYAL,— IT  CLINGS  LONGER 

— because  it  is  Air  Spun — 

It  is  a  scientific  fact  that  the  smoother  the  pow- 
der, the  better  it  "holds."  Chemists  say  that 
"Air  Spun  particles  are  friendlier  to  your  skin." 
That's  why  the  powder  clings  much  longer. 


Above,  Bruce  Cabot 
and  Adrienne  Ames,  as 
they  returned  from 
their  honeymoon  in 
1933.  only  to  be  di- 
vorced last  year.  Left, 
Stephen  Ames,  Adri- 
enne's  predecessor  to 
Bruce,  and  wife  Raquel 
Torres.  Recently  they 
all  met.  Just  what 
would  you  have  done? 


Above,  Lee  Tracy, 
"ex"  beau  of  Isabel 
Jewell,  and  Estelle 
Taylor,  "ex"  wife  of 
Jack  Dempsey,  when 
Lee  and  Estelle  were 
called  "Hollywood's 
newest  romance." 
But,  below,  Estelle 
is  now  linked  with 
wealthy  "Van" 
Smith,  but  the  report 
is  that  Nancy  and 
"Van"  are  to  be  mar- 
ried, yet  where  does 
that  leave  the  ro- 
mance of  Estelle  Tay- 
lor and  "Van"  Smith? 


HOLLYWOOD 


A  FEW  nights  ago  Adrienne  Ames  sat  in 
the  Cafe  Trocadero  being  decently  and 
restfully  bored. 

At  her  table  sat  two  young  men  who  might 
have  been  out-of-town  visitors,  or  maybe  even 
relatives,  for  certainly  the  Ames  group  was  far 
from  scintillating  as  they  watched  the  dancers  on 
this  extraordinarily  warm  night  in  late  Septem- 
ber. 

The  lovely  Adrienne  looked  tired,  the  young 
men  looked  tired,  and  the  dancers  looked  tired 
and  warm.  And  when  a  girl  is  honestly  tired 
after  a  hard  day's  work  at  the  studio,  there's  no 
particular  reason  for  looking  otherwise,  is  there? 

Adrienne  was  as  relaxed  as  a  babe  in  arms, 
when  suddenly,  Mr.  Stephen  Ames  (Adrienne's 
Ex)  arrived  in  a  party  with  the  new  Mrs.  Ames 
(Raquel  Torres),  her  sister  Renee  and  Victor 
Orsatti. 

Now  maybe  Mr.  Ames  had  been  a  little  warm 
and  tired,  too,  before  he  reached  the  cafe  where 
his  ex-wife  was  dining.  Maybe  he  was  just  as 
warm  as  his  former  wife,  and  possibly  he  might 


22 


V 


4 


«rf- 


1*1: 


*«^-rf 


William  Powell  and  the 
blonde  Carole  Lom- 
bard, right,  married 
and  were  divorced. 
Then  Carole  and  Bob 
Riskin,  writer,  top,  be- 
came definitely  inter- 
ested in  each  other, 
and  William  and  Jean 
Harlow.  But  there  was 
a  situation  —  which 
Carole  handled  neatly! 


f  ,*-,,. 


SCRAMBLED  LOVE 


How  would  you  conduct  yourself  if  you  couldn't  get 
away     from     ex-husbands,     wives,      sweethearts? 


XP 


>«»• 


By  DOROTHY  MANNERS 

have  enjoyed  eating  his  meal  in  an  equal  state  of  re- 
laxation. 

But  such  was  not  to  be  the  case;  for  suddenly  the 
Trocadero  was  as  wired  for  animation  and  pep  in  general 
as  though  Jack  Oakie  had  brought  his  electric  chair! 

Such  fun  as  everybody  began  to  have! 

Mr.  Ames  could  hardly  wait  to  get  to  his  table  to  ask 
Raquel  to  dance. 

And  the  conversational  subject  that  landed  feet  first  at 
Adrienne's  table  must  have  been  the  most  amusing  in 
the  world,  so  general  and  almost  insistent  was  the 
laughter. 

But  it  wasn't  until  Bruce  Cabot  walked  in  with  the 
director  of  his  newest  picture,  that  the  "Troc"  prac- 
tically got  out  of  hand  in  its  hysterical  good  times.  For 
surely  you  remember  the  [please  turn  to  page  88  ] 


Georgie  Jessel  and 
Norma  Talmadge 
(above)  are  happily 
married,  but  at  one 
gathering  they  met 
Merle  Oberon,  Joseph 
Schenck,  all  that  was 
needed  were  Gilbert 
Roland  (left,  with 
Norma),  Constance 
Bennett  —  well,  read 
how   the   pattern   fits 


23 


WHY   GABLE  HAS 


Left,  Clark  as  Fletcher  Christian. 
in  M-G-M's  "Mutiny  on  the  Bounty," 
with   Mamo,  a  native  Tahitian  belle 


FIVE  years  ago,  Clark  Gable  said:  "I'll 
be  lucky  if  this  lasts  five  years." 
To  say  now,  after  those  five  years  have 
passed,  that  Clark  Gable  is  really  just  arriv- 
ing at  success  may  sound  like  the  addled 
mutterings  of  some  Rip  Van  Winkle  peer- 
ing in  cobwebby  puzzlement  at  the  won- 
ders of  Hollywood.     A  Rip  whose  snores 
were  sound  enough  to  shut  out  the  febrile 
huzzahs  which  during  the  past  four  years 
have  acclaimed  Clark  Gable  the  greatest 
masculine  idol  since  Rudolph  Valentino, 
indeed  the  only  one  that  can  be  con- 
fidently mentioned  with  that  heart  shat- 
tering Sheik. 

Clark  Gable  arrived,  anyone  will  tell 
you,  the  day  he  walked  on  the  set  of 
"Dance,  Fools,  Dance."     He  arrived 
when  the  whole  set  instinctively 
turned  and  looked  at  the  tall,  broad- 
shouldered  masterful  guy  ai  d  kind 
of  drew  in  a  short   breath   exhaled 
during    a   long,    naive,    rude    s'.are. 
Nobody    knew    who    this    lad    was, 
but  they  felt  what  he  was. 
Clark    Gable    arrived,    those    days 


24 


STAYED  AT  THE  TOP 


The  story  of  how  Clark 
has  been  able  to  face 
and  survive  the  hardest 
test  put  to  his  conceit — 
fanatical  woman  worship 

By   CH  ET   GREENE 


Gable's  love  of  the  outdoors  is  no 
pose — he's  top  shooting  man  in  all 
Hollywood — particularly  at  "skeet" 


after  "Dance,  Fools,  Dance,"  and  "The  Secret  Six"  when  the 
public  responded  with  a  jerk  to  his  new  shot  of  s.  a.  adrenalin. 
They  swamped  the  studio  with  letters,  'and  excited  theater 
exhibitors  all  over  the  country  shot  wires  to  Messrs.  Metro, 
Goldwyn  and  Mayer  demanding:  "Who  is  this  new  guy? 
What's  the  idea  of  keeping  him  under  wraps?" 

He  arrived  at  a  sensation — yes — he  arrived  at  lucky  strike, 
an  unbelievable  bonanza — sure — but  just  recently  with  "The 
Call  of  the  Wild,"  "China  Seas"  (and  although  you  haven't 
seen  it  yet,  it's  safe  to  include  "Mutiny  on  the  Bounty")  he 
hooked  those  three  picture  pegs  onto  a  ledge  of  solid  success. 

To  do  five  years  after  that  first  hit  was  a  much  harder  job 
than  becoming  a  sensation,  for  a  whole  lot  of  reasons,  believe 
you  me. 

It  takes  something.     Clark  has  it. 

"Whatever  comes  of  all  of  this,"  he  said  during  those  first 
heady  moments  of  new  hero  worship,  "it's  still  okay  with  me. 
Even  if  I  go  down  as  fast  as  I've  jumped  up,  it's  still  a  lucky 
break." 

He  meant  it.  He  was  so  sick  and  tired  of  touring  the  sticks 
in  the  "B"  shows  and  in  stock  companies.  So  weary  of  being 
shunted  off  to  dreary  stands  that  seemed  to  lead  to  worse  than 
nowhere,  so  familiar  with  that  dreaded  two-weeks  notice  that 
he  said  with  a  grateful  sigh: 

"I'll  be  thankful  if  they'll  just  let  me  stay  here  and  work." 

It  might  have  been  that  gratitude,  so  deeply  felt,  which  has 


helped  Clark  Gable  face  and  survive  the  toughest  test  a  man 
ever  had  put  to  his  own  conceit — public,  world  wide,  fanatical 
woman  worship. 

But  then  it  might  have  been  several  other  things,  too. 

Clark  had  had  his  ears  well  beaten  down  by  short  dived  one- 
night  stand  fames,  wetted  down  by  disappointments.  He  had 
considered  himself  set  once  on  Broadway  and  found  himself 
shagging  the  sidewalks  the  next  month  hunting  a  job. 

Whether  or  not  he  cynically  observed  his  sensational  break  as 
a  mushroom  destined  to  dry  up  and  pop  into  dust  in  a  few 
weeks,  he  told  a  friend:  "Don't  worry,  I  know  they're  not  hail- 
ing me  as  an  actor  or  anything  like  that.  I'm  not  so  flattered. 
It  isn't  any  compliment  to  me.  I  just  happen  to  represent 
something  to  'em,  that's  all." 

You  could  speculate  about  a  number  of  things  which  set 
Clark  off  on  the  right  foot. 

The  kind  of  a  down  to  earth  regular  fellow  he  was  to  start 
with.  The  realistic  background  of  factory  work,  oil  drilling, 
mountain  engineering.  The  fact  that  being  past  thirty,  he 
had  more  than  the  average  lady-killer's  balance.  The  fact  that 
when  he  arrived  at  M-G-M  he  couldn't  have  helped  notice  the 
struttings  of  Jack  Gilbert  and  one  or  two  other  idols  of  the 
weaker  sex  still  in  vogue  at  that  time.  Jokes  to  some  around 
the  lot,  Clark  might  well  have  resolved  to  keep  away  from  any- 
thing like  that. 

You  might  consider  his  sense  of  [  please  turn  to  page  100 1 

25 


Claudette  Colbert  and 
her  director,  Gregory 
La  Cava,  became  de- 
voted friends  after  the 
two  had  exchanged 
amusing  nicknames. 
There's  an  interesting 
story  behind  the  chair 
labels  in  the  picture. 
It  is  told  in  this  article 


// 


THE  FRETTING 


THE  STORY  OF  CLAUDETTE  COLBERT'S 


Editor's  Note:  The  author  of  this  keen,  penetrating  analysis  of 
Claudette  Colbert's  true  character  and  why  she  has  suddenly  at- 
tained the  "tops"  in  pictures,  is  one  of  the  screen's  finest  directors. 
He  is  also  well  known  as  a  student  of  the  arts  and  sciences.  His 
knowledge  of  psycho-analysis  and  psychiatry  made  possible  that 
splendid  picture,  "Private  Worlds."  His  most  recent  picture  with 
Miss  Colbert  is  "She  Married  Her  Boss." 


THE  "fretting  frog"  stormed.    With  all  her  Gallic  sensitivity 
aroused,  Claudette  raged  at  me.    Not  in  the  childish  sulky 
words  and  actions  of  the  tempestuous,  illogical  female,  but 
with  keen,  analytical  and  incisive  argument. 

Why  must  she  play  the  scene  in  that  manner?    Why  couldn't 

26 


I  see  the  feminine  viewpoint?  No  sane,  clear-thinking  woman 
would  react  to  the  astounding  situation  that  had  suddenly 
arisen  in  her  life,  in  such  a  stupid  manner. 

Instead  of  taking  it  on  the  chin,  instead  of  suffering  in 
bewildered  silence,  she  would  marshal  all  her  feminine  wiles  in 
a  grand  fight-to-the-finish  to  hold  her  man.  She  would  ask  no 
quarter  and  give  none. 

Claudette  persuaded  me  in  the  end,  but  I  was  easily  per- 
suaded because  I  had  been  using  a  bit  of  psychology.  I  had 
hoped  all  along  that  this  elemental  emotion  would  be  her 
natural  reaction.  Her  anger  aroused,  challenged  to  prove  she 
was  right,  Claudette  tore  into  the  scene  with  all  the  fire  and 
tempestuousness  of  the  most  inspired,  temperamental  actress 
imaginable. 

Truthfully  I  was  somewhat  amazed.    Never  having  directed 


Due  to  her  shy  and  retir- 
ing nature,  Ciaudette  had 
to  overcome  numerous  bar- 
riers that  threatened  her 
rise  to  fame.  She  has,  at 
last,    reached     the    heights 


Miss  Colbert  is  that  type 
of  person  who  is  happiest 
when  surrounded  by  hordes 
of  people;  but  she  always 
manages  to  find  something 
to   occupy   her  when   alone 


FROG 


NEW  LEAP  TO  FAME         By  Gregory  la  cava 


Ciaudette  before  "  Private  Worlds"  (in  fact  we  had  met  for  the 
first  time  a  few  days  preceding  the  picture),  I  entertained  a  few 
preconceived  notions  about  the  young  woman,  most  of  which 
turned  out  to  be  wholly  inaccurate. 

To  me,  the  Colbert  of  the  screen  was  a  cool,  charming  and 
rather  beautiful  young  girl  who  had  never  experienced  riotous 
emotions.  She  was  the  mental  actress,  the  mental  woman. 
After  all,  how  and  where  could  she  have  acquired  the  feeling  of 
the  crude,  elemental  emotions  that  govern  the  make-up  and 
actions  of  the  self-made,  down-to-earth  person  who  has  had  to 
fight  her  way  up  in  the  world? 

Ciaudette  was  born  and  reared  a  "nice  girl."  In  my  years  of 
experience  as  a  motion  picture  director,  I  have  come  to  under- 
stand why  "nice  girls"  are  not  good  actresses.  Too  many  lady- 
like reactions  to  life  which  are  as  finely  rooted  in  their  con- 


sciousness as  life  itself.  In  short,  they  instinctively  react  only 
to  the  conventional. 

I  wouldn't  give  a  dime  a  dozen  for  "nice  girls"  as  actresses.  I 
like  'em  with  red-hot,  inflammable  temperaments. 

Why?  Well,  for  psychological  reasons.  The  temperamental 
player's  subconscious  mind  is  always  working.  Vivid  imagina- 
tions, elemental  emotions.  Such  players  can  be  aroused  to  the 
necessary  emotional  pitch  and  feeling.  It  is  the  director's  job 
to  harness  and  direct  that  electrical  energy  in  a  constructive 
manner. 

No,  the  so-called  "nice  girl "  never  becomes  a  splendid  actress 
until  she  overcomes  conventional  thinking  and  acting. 

Ciaudette  has  made  the  grade.  She  has  found  herself.  The 
shy,  sensitive,  introspective  girl  of  yesterday  is  developing  into 
a  far  more  attractive,  appealing,    [  please  turn  to  page  99  | 

27 


Song  Hits  Make  Stars  anc 
Stars  Make  Song  Hits 


V 


P 

mt 

H 

<*> 

W^' 

H 

g*8jj 

^W%^W^ 

\ 

1 
1 

No 

one 

can 

figure 

a 

song 

No 

sleep 

for 

songs 

miths  as 

hit. 

but 

Bin 

g    Crosby 

can 

a  sir 

ging 

star 

is  ma 

king  her 

ma 

«e  one.   S 

inging 

'Lo 

ve  In 

film 

debu 

t,   such  as 

Gladys 

Bloom" 

to 

Kitty 

Ca 

rlisle 

Swa 

rthoii 

t,  w 

th  Jo 

in  Boles 

A 

ordinari 
deed. 


Mack  Gordon,  the  big  one, 
and   Harry   Revel,   "tuning" 


STARRY-EYED  Irish  girl  with  pretty  legs  and  a 
sweet  smile  mentions  Pullman  porters,  a  train  that 
goes  slow  and  lights  turned  down  low  to  make  an 
y  dull  excursion  to  Buffalo  seem  very  attractive  in- 


A  curly-headed,  apple-cheeked  lad  wonders  tune- 
fully how  he  could  possibly  say  "No"  when  all  the 
world  is  saying  "Yes." 

A  sadly  sweet  young  man  with  yellow  hair 
huskily  implores  you  to  please  lend  your  little 
ears  to  his  pleas. 

And  "in  the  twinkling  of  an  eye"  three  stars 
are  made — Ruby  Keeler,  Dick  Powell  and  Bing 
Crosby. 

These  three  stars  are  directly  attributable  to  a 
class  of  sweating,  badgered  craftsmen  known  as 
song  writers,  who  spend  their  days  and  nights 
making  more  stars  than  D.  W.  Griffith,  Samuel 
Goldwyn,  or  Irving  Thalberg. 

Ever  since  "42nd  Street,"  song  writing  has  be- 
come a  big  part  of  Hollywood's  daily  dozen.    Ever 
since  Al  Dubin  and  Harry   Warren,   whom  you 
may  never  have  heard  of  before,  hammered  out  the  catchy 
score  and  took  musicals  out  of  the  screen  dog  house,  making 
stars  has  been  all  in  the  day's  work  for  the  song  writers. 

Two  kinds  of  stars  they  rocket  to  fame.  One  is  a  personality 
—the  other  is  a  song. 


28 


Song  writing  is  now  a 
high  order  of  craftsman- 
ship—  with  a  hundred 
and  one  little  things  to 
send   a   tunesmith   daffy 


By   WARREN    REEVE 


Irving  Berlin,  probably 
the  most  widely  known 
song  writer.  The  "Top 
Hat"    melodies    are    his 


One,  if  it  has  what  it  takes,  will  live  for  years  and 
become  a  toast,  a  crush,  a  rave,  an  idol — and  a 
wealth}'  individual. 

The  other,  if  it  has  what  it  takes,  will  die  in  two 
months. 

But  craze  or  career,  brief  life  or  longevity,  the 
songs  that  Bing  Crosby  sings  are  as  much  stars  as 
Bing  himself.    Songs  are  stars.    Songs  are  personalities.    Songs 
make  stars.     Songs  make  personalities. 

Before  Al  Dubin  and  Harry  Warren  wrote  "Shuffle  Off  To 
Buffalo"  and  "42nd  Street,"  song  writers  were  about  as  wel- 
come around  Hollywood  as  the  well  known  pole  cat  at  a  lawn 
party. 

Now  eighty  per  cent  of  the  ditties  you  hear  over  your  radio 
are  born  in  Hollywood,  used  on  a  studio  lot.  Now  three  out 
of  every  five  movies  produced  have  a  song  somewhere  in  the 
picture. 

Now  Tin  Pan  Alley,  which  used  to  dominate  Broadway,  has 
firmly  lodged  itself  in  Golden  Gulch.  Jerome  Kern,  Cole 
Porter,  Irving  Berlin — and  all  the  rest  of  them  are  members  of 
the  movie  colony,  and  it  would  be  hard  indeed  to  say  just 
which  is  the  real  star  of  a  smash  film  musical — the  star,  the 


song,  or  the  man  behind  the  man  behind  the  man  behind  the 
gun  (apologies  to  Gertrude  Stein) — the  man  you  never  see  and 
seldom  notice  on  the  title  sheet — the  song  writer. 

Which  was  the  real  star  of  "The  Gay  Divorcee" — Fred 
Astaire  or  "The  Continental"?  Who  was  the  real  hit  of  "She 
Loves  Me  Not,"  Bing  Crosby  or  "Love  In  Bloom"?  Or  was 
it  a  couple  of  other  guys — Con  Conrad  and  Herb  Nagidson 
for  instance,  or  Ralph  Rainger  and  Leo  Robin? 

Flash  back  again  to  "42nd  Street."  Ruby  Keeler  took  a 
nice  bow.  Darryl  Zanuck  was  hailed  as  the  wonder  producer. 
Busby  Berkeley  garnered  undying  fame  for  his  song-dance 
spectacles.     All  very  much  deserved  too. 

But  who  really  turned  the  trick  at  a  critical  time  with  tunes 
that  you  may  still  be  humming — who  wrote  what  made  the 
musical  a  musical — the  words  and  [please  turn  to  page  102] 


29 


Two  short  years  of  mar- 
riage with  the  great  lover, 
John  Gilbert,  wrought  vital 
changes  in   Virginia's   plans 


Miss  Bruce  was  asked  the 
question  direct:  "What  if 
John  Gilbert  should  ask  you 
to  marry  him  again,  then?" 


WHY    VIRGINIA    BRUCE 

Won't  Marry   for   Five   Years 

"The  most  beautiful  girl  in  Hollywood,"  as  the  young 
gallants  call  her,  has  a  fascinating  scheme  of  life 

As  told   to   GLADYS   HALL 


WILL  not  marry  for  five  years,"  the  beautiful  Virginia 
Bruce  said  solemnly,  making  the  sign  of  an  oath  with  one 
hand  while  with  the  other  she  received  a  mammoth  box  of 
flowers  from  the  maid  who  had  been  taking  recurrent  telephone 
calls. 

"I  will  not  marry  for  five  years,  not  even  if  I  should  fall  in 
love  again. 

"I  won't  marry  for  five  years  because  I  gave  all  I  had  to  give 
to  my  first  marriage — and  it  was  not  enough. 

"I  won't  marry  for  five  years  because  I  must  have  time  in 
which  to  grow  up. 

"Mentally  and  emotionally  I  was  about  fifteen  when  I  mar- 
ried Jack  Gilbert.  I  must  be  thirty  mentally,  emotionally  and 
actually  before  I  marry  again. 

"Here  and  now,  I  take  this  vow." 

And  I  thought,  as  Virginia  was  speaking,  that  she  will  need 
to  hold  her  vow  with  an  iron  grip  of  both  white  hands.  For  the 
young  men  about  town  call  Virginia  "the  most  beautiful  girl  in 
Hollywood."  The  Bruce  telephone  rings  unremittingly. 
Florists  put  their  Sunday  shoes  on  the  doorstep  and  they  walk 

30 


unerringly  to  the  Bruce  home.  A  certain  man  recently  came 
from  New  York  to  the  Coast  just  to  spend  a  day  with  Virginia 

All  the  young  men  are  sighing. 

"I  think  if  I  had  been  wiser,"  Virginia  was  saying,  with  that 
something  sad  and  remembering  which  always  comes  into  her 
gray-blue  eyes  when  she  mentions  Jack  or  their  brief  day  to- 
gether, "I  think  if  I  had  known  better  how  to  handle  situa- 
tions, hold  my  own  in  arguments,  fight  for  our  happiness,  Jack 
and  I  might  have  been  together  today.  I  did  my  best.  I  gave 
everything  I  had  to  give  to  making  our  marriage  a  success  but 
I  know  now  that  what  I  had  to  give  was  too  inexperienced,  too 
immature. 

"And  because  I  failed  the  first  time  there  will  be  no  second 
until  I  have  grown  up. 

"  I  developed  very  slowly.  I'd  had  almost  no  young  good 
times.  I  hadn't,  as  they  say,  'been  around.'  I  was  brought  up 
by  the  sort  of  parents  who  always  called  for  me  when  I  went 
out  of  an  evening.  I  thought,  I  guess,  that  there  was  no  cloud 
but  only  a  silver  lining." 

And  as  she  talked,  sitting  at  lunch  with  me  in  her  organdie- 


A  finer  and  more  intelligent  ex- 
ample of  motherhood  would  be 
difficult  to  find.     Susan  Ann's  two 


draped  dressing  room  on  the  M-G-M  lot, 
beautiful  with  the  unreal  fragility  of 
beauty,  I  was  marveling  at  what  two  little 
years  of  profound  and  passionate  living  can 
do  for  a  girl. 

For  I  was  remembering  the  first  inter- 
view I  ever  had  with  Virginia,  just  after  she 
had  announced  her  engagement  to  John 
Gilbert.  A  shy  sort  of  girl  she  was,  then, 
with  the  eager  unfinished  look  of  the  small- 
town girl  still  about  her.  Gold  hairpins  in 
her  pale  gold  hair,  a  pink  crepe  frock  which 
looked  young — and  not  done  by  Adrian. 
And  a  look  in  her  eyes  such  as  Alice  must 
have  had  when  she  first  spied  Wonderland 
looming  ahead. 

For  Virginia,  so  brief  awhile  ago,  had 
been  just  a  little  High  School  girl,  a  little 
Gilbert  fan  in  Fargo,  North  Dakota.  She 
had  sat  tense  [  please  turn  to  page  108  ] 

31 


And  So  You 

Think   He's 

FUNNY! 


You  think  he's  a  born 
comic?  No!  Life  beat 
humor  out  of  him!  So 
much  so,  he  never  kids! 
He   thinks   it   cruel   fun 


By    Murie 
B  a  b  c  o  c  k 


Left,  Penner  with- 
out a  typical  Pen- 
nerian  gesture!  An 
unusually  rare  mo- 
ment for  Joe.  Not 
such  a  bad  look- 
ing   gent,    either 


Above,  can't  you 
hear  Joe  saying, 
"Coming  right  at 
you!"  in  that  droll 
way  of  his?  He 
never  can  resist 
a  set  of  banisters 


Joe  now  has  a  sump- 
tuous home  in  Beverly 
Hills  to  clown  about  in 


JOE  PENNER  may  be  able  to  send  you  into 
stitches  with  his  clown-like  absurdities,  with  his 
funny  plaintive  "Wanna  Buy  A  Duck?"  or 
"Don't  Never  DO  That!"  but  there's  nothing  funny 
about  the  real  Joe. 

The  story  of  his  life  contains  no  gags.  It  is  not  a 
pretty  story.  An  honest  story,  yes,  one  of  a  life 
crammed  with  hard  work  and  with  heart-breaks  for 
a  sensitive,  self-conscious,  sweet-souled  fellow  whose 
great  life  ambition  seems  to  me  best  expressed  in  his 
early  urge  to  make  money  so  he  could  "do  nice 
things"  and  "know  nice  people." 

Probably  because  he  remembers  the  day,  when  a 

little  immigrant  boy,  a  name  tag  around  his  neck, 

his  heart  bursting  with  exxitement,  he  stood  on  Ellis 

Island  and  surveyed  a  great  strange  new  city,  that  he 

has    so    much    humbleness    and    sympathy    today. 

Maybe  he  remembered  this  frightened, 

little    immigrant    boy    who    was    Joe 

Penner  at  nine,  when  a  few  years  ago, 

appearing  in  New  York,  came  a  call 

that  a  sick  little  boy  about  to  die  in 

a  hospital  was  crying  to  see  him. 


32 


Never  a  dull  moment  in  the 
Penner  menage.  The  petite 
Eleanor  May,  Mrs.  Penner, 
is  a  willing  and  active  part 
in  Joe's  antics.  It  hasn't  al- 
ways been  such  fun  for  Joe, 
but  he's  certainly  earned  it 


This  happened  right  in  the 
middle  of  "Collegiate,"  for 
Paramount,  which  you'll  see 
Joe  in  soon.  Somebody  had 
made  a  crack  about  Goo- 
Goo,  the  duck.  And  as  you 
can  see,  Joe  wanted  to  fight 


There  was  hardly  time  between  performances  to  get  to  the 
hospital  and  back,  but  Joe,  not  knowing  the  boy  or  circum- 
stances, went.  He  arrived  to  find  a  tow-headed  lad  swathed  in 
bandages  from  a  fire,  dying.  He  sat  down  beside  the  bed,  told 
all  the  stories  he  could  think  of  to  the  boy,  and  then,  with  tears 
streaming  down  his  face,  rushed  back  to  the  theater. 

With  tears  still  staining  his  cheeks,  he  went  on  for  the  per- 
formance. After  the  performance,  he  wanted  to  go  back  to  the 
hospital,  but  he  had  to  take  a  train  for  another  city.  He  was  so 
upset  about  it  and  so  unnerved  for  days,  that  finally  his  man- 
ager, trying  to  restore  Joe  to  normal,  told  him  the  lad  was 
better. 

Another  story  about  Joe  that  I  like  is  his  answer  to  the 
wealthy,  influential  New  Yorker  who  wanted  him  to  attend  a 
swank  party.  "I'm  sorry,"  said  Joe,  "but  my  wife  likes  the 
night  life  and  the  night  clubs,  and  I've  promised  her  to  take  her 
places  tonight."  Joe  was  in  his  dressing  gown;  his  wife, 
Eleanor,  who  understands  him  and  loves  him  dearly,  was  in  her 
negligee.  They  weren't  going  anywhere.  They  were  just 
staying  home.  Joe  turned  from  the  telephone  to  his  violin  and 
spent  the  evening  tinkling  off  tunes — sad  Hungarian  melodies, 
I  suppose,  for  they  are  what  he  loves — the  whole  evening  long 
while  Eleanor  sat  and  listened. 


That  is  gag-man  Joe  Penner  for  you! 

To  me,  these  are  the  sort  of  things  that  reveal  the  soul  of  a 
man,  the  stuff  out  of  which  he  is  made.  He  doesn't  get  a  great 
heart  overnight;  he  has  a  great  heart  because  of  the  way  he 
thinks  and  feels  and  the  way  he  has  lived.  Let  me  tell  you  a 
little  of  Joe  Penner's  life  story.  It  is  full  of  bumps  and  heart- 
breaks and  achievement  in  the  face  of  obstacles,  and  it  is  thrill- 
ingly  dramatic. 

The  little  immigrant  boy  of  yesterday,  who  stood  on  Ellis 
Island  facing  the  skyscrapers  of  New  York,  is  today  an  enjoy- 
able clown  with  a  salary  in  the  thousands. 

How  did  he  get  that  way? 

Joe  was  born,  not  Joe  Penner,  but  Joseph  Pinter  in  Hungary. 
Before  he  was  old  enough  to  talk,  his  mother  left  him  with  his 
grandparents  to  join  his  father  in  the  strange  American  land. 
When  there  was  money  enough,  and  this  was  not  until  Joe  was 
nearly  nine  years  old,  they  sent  for  Joe  and  the  grandparents  to 
come  to  Detroit  where  the  father  had  a  job  as  a  laborer  in  the 
Ford  factory. 

The  three  of  them  sailed  steerage  on  the  Carpathia — they  had 
intended  to  get  another  boat,  but  there  was  delay  with  im- 
migration authorities  in  the  homeland.  And  such  a  trip.  You 
should  hear  Joe  tell  about  it.    A   [  please  turn  to  page  118  ] 

33 


"The  Last  Days  of 
Pompeii"  as  you 
can  well  imagine, 
with  its  opportuni- 
ties for  sweeping 
panoramic  effects 
(above),  puts  the 
picture  into  the  top 
high-cost    class 


Left,  a  scene  fror 
the  adaptation  of 
Dickens'  immortal 
story,  "A  Tale  of 
Two  Cities,"  one  of 
the  reasons  for  the 
big  spending  spree 
of  producers.  Read- 
ily recognizable  are 
Ronald  Colman, 
Edna  May  Oliver, 
Donald  Woods, 
standing;  left,  Regi- 
nald Owen,  Henry 
B.  Walthall,  and 
Claude  Gillingwater 


Why  the  Million  Dollar 


WHETHER  it  is  Hollywood's  expression  of  prosperity — 
Whether  it  is  the  industry's  answer  to  the  double 
bill  menace — 
Whether  it  is  competition,  desire  for  prestige,  or  a  return  to 
the  action  movie  from  the  intimate  talkie — 

Or  whether  it  is  (as  I  strongly  suspect)  because  the  astute 
gentlemen  who  produce  the  films  figure  they  are  going  to  make 
more  money  by  spending  more  money;  whatever  it  is — 
Million  Dollar  Pictures  are  coming  back. 
The  Hollywood  pocket  books  are  wide  open  once  more,  and 
the  producers  are  spending  money,  not  in  one  and  two  hun- 
dred dollar  lots,  but  in  million  dollar  chunks. 

You  readers  of  Photoplay,  as  Mr.  and  Mrs.  John  Public, 
are  going  to  be  treated  to  an  orgy  of  extravagantly  made, 

34 


lavish,  sweeping  spectacles  this  Fall  and  Winter  such  as  you 
haven't  seen  since  the  advent  of  talkies.  I  think  you  will 
find  them  good  pictures,  too.  The  kind  that  the  whole  family 
may  go  and  see  and  go  home  thinking,  "Well,  that  was  an 
evening!" 

Cast  your  eye  over  this  noble  list  of  million  dollar  productions 
with  which  Hollywood  is  endowing  the  movie-going  world 
They  are  pictures  of  extraordinary  merit,  and  the  individual 
cost,  which  I  cite  herewith,  is  nothing  mean. 

The  list: 

"The  Crusades"— cost  $1,300,000. 

"Mutiny  on  the  Bounty"  $1,500,000  (possibly   $2,000,000 
when  all  the  figures  are  in). 

"Tale  of  Two  Cities"  $1,200,000. 


Max  Reinhardt  has  a  name  for 
elaborate  stage  spectacles,  and 
now  he  has  transferred  his  genius 
to  the  screen,  with  Shakespeare's 
"A  Midsummer  Night's  Dream"  as 
his    initial    film    offering    (above) 


"The  Crusades,"  by  that  master 
artist  of  effective  splendor,  Cecil 
B.  De  Mille,  lent  itself  admirably 
to     a     lavish     treatment     (right) 


Pictures  are  Coming  Back 


You  are  going  to  be  treated 
to  the  most  lavish  movies 
since  talkies  came  about, 
and  they  are  good  ones,  too 

By  MARIAN   STEVENS 


"Midsummer  Night's  Dream"  $1,200,000. 
"Captain  Blood"  $1,000,000. 
"Barbary  Coast"  $900,000. 


"Last  Days  of  Pompeii"  $950,000. 

"Little  Lord  Fauntleroy"  $1,000,000. 

"Robin  Hood  of  Eldorado"  $1,000,000. 

"Broadway  Melody"  $1,000,000. 

"Shark  Island"  $850,000. 

"Shoot  the  Chutes"  (Eddie  Cantor)  $1,500,000. 

And  there  will  undoubtedly  be  more.  These  are  the  out- 
standing productions  completed  or  planned  at  this  writing. 

Now,  a  million  dollars  and  more  is  a  big  round  figure  for  a 
Hollywood  writer  to  toss  off  casually.  Maybe  it  makes  your 
head  swim  a  little.  Now,  I  can  hear  you  ask,  can  producers 
spend  so  much  on  one  motion  picture  and  expect  to  make 
money? 

Ladies  and  gentlemen,  I  refer      [  please  turn  to  page  114  ] 

35 


The  beautiful  Helen  Twelve- 
trees  and  her  very  good- 
looking  son.  Jack  Woody, 
Jr.,  had  the  best  of  times 
at  the   Arlene  Judge  frolic 


Director   Wesley    Ruggles    holds    Wesley,   Jr.,    and    his    very   at- 
tractive wife,  Arlene  Judge,  holds  Miriam  Hopkins'  son  Michael 


36 


Here's  why  Photoplay's  noted  came- 
raman, Hyman  Fink,  gets  around  to 
all  the  places:  he  has  himself  such  a 
grand  time.  He's  showing  Arlene  how 
he    gets    those    swell    kiddies'    shots 


Arlene's  party  was  complete  even  to 
pony  rides  all  around.  Little  Joan 
Pine,  Virginia  Pine's  daughter,  is  all 
set    to     start     out    on     her    gallop 

37 


FACE 
DOWN 


By  CHARLES  J.   KENNY 


(Synopsis  of  Preceding  Installment) 

A  LAWYER  and  his  client  faced  Brent,  a  private 
/l  detective,  called  in  by  the  lawyer.  The  lawyer  said  his 
client  had  seen  a  body,  that  of  a  noted  doctor,  lying  face 
down  in  an  alleyway,  that  she  had  thought  he  was  dead, 
and  there  was  the  possibility  of  a  murder,  but  she  did  not 
want  to  appear  in  the  case,  so  the  detective  was  to  keep  her 
name  out  of  it,  because  she  was  too  prominent.  Her  name 
was  given  as  Miss  Smith — but  the  detective  recognized  her 
— Vilma  Fcnton,  a  prominent  motion  picture  actress.  He 
took  the  case  only  to  learn  he  had  been  double-crossed  by  the 
lawyer — used  to  draw  the  police  away  from  "Miss  Smith" 
who  had  had  a  rendezvous  with  the  dead  man.  He  went  to 
the  home  of  "Miss  Smith"  and  there  he  met  with  another 
mystery.  After  confronting  the  actress,  he  was  asked  to 
wait.  The  butler  showed  him  to  a  room,  went  out  and  was 
attacked  in  the  hallway.    His  body  was  lying  face  down. 


CHAPTER   V 

BRENT  ran  down  the  corridor,  paused  for  a  moment  to 
bend  over  the  body  of  the  unconscious  butler.  He  found 
no  sign  of  a  knife  wound  and  could  see  no  blood. 

From  the  lower  corridor  came  startled  exclamations,  the 
sound  of  shuffling  feet.  Near  the  end  of  the  upper  hallway, 
fragments  of  plate  glass  from  a  broken  window  lay  on  the  floor. 
The  jagged  edges  caught  and  reflected  the  light.  Wind,  pour- 
ing through  the  opening,  sent  a  spray  of  rain  drizzling  onto  the 
thick  carpet. 

Brent  took  two  swift  steps  to  reach  the  top  of  the  stairs. 
Looking  down  the  wide  spiral,  he  encountered  the  startled  eyes 
of  Vilma  Fenton.  Back  of  her,  at  the  foot  of  the  staircase,  the 
guests  were  gathered  into  a  compact  group,  white  and  startled. 

"What  happened?"  she  asked. 

Brent  laughed  lightly  and  said,  "I'm  afraid  I'm  a  hoodoo, 
Vilma.  One  of  the  windows  blew  open  and  smashed.  The 
butler's  making  an  emergency  repair.  I'll  see  if  I  can  help 
him." 

She  was  facing  Dick,  her  back  to  the  curious  guests.  From 
where  she  stood  she  could  see  the  outstretched  arm  of  the  un- 
conscious butler.  Dick  could  see  her*struggling  to  gain  control 
of  herself.  Against  the  whiteness  of  her  face,  the  make-up  on 
her  cheeks  showed  as  twin  splotches  of  color.  Her  lips  were  a 
bright  cherry  red,  and  for  a  moment  Dick  saw  the  corners 

38 


quiver  like  the  lips  of  a  child  about  to  burst  into  tears.  Then 
her  laugh  rang  out — a  quick,  carefree  laugh.  She  even  man- 
aged a  lazy  drawl  in  her  voice  as  she  said,  "  Well,  having  got 
this  far  up  the  steps,  I'd  better  talk  with  you  now." 

She  took  a  deep  breath,  hesitated  for  a  moment  before  turn- 
ing to  face  the  ordeal  of  the  curious  eyes  below. 

Watching  her,  Dick  saw  the  smile  form  on  her  lips,  saw  her 
slowly  turn,  heard  her  voice  saying  casually,  "Just  a  loose 
window,  folks.  The  butler's  fixing  it.  Would  you  mind  excus- 
ing me  for  a  few  moments  now,  while  I  talk  with  Dick?" 

The  man  who  stood  closest  to  her  was  a  famous  director,  one 
who  had  directed  Vilma  Fenton  in  "Indeed  I  Do."  His  eyes 
showed  puzzled  surprise  as  they  searched  the  actress's  face, 
then  he  turned  and  his  outstretched  arms  herded  the  others 
back  toward  the  drawing  room. 

"False  alarm,  folks,"  his  voice  boomed,  jovial  with  tolerant 


"Steady,"  Brent  cautioned.  "I  didn't  do  it. 
I  was  right  where  you  left  me  in  the  jade 
room.  I  heard  the  blow,  heard  you  fall  to 
the  floor,  and  then  heard  a  window  crash" 


good  nature.  "I  only  hope  some  opportunist  didn't  stay 
behind  to  clean  up  the  canapes.    Let's  go  see." 

Vilma  Fenton  came  slowly  up  the  steps  to  Dick  Brent.  She 
was  breathing  heavily,  as  one  breathes  who  has  been  engaged 
in  violent  physical  exertion. 

She  stared  down  at  the  unconscious  form. 

"I  took  it,"  Dick  said  in  a  low  voice,  "you  didn't  want  your 
guests  to  know  about  this?" 

"  No,"  she  agreed,  "they  must  never  know.  What  happened?" 

"I  don't  know.  If  I  take  his  shoulders  can  you  carry  his 
feet?" 

"I  can  try.  Take  him  in  the  room  to  the  right.  He  isn't 
.  .  .  isn't  .  .  ." 

"I  think  not,"  Dick  assured  her,  first  feeling  for  the  butler's 
pulse,  then  inserting  his  hands  underneath  the  huge  shoulders. 
"It  looks  like  a  blow  with  a  slingshot.     He's  out  for  a  while." 


By  an  effort  he  raised  the  man's  torso. 

"If  you'll  just  keep  his  feet  from  dragging  on  the  floor,"  he 
grunted,  "I  think  I  can  manage." 

They  carried  the  unconscious  man  into  the  room.  It  was  a 
bedroom  and  Dick  Brent  heaved  the  body  to  the  bed.  As  his 
exploring  fingers  felt  gently  about  the  back  of  the  butler's  head, 
the  man  opened  his  eyes,  stared  unseeingly  for  a  moment,  then 
rolled  them  toward  Vilma  Fenton. 

"Are  you  all  right,  Arthur?"  she  asked,  dropping  to  her  knees 
by  the  side  of  the  bed. 

"I  .  .  .  will  be  ...  in  a  minute  .  .  .  ma'am." 
His  eyes  focused  on  Dick  Brent.     With  an  exclamation,  he 
struggled  to  raise  himself  to  a  sitting  position.    Dick  put  a  hand 
on  I  he  man's  shoulder,  said,  "Take  it  easy." 

"What      happened, 
Arthur?     Who  did  it?" 
The    butler    kept    his 
eyes  on  Dick  Brent. 

"This  man  did  it,"  he 
said.  "He  sneaked  up 
behind  me.  I  heard  him 
coming.  I  was  turning 
when  a  club  knocked 
shooting  stars  into  my 
head." 

"Steady,"  Brent  cau- 
tioned. "/  didn't  do  it. 
I  was  right  where  you  left 
me  in  the  jade  room.  I 
heard  the  blow,  heard 
you  fall  to  the  floor,  and 
then  heard  a  window 
crash." 

Color  returned  to  the 
butler's  face.  Once  more 
he  struggled  upward, 
and  this  time  achieved  a 
sitting  position. 

"Begging  your  par- 
don," he  said,  "if  I  might 
presume  to  say  so,  sir,  I 
think  you're  a  damn  liar. 
There  couldn't  have 
been  anyone  else  behind 
me." 

Brent's  eyes  glinted 
for  a  moment,  then  he 
laughed. 

Vilma  Fenton  stared 
uncertainly  from  one  to 
the  other. 

Brent  said  easily, 
"You  want  to  keep  this 
quiet,  don't  you,  Miss 
Fenton?" 

"Yes,  I  must  keep  it 
quiet.     I  can't  explain. 
You  understand  some  of  the  reasons  but  not  all  of  them." 

"The  man  who  did  it,"  Dick  pointed  out,  "couldn't  have 
been  hidden  in  the  corridor.  He  must  have  been  in  one  of  the 
rooms.  He  sneaked  out  into  the  corridor  just  as  the  butler  went 
by.  Either  he  didn't  know  anyone  was  in  the  corridor  or  he 
had  some  reason  for  wanting  to  attack  your  man.  Personally, 
I'm  inclined  to  think  it  just  a  coincidence  that  he  stepped  into 
the  corridor  just  when  he  did.  Your  man  started  to  turn  back 
and  this  fellow  floored  him,  probably  with  a  black-jack.  Let's 
take  a  look  in  the  room  across  the  corridor  and  see  if  we  can  find 
anything." 

"And  the  broken  window?"  she  asked. 

"May  or  may  not  mean  anything,"  he  told  her.  "Seconds 
are  precious.  You  can't  leave  your  guests  without  causing 
comment." 

The  butler  swung  his  feet  to  the    [  please  turn  to  page  95  | 


39 


CAL  YORK'S  GOSSIP 


IUST  to  show  you  how  Joan  Blondell  and 
^George  Barne"s  took  the  town  by  surprise 
with  their  definite  split-up,  the  most  astounded 
person  in  town  was  none  other  than  Glenda 
Farrell,  who  is  perhaps  Joan's  closest  pal. 

The  day  before  the  divorce  suit  was  filed, 
Glenda  was  assuring  everyone  that  it  was  just 
a  temporary  quarrel,  due  to  be  sweetly  for- 
gotten. 

f^NCE  again  the  Mary  Pickford-Buddy 
^-^ Rogers  romance  rumors  are  boiling  around 
,  the  marriage  point. 

Anything  is  possible,  of  course,  even  if  it  isn't 
probable.  But  I  might  point  out  in  passing 
that  Mary's  divorce  doesn't  become  final  until 
some  time  in  January. 

Of  which,  incidentally,  Doug  Fairbanks  and 
Lady  Sylvia  Ashley  are  only  too  aware. 


'T'HEY  got  a  shock  over  at  Co- 
-*  lumbia  the  other  day  anent 
thefllmingofFeodor  Dostoievsky's 
"Crime  and  Punishment"  in 
which  Horror  Man  Peter  Loire 
will  be  seen  next. 

"Is  it  a  gangster  story?"  came 
a  query  via  the  telephone. 

The  question  was  a  shock  only 
because  the  query,  so  they  swear, 
came  from  the  Hays  office! 


An  historical  picture, 
but  a  regrettably  sad 
one!  Watching  Will 
Rogers'  last  game  of 
polo.  In  front,  Paula 
Stone,  Will,  Jr..  and 
Henry  Wilson.  Rear, 
Dorothy  Stone,  Mrs. 
Stone,     Fred     himself 


y 


So  he  buys  the  girl 
pop-corn — can  it  be 
love?  Gene  Raymond 
and  Jeanette  Mac- 
Donald  having  one 
grand  time  at  the 
Riviera  Country  Club, 
watching    the    polo 


Clark  and  Mrs.  Gable 
were  among  those  at 
director  Rouben 
Mamoulian's  cocktail 
party,  as  was,  nat- 
urally, Gertrude 
Michael,     his    fiancee 


OU  never  can  tell  about  these  dreamy-eyed 

fellas — sometimes  they  mean  what  they 
say. 

Lew  Ayres,  who  always  said  he  meant  to  be 
a  director,  is  one  now. 

Lew  never  gave  a  whoop  about  acting.  Just 
didn't  like  it.  He  rode  in  on  one  of  the  greatest 
breaks  a  boy  ever  had  in  "All  Quiet,"  but  in  a 
few  months  he  was  bored.  He's  been  that  way 
ever  since,  until  this  miniature  film,  the  16- 
millimeter  kind,  gave  him  a  new  toy.  Lew 
directed  a  couple  of  midget  movies  with 
Ginger  and  her  cousin  and  Ben  Alexander  and 
the  usual  Ayres  gang. 

Now  he's  signed  a  contract  with  Republic 
pictures  to  have  his  own  canvas  backed  chair 
and  spieler.  He'll  still  make  pictures,  if  he 
wants  to.  Give  the  guy  a  hand.  There  aren't 
many  established  stars  who  have  backed  be- 
hind the  camera  and  made  good.  But  maybe 
Lew  will. 

INASMUCH  as  sartorial  perfection  is  one  of 
'Eddie  Lowe's  gods,  a  recent  gesture  of  his 
bespeaks  a  certain  gallantry. 

Ann  Sothern,  who  got  her  first  break  opposite 
Eddie  in  "Let's  Fall  In  Love"  two  years  ago, 
was  cast  opposite  him  in  Columbia's  new 
"Grand  Exit." 

Because  she  felt  it  would  sustain  the  luck 
she's  had  since  then,  Lowe  blossomed  out  in 
one  sequence  in  one  of  the  suits  he  wore  in  her 
first  picture.    Rather  nice,  that. 


40 


OF   HOLLYWOOD 


I I  L'S  the  most  elusive,  apparently  the  most 

'  'confirmed  bachelor  in  Hollywood — is 
Ronald  Colman. 

Rarely  do  you  see  the  cagy  Mr.  Colman  out 
in  public  with  a  lady  fair.  But  they  do  say  he 
only  has  eyes  for  Benita  Hume  at  the  parties 
of  the  close  little  social  circle  in  which  he  moves 
with  the  Barthelmesses,  the  Warner  Baxters, 
Bill  Powell  and  others. 

DILL  FIELDS  is  on  the  mend.  Yes  sir, 
^Hollywood's  head  funnyman  is  right  back  on 
the  very  edge  of  the  pink,  and  planning  on 
activity  before  long — which  means,  making 
some  more  of  those  humorous  screen  classics  of 
his. 

Bill  has  been  having  trouble  with  his  sacro- 
iliac vertebrae,  or  something  as  weird  as  that. 
He  tossed  it  out  of  joint  playing  tennis  and 
complications  put  him  right  en  the  shelf — so 
that  he  couldn't  move  his  back  for  weeks  and 
weeks. 

A  very  fine  Los  Angeles  bone  specialist,  Dr. 
Ellis  Jones,  got  to  work  on  Bill,  though,  and 
got  results. 

You'll  be  welcoming  him  back  soon.  Right 
now  he's  still  spending  all  his  time  at  his 
Orange  Grove  retreat  in  San  Fernando  Valley. 

THE  old  heart  went  out  for  that  grand  sport, 
Mary  Pickford,  the  other  night  at  one  of 
those  post-preview  brawls  where  frenzied  auto- 
graph hunters  gang  up  on  all  stars  in  sight. 


The  above  group,  of 
the  Stones  and  Will 
Rogers,  Jr.,  speaks  a 
volume.  It  was  the 
late  Will.  Sr.,  who 
stepped  into  Fred's 
show  and  carried  on 
when  Fred  was  in- 
jured in  a  plane  crash 


Yep,  those  two  quite 
exclusive  lovers,  at 
the  Cafe  Lamaze, 
Jean  Harlow  and 
William  Powell.  And 
you  may  note  that 
that  black  bowl  is 
nearly  full  of  caviar! 


Jack  LaRue,  the  lucky 
guy,  was  among  those 
at  the  birthday  party 
honoring  Mae  West, 
at  the  Cafe  Lamaze. 
Not  only  that,  look 
where     Jack     landed 


Mary  had  just  seen  "The  Gay  Deception," 
and  was  creeping  out  when  they  spied  her.  Im- 
mediately a  wall  of  human  flesh,  as  Bill  Fields 
would  say,  surrounded  her,  and  she  tried  to 
sign  her  way  out.  No  use.  They  swamped  her 
until  finally  a  platoon  of  ushers  had  to  dash  in 
and  help  what  was  left  of  Mary  to  her  car. 

The  preview  problem  has  become  so  acute  in 
Hollywood  of  late  that  Marlene  Dietrich  now 
carries  along  a  rubber  stamp  with  her  signa- 
ture, and  Ginger  Rogers  at  the  "Top  Hat"  pre- 
view wore  a  black  wig.  It  worked  about 
ninety-nine  per  cent.  Only  one  little  girl 
recognized  her  and  she  didn't  shout  her  secret. 


A  STUDIO  visitor  at  Para- 
■**■  mount  is  wondering,  per- 
haps, why  her  guide  suddenly 
snickered  out  of  a  blue  sky. 

She  was  being  shown  about  the 
lot. 

The  guide,  wondering  which 
would  interest  her  most,  ven- 
tured, "Would  you  rather  see 
'Rose  of  the  Rancho'  or  'Virginia 
Judge'?" 

"I  didn't  know  Arlene  Judge 
had  a  sister,"  breathed  the  tour- 
ist, "but  I  would  like  to  see  her." 


41 


Jimmy  Cagney,  with  Mrs.  Cagney  (above)  was 
there  at  RKO-Radio's  premiere  of  "Top  Hat" 
to    see    friend    Fred    Astaire    in    the    picture 


Henry  Fonda  meets  Alice  Faye  at  the  Riviera 
Country  Club  polo  field.  Alice  is  just  about 
the  most  dated  girl  in  all  of  Hollywood  town! 


IF  John  Barrymore  has  any  idea,  by  chance, 
'  that  his  lovely  and  soon-to-be-ex-wife,  Dolores 
Costello,  is  doing  a  weeping,  deserted  wife  act 
he's  got  another  think  coming.  Dolores 
(smart  girl)  is  finding  out  what  a  lot  of  fun  she's 
been  missing  of  late  and  she's  making  up  for 
losl  time  with  a  vengeance. 

She  was  lunching  in  Levy's  the  other  day, 
fetchingly  garbed  in  a  yellow  sports  costume 
that  emphasized  her  blonde  beauty.  And 
WAS  she  the  cynosure  of  all  masculine  eyes  in 
the  place! 

To  say  nothing  of  the  feminine. 

COR  five  years  or  more  Gary  Cooper  and 
'  Carole  Lombard  have  been  "business  neigh- 
bors," so  to  speak. 

That  is,  they've  had  their  dressing  rooms 
right  next  to  each  other  on  vanity  row  at 
Paramount. 

And  you'd  die  in  hysterics  if  you  knew  about 
their  "telephone"— the  clever  but  quite,  quite 
hilarious  method  of  communication  they've 
worked  out  between  the  walls. 


TOR  two  people  who  agreed  to  be  "just 
'  friends,  lovers  no  more,"  Adrienne  Ames  and 
her  ex-hubby,  Bruce  Cabot,  are  cutting  capers 
that  have  the  village  guessing. 

If  that  was  friendship  burning  in  their  eyes 
the  other  night  at  the  Trocadero  where  they 
were  a-dining  and  dancing  like  old  times,  I'm 
an  Abyssinian.  My  money's  on  a  reconcilia- 
tion, and  that  in  short  order. 

7VTO  one's  going  to  take  lovely 
1  *  Evelyn  Venable  for  a  price- 
kiting  ride! 

She  was  doing  a  little  shopping 
for  the  expected  Mohr  heir — or 
heiress — and  came  upon  a  lovely 
bag  in  which  a  tiny  watch  was 
cleverly  inserted.  Evelyn  thought 
it  would  be  nice,  on  account  of 
the  baby,  and  said  she'd  take  it. 

"Shall  I  charge  it?"  the  sales 
girl  asked.    "The  price  is  $125." 

Evelyn  was  so  startled,  the  bag 
almost  slipped  from  her  hand. 

"Don't  charge  it,"  she  said. 
"Just  keep  it." 


EVERYONE  in  Hollywood  has  been  smiling 
L indulgently  at  Gene  Raymond  and  Jeanette 
MacDonald.  Jeanette,  perennially  betrothed  to 
M-G-M  talent  scout  Bob  Ritchie,  is  supposed 
to  be  just  a  friend  whom  Gene  has  been  rescu- 
ing from  boredom  while  Bob's  away. 

But  would  you  be  surprised  to  learn  that 
Gene  thinks  more  of  a  whole  lot  than  plenty 
about  Jeanette,  and  Jeanette's  heart  flutters 
just  a  little  more  than  that  for  Gene? 

THE  last  scene  of  "Harmony  Lane"  faded 
'  out  and  a  young  man  in  the  audience  dabbed 
the  tears  from  his  eyes  with  his  handkerchief. 

His  name  was  Gene  Raymond,  and  he  had 
just  watched  one  of  the  dreams  of  his  career 
come  true  for  another  actor,  Douglass  Mont- 
gomery. 

Gene  thought  for  a  long  time  that  he  owned 
the  rights  to  the  life  of  Stephen  Foster,  upon 
which  "Harmony  Lane"  was  built.  He  in- 
tended to  play  it  himself.  It  was  his  big 
ambition. 

Then,  when  the  picture  started,  he  found 


42 


Can  Steffi  Duna  have  switched  her  affections 
from  Francis  Lederer  to  John  Carroll?  Any- 
how, here's  John  and  Steffi  at  the  Ambassador 


Maybe  it's  a  game:  "You  sign  my  autograph 
book,  and  I'll  sign  yours,"  between  Merle 
Oberon  and  David  Nevins  at  the  noted  Grove 


that  no  one  could  claim  an  option  on  the  story 
of  a  man's  life. 

Thus  his  tears  were  a  rather  fine  tribute  to  a 
rival  who  had  taken  his  dream  away  and  made 
it  come  true. 

IUST  why,  I  wouldn't  be  knowing,  but 
^Raquel  Torres  says  the  knees  are  the  ideal 
place  for  perfume. 

She  discovered  itty  accident,  it  seems,  when 
she  upset  a  bottle  one  day  and  the  perfume 
landed  on  the  Torres  knees.  That's  where  she's 
put  it  ever  since. 

THAT  was  a  grand  gag  Chester  Morris  and 
'  the  bunch  pulled  on  Bob  and  Betty  Mont- 
gomery when  they  landed  from  their  vacation 
chasing  around  Europe. 

Bob  brought  back  with  him  a  verra  verra 
swank  car  of  foreign  make.  With  it  he  ex- 
pected to  cut  quite  a  swath  among  his  cronies. 

Lo  and  behold,  when  the  Montgomerys 
marched  down  the  gangplank,  there  stood 
Morris  and  the  bunch  to  welcome  them  home. 


By  the  "beg,  borrow  or  steal"  method,  each 
was  driving  a  car  of  the  foreign  make! 

It  was  generally  believed  a  point  was  made. 

A  LL  eyes  focus  on  tiny,  elfin  Luise  Rainer 
'^out  at  M-G-M  these  days.  Other  stars, 
executives,  writers — everyone  pauses  to  stare 
at  her  when  she  flits  by.  Few  of  them  know 
her. 

And  this  little  sensation  of  the  lot  draws 
down  only  $400  a  week,  while  eighty  per  cent 
of  those  who  look  at  her  in  envy  cash  in  many 
times  that — even  though  they  are,  cinemati- 
cally  speaking,  has-beens.  But  that's  always 
the  way  it  is  in  this  strange  place  in  incongru- 
ities. Luise  was  signed  up  in  Europe,  where 
$400  is  a  lot  of  money.  She'll  be  making  more 
though  when  the  contract  tearing  takes  place. 
Watch  and  see. 

DILL  POWELL  may  be  re-wooing  his  beau- 
teous ex,  Carole  Lombard,  by  the  time  you 
read  this.  But  only  for  the  fillums.  Universal 
is  considering  co-starring  the  pair  though — or 


maybe  because — they've  been  divorced  nigh 
onto  two  years  now. 

And  Missy  Harlow,  'tis  said,  isn't  in  the 
cheering  ranks. 

l\/fARRIAGE  has  taught  Joel 
J-*-*-  McCrea  one  thing,  about 
women,  'twould  seem.  Joel  was 
discoursing  on  the  benefits  of 
ranching.  Cattle  raising,  he 
said,  was  the  least  complex  thing 
he  had  found. 

"Take  women,  for  instance," 
Joel  went  on.  "You  never  know 
which  way  a  woman  is  going  to 
jump — but  you  can  always  tell 
by  just  looking  at  a  heifer!" 

K  |OT  just  by  wishing  does  Katie  Hepburn  get 
'  nhat  glorious  mass  of  spun  copper  that  is 
her  hair!  H'ist!  She  shampoos  it  each  and 
every  morning  in  egg.  And  while  you  and  you 
and  you  are  fiddlin'  around  with  nothing  much, 
she  gets  out  the  old-fashioned  hairbrush  and 
goes  to  work. 

[  PLEASE  TURN  TO  PAGE   120  ] 


43 


A  PRESENT 
FOR  MOTHER 

Your  heart  is  going  right 
out  to  three  Irish  lads  who 
adopted  and  starred  a 
little,  unknown  Scotch  lady! 

By   KIRTLEY  BASKETTE 


Each  issue  Photoplay  brings  you  the  story  of  the  most 

interesting  new  personality  of  the  month.    In  October  we 

\vu  the  story  of  Luise  Raiuer.    This  month  we  bring 

you  a  story  of  a  little  old  Scotch  woman  who  is  playing 

her  first  important  role.  For  personalities,  watch  this  page. 

OUT  in  the  spotlighted  glare  of  the  set  a  little  old 
lady  was  crying.  She  was  crying  because  her 
two  sons  had  fought  and  one  was  leaving  home. 

Her  tears  were  real  tears  that  came  from  far  down  in 
her  large  heart.    And  as  she  sobbed  while  the  cameras 
softly  whirred,  a  very  strange 
thing  happened. 

A  hardboiled  motion  pic- 
ture director  named  Lloyd 
Bacon,  calloused  by  a  decade 
of  synthetic  movie  emotions, 
lost  his  intent  gaze  in  a  blur 
of  tears.  A  red  headed,  ready- 
fisted  Irish  boy  named  Jimmy 
Cagney,  unable  to  go  on  with 
the  scene,  turned  quickly  and 
strode  behind  a  scenic  flat  to 
curse  himself  for  the  emotion 
which  welled  to  his  eyes  and 
streamed  down  his  nose. 

Another  mick  called  Pat 
O'Brien  wept  unashamed  and 
a  third  Irisher  known  as  Frank 
McHugh,  accustomed  to 
chuckling  at  everything  in 
life,  bawled  helplessly  into  his 
handkerchief. 

A  whole  company  of  hard- 
bitten movie  workers  — 
juicers,  gaffers,  props  and 
grips — snuffled  and  blew  and 

streaked  labor  soiled  hands  over  flowing  cheeks.  Only  silence 
followed  Lloyd  Bacon's  choking  "Cut."  Then  someone  who 
could  speak  said,  as  if  in  apology  for  his  tears: 

"She  might  be  me  own  mother." 

Out  of  Hollywood  have  come  stories  that  were  sad,  stories 
that  were  gay,  exciting,  tragic,  lusty  and  fantastic.    But  never 

44 


Mary  Gordon,  "mother" 
to  Frank  McHugh,  Jimmy 
Cagney,  and  Pat  O'Brien 
in  "The  Irish  In  Us."  Oliv- 
ia de  Havilland,  the  girl 


from  this  wonderful  town  has 
come  a  story  more  heart 
warming  and  human  and  fine 
than  the  story  of  Mary 
Gordon,  the  little  old  lady 
who  cried  that  day  on  that 
set. 

Xor  ever  has  there  been  a 
finer    gesture    than    that    of 
those  three  Irish  boys.    Tim 
Cagney,    Pat    O'Brien,    and 
Frank  McHugh,  who  fell  in 
love  with   the  little,   round, 
sandy-white  haired  Scotch  lady  who  is  the  heroine  of  this  story, 
adopted  her  and  laid  in  her  lap,  as  a  Mother*s  Day  gift,  a  mov- 
ing picture,  an  impossible  dream,  a  career. 

You've  probably  never  heard  of  Mary  Gordon.  Xeither  had 
Lloyd  Bacon,  nor  Jim  nor  Pat  nor  Frank  before  she  walked 
with  her  odd  little  toddle  onto  the  [  please  turn  to  page  103  ] 


PHOTOPLAY'S 

MEMORY 

ALBUM 


edited  by 
FREDERICK  L.COLLINS 


Hollywood  was  still  an  almost  unknown 
name  in  cinema  circles  as  late  as  1913. 
Photoplay  writers  still  referred  to  the 
Western  film  capital  as  Los  Angeles.  But 
there  was  no  doubt  in  any  wise  person's 
mind  that  the  geographical  spot,  which 
the  world  now  knows  as  Hollywood,  was 
to  be  the  world's  motion  picture  center. 


It  was  in  November  of  that  year,  1913, 
that  an  obscure  forty-dollar-a-week 
English  music  hall  performer,  who  had 
been  playing  the  drunk  in  Karno's  "A 
Night  in  a  London  Club"  at  the  Empress 
Theater  in  Los  Angeles,  took  his  battered 
derby  hat,  his  baggy  trousers,  his  impos- 
sible cane,  his  unbelievable  shoes  and  his 
ridiculous  moustache  out  to  Mack 
Sennett's  then  famous  Keystone  studio. 


Chaplin,  who  appeared  anonymously — as  did  Mabel  Normand,  Roscoe  Arbuckle  and  the  other  Keystone 
favorites — achieved  instant  popularity.  His  amazing  silhouette  in  a  poster  outside  a  theater  was  all  that 
was  needed  to  fill  empty  seats.  Within  four  months  he  was  appearing  with  Marie  Dressier  in  "Tillie's 
Punctured  Romance."  At  the  expiration  of  his  year's  contract  with  Sennett,  he  received  and  accepted  an 
offer  from  Essanay  of  twelve  hundred  and  fifty  dollars  a  week.  In  February,  1916,  while  still  a  youth  of 
twenty-six,  he  signed  with  Mutual  for  ten  thousand  a  week  plus  one  hundred  and  fifty  thousand  bonus. 


45 


4.  Charlie's  first  work  with  Keystone  was  opposite 
Mabel  Nbrmand,  but  they  did  not  team  very  well. 


6.  Dignified  Lewis  Stone,  although  not 
a  comedian,  had  his  relaxed  moments. 


8.  Present-day  Hollywood  hails  Frank  Morgan  as  a 
recent  "discovery,"  but  he  acted  in  Sam  Goldwyn's 
"Baby  Mine,"  opposite  Madge  Kennedy  in  1917. 


7.  Jack  Gilbert  had  not  as 
yet  become  the  great  lover. 


9.  Edward  Arnold,  another  recent  Hollywood 
"discovery,"  was  playing  handsome  young 
juveniles  for  Essanay  in  1916.  (The  girl  is  Edna 
Mayo,  of  "The  Strange  Case  of  Mary  Page.") 


10.  And  ZaSu  Pitts  was  with  Mary  Pickford  in  "The  Little  Princess." 


46 


11.  Meanwhile,  in  Brooklyn,  two  little 
Vitagraph  girls  had  been  "getting  along." 
The  blonde's  name  was  Constance, 
and    the   brunette's   name   was   Norma. 


13.  More  prominent  even 
than  the  Talmadges  in  1916 
was  that  other  Vitagraph 
beauty,    Anita   Stewart. 


12.  Madge  Evans  was  the  reigning 
child  actress  of  the  late  'teens., 
Madge  was  supported  in  "The 
Volunteer"  (1917)  by  a  "new" 
Hollywood    actor,     Henry    Hull. 


14.  Little  Virginia  Lee  Corbin  was 
another  child  actress  of  whom  much 
was  expected  cinematographically. 
Marriage   cut    short    her    career. 


15.  Lionel  wore  loud  suits  in  1916. 

16.  — and  John  wore  a  moustache. 

17.  "A  Rogue's  Romance"  was  the  earliest 
known  appearance  in  pictures  of  "M. 
Rodolpho  de  Valentina."  Do  you  know  him? 


47 


18.  Gloria  Swanson  and  Elliott  Dexter. 


19.  Fannie  Ward  and  Lew  Cody. 


20.  Lou  Tellegen  and  Geraldine  Farrar. 


21 .  Viola  Dana 


22.  Tom  Mix  and  Colleen  Moore. 


23.  Wallace  Reid  and  Pauline  Bush 


24.  Constance  Talmadge  and  Earle  Fox. 


26.  Eugene  Pallette  and  Vivian  Martin. 


27.  Fatty  and  Mabel. 


25.  Geraldine  Farrar. 


28.  Mary  Pickford  and  James  Kirkwood. 


29.  Frank  Keenan  and  Jack  Gilbert.  30.  Norma  Talmadge  and  Eugene  O'Brien.  31 .  Theodore  Roberts  and  Louise  Huff. 


48 


32.  Will  Rogers  and  Peggy  Wood.  33.  Thomas  Meighan  and  Glor 


35.  Alice  Brady  and  Arthur  Ashley. 


37.  Norma  Talmadge  and  Bobby  xiaiu 


38.   Bebe  Daniels  and  Gloria  Swanson. 


36.  Wallace  Reid. 


39.  Madge  Kennedy  and  Tammany  Young. 


40.  Raymond   Hatton   and   Leatrice  Joy.  41.  Florence  La  Badie  and  Harry  Benham.  42.  Jack  Holt  and  Sessue  Hayakavva. 


43.  Wallace  Reid  and  Bebe  Daniels. 


44.  Louise  Fazenda. 


45.  Conway  Tearle  and  Clara  Kimball  Young. 

49 


48.  In  1918,  M.  Rodolphe  de  Valentina  ap- 
peared with  Carmel  Myers  in  "All  Night." 


49.  Norma  Talmadge  was  spending  her 
good-bye   weeks    on    her    Long    Island. 


50.  Mary  Miles  Minter,  the  new  star,  appeared 
with  Theodore  Roberts  in  "Judy  of  Rogue's 
Harbor,"  directed  by  the  late  William  D.  Taylor. 


51.  Marie  Doro,  fresh  from  Broadway, 
played  an  unforgettable  Oliver  Twist. 


52.  A  mighty  man  named 
Lewis  J.  Selznick,  operating 
as  the  World  Film  Com- 
pany, made  a  gallant  at- 
tempt to  restore  the  balance 
of  power  to  the  East  by  as- 
sembling a  notable  com- 
pany of  stars  and  directors. 
Some  of  Selznick's  captures 
(standing),  Albert  Capellini, 
Frank  Crane,  Emil  Chau- 
tard,  Holbrook  Blinn,  Mau- 
rice Tourneru,  Alice  Brady, 
James  Young,  Clara  Kim- 
ball Young,  (seated)  Doro- 
thy Fairchild,  Wilton  Lack- 
aye,  '  Elaine  Hammerstein. 


Next  month,  we  witness  a 
decided  reaction  toward 
the  simple  life  and  the 
great  outdoors — it  was  the 
period  of  Marguerite  Clark 
and  Charlie  Ray  and 
Harold  Lloyd  and  Bill  Hart 
— but,  as  a  last  fling  at 
evil,   we   have   the   vampire. 


53.  Virginia  Pearson's  methods 
were   direct   and   very  efficient. 


5! 


QUICK 

CHANGE 

ARTISTS 


On  the  screen,  the  se- 
ductively soulful,  yet 
dangerous  Carole  Lom- 
bard, and  the  care- 
lessly indifferent,  su- 
perior Fred  MacMur- 
ray,  in  Paramount's 
Across  the 
But  off  the 
u  s  t  like  a 
couple  of  kids  on  a 
holiday     from     school! 


52 


ADVANCE 

MID-SEASON 


Orry-Kelly,  designer,  is 
posed  with  Dolores  Del 
Rio,  who  is  wearing  one 
of  his  favorite  creations 
with  a   Grecian   influence 


FORECAST 


CLOTHES  should  be  well-bred, 
expressing  the  charming  quali- 
ties of  the  lady  who  wears  them. 
This  is  my  alpha  and  omega  of  dress 
for  Winter,  Summer,  Spring  and  Fall. 


By   ORRY-KELLY 

Designer    for    Warner     Brothers 


coming  season.  Draped  effects,  em- 
phasizing the  flowing  line  from  neck  to 
hem,  may  be  cleverly  revealing  or 
generously  concealing.  But  the  line  is 
slim,    sleek    and    demands    a    good 


Good  breeding  is  evident  in  every  line  of  the  draped  sil-      foundation.    The  draped  silhouette,  when  correctly  molded 
houette,  which  I  believe  will  command  favor  during  the      to  each  woman's  figure,  is  [  please  turn  to  page  86  ] 


N  FABRIC 
AND  LINE 


V 


\ 


£*•, 


I 


Under  a  magnificent  evening  wrap  of  chiffon  with 
luxurious  white  fox  trim,  Dolores  Del  Rio  wears  an 
evening  gown  distinguished  for  its  simplicity  of  line 
and  daring  decolletage.  Jewels  show  the  Renais- 
sance influence.  Above  is  Miss  Del  Rio  in  romantic 
mood.  The  loose,  square  panels  of  the  molded 
skirt  may  be  worn    as  a  cape   over  the   shoulders 


Enormous  pastel  colored 
flowers  bloom  on  a  back- 
ground of  black  in  the 
Grecian  draped  gown 
with  long,  flowing  back 
panels,  worn  by  Miss  De 
Rio.  Of  sheer,  transparenl 
souffle  is  the  waist  with 
huge  sleeves  revealed  by 
the   halter   of  the   bodice 


A  youthful  little  jacket 
suit  of  black  pebbly  crepe 
is  a  certain  winner  for  the 
first  cool  days  and  for 
later  wear  under  a  fur 
coat.  Olivia  de  Havilland 
gives  you  just  a  glimpse 
of  the  stunning  guilted 
silver — cloth  vest  which 
matches   her  lapel   flower 


Black  velvet  and  subtle 
ine.  For  informal  dining, 
there  is  nothing  that  can 
take  the  place  of  a  black 
velvet,  long-sleeved,  softly 
molded  dinner  dress,  ac- 
cording to  Anita  Louise. 
The  designs  for  the  models 
on  both  pages  are  by 
Orry-Kelly,    Warner    Bros. 


Constance  Bennett  selects  the  most  feminine  of  negligees 
for  her  personal  wardrobe.  The  one  above  is  of  sapphire 
blue  satin  with  clouds  of  chiffon  forming  the  coat.  At 
the  right,  a  flowing  topcoat  of  natural  lace  may  be  worn 
open  or  buttoned  over  the  bon-bon  pink  satin  of  the  gown 


FASHIONS 


vc^ 


T 


^^'"'  -     '*& 


m 


Cut  to  accentuate  the  slim  line,  the  gown  of 
brown  pile  velvet  on  a  ruby  background  is  belted 
high,  the  high  neckline  bodice  slashed  to  the 
waist  in  back'.  The  sable  scarf  removed,  re- 
veals     Princess     Paley's     Renaissance      plaque 


Princess  Natalie  Paley,  who  makes 
her  motion  picture  debut  in  "Sylvia 
Scarlett"  is  exquisite  in  the  Renais- 
sance gown  designed  by  Walter 
Plunkett.  Wide  dolman  sleeves  are 
trimmed  with  bands  of  Russian  sable 


*& 


£>& 


3K 


: 


■ 


i-Xf 


&» 


iM 


Petit-point  has  be- 
come a  fashion  in  ac- 
cessories, even  to  ini- 
tials on  your  bag. 
Cigarette  case,  vani- 
ties.  J  o  I  I  e  s   design 


A  new  alliance  in  fashion 
is  found  in  belt,  bag  and 
shoes.  Two  leathers  are  bet- 
ter than  one.  Of  calf  and 
suede,   nail-heads  trim  belt 


June  Knight's  swagger  knit  checks 
on  every  count.  In  brown  and  white, 
the  three-quarter  length  coat  is 
closed  at  the  fitted  neckline  with 
braided   frogs   and   leather   buttons 


./-■  * 


There's  a  flare  even  in  knits  this  season  and 
June  Knight  swings  down  the  street  in  a  beige 
model,  heavily  ribbed  for  warmth.  That's  a 
brown  swagger  coat  over  her  arm.     Beige  felt 


Off  on  a  shopping  jaunt, 
Miss  Knight,  M-G-M  fea- 
tured player,  selects  a  three- 
piece  boxy  model  in  shades 
of  purple,  a  vivid  note 
in    the    Autumn    scene 


■or                            *^^UJm 

Pottery  blue  is  new  and 
flattering  for  the  blonde 
loveliness  of  Betty  Grable, 
appearing  in  "Love  Song." 
She  zips  into  her  swank 
knit,     with     military     beret 


Gold  and  silver  stars  dot 
antelope  suede  belts.  Multi- 
colored jewels  trim  others. 
Matching  gloves,  bag,  belt 
and  shoes  may  form  a  color 
contrast  tothecostumeworn 


EVELYN  VENABLE 

ADAPTS  FASHION 

FOR  THE 

MOTHER-TO-BE 


A  woolen  mixture,  the 
two-piece  suit,  built  on 
full  swagger  lines,  swings 
free  from  the  shoulders 
which  carry  the  weight.  A 
satin  basque,  shirred  ver- 
tically, adds  short  peplum 


Evelyn  Venable  selects  a 
charming  satin  gown  with 
front  fullness  falling  in 
softly  sculptured  folds. 
The  long  lines  of  the  bod- 
ice subtly  slenderize.  A 
velvet  cape  may  be  worn 


Simple  lines,  tailored  to 
perfection,  are  the  key- 
note of  this  costume  for 
the  early  months.  A  cape 
back  swings  from  the 
shoulder  yoke.  Of  moss 
green,    brown   accessories 


PERSIAN  LAMB 
IS  YOUNG 


The  Cossacks  are  coming 
is  now  a  joyful  cry  when 
Joan  Marsh  appears  in  a 
Schiaparelli  coat  of  Per- 
sian lamb,  flared,  longer 
in  back,  high  shoulders. 
Matching     Cossack     hat 


A  sleeve  pocket,  the  new- 
est Hollywood  vogue. 
Claire  Trevor,  in  white  silk- 
and-wool  mixture  with 
navy,  a  Rega  design  for 
20th  Century-Fox.  Smart 
gloves  to   match   the   hat 


Tailored  for  smartness  is 
the  imported  woolen  with 
Persian  lamb  by  Lyolene. 
Joan's  mirror  from  a  bag 
with  a  new  covered  zipper 
reflects  her  smart  velvet 
ascot  to  match  her  toque 


Ernest  A   Bachrach 


Katharine  Hepburn  is  seeing  to  it  that  her  latest  role, 
Sylvia  Scarlett,  in  RKO-Radio's  picture  of  that  name,  is 
authentic.  Masquerading  as  a  young  man,  Katharine  refused 
to  wear  a  wig,  and  had  her  hair  sheared  down  to  man's  size 


Rochelle  Hudson  and  Henry  Fonda  in  20th  Century-Fox's 
version  of  the  classic  of  classics,  "Way-  Down  East."  Ro- 
shelley,  as  the  late  beloved  Will  Rogers  called  Miss  Hud- 
son,  has  the   part   played   by   Lillian   Gish   in   "silent"   days 


IEANETTE  Mac- 
<s  Donald  is  an  en- 
thusiast for  tennis. 
She  insists  on  at  least 
a  couple  of  sets  a 
day,  and  takes  three 
lessons  a  week  in  the 
game.  And  is  she  get- 
ting on  at  the  studio! 
She's  to  do  "San  Fran- 
cisco," with  Clark 
Gable,  no  less,  as  her 
leading  man.  Then 
"Rose  Marie,"  oppo- 
s  i  t  e     Nelson     Eddy! 

Clarence  Sinclair  Bull 


Mifzi  Cumminqs  tells 
Mme.  Nikitina  to  use 
her  fingers  as  Brian 
Aherne    slyly    watches 


Spinning  Around  With  Mitzi 


Y 00-000,  JOAN! 
Hey,  have  you  ever  ridden  on 
a  motorcycle?  At  one  in  the 
ante  meridian?  Through  the  hills  of 
Bel- Air?  Well,  I  did!  And  if  thou 
vvouldst  do  likewise,  then  toot  your 
little  whistle  for  Margaret  Sullavan! 

I    was   avisitin'    at    the    stunning 
Mexican  farmhouse  where  she  and 

director-husband  Willie  Wyler  live.  Willie,  it  seems,  from 
earliest  childhood  had  craved  to  own  a  motorcycle.  When  he 
got  so  he  could  afford  a  motorcycle — he  was  afraid  it  might 
injure  his  dignity. 

Came  his  natal  day  recently,  which  was  suddenly  pierced  by 
beautifully  familiar  exhaust  sounds.  Willie  rushed  outside,  and 
there  stood  a  lovely  new  machine.  A  present  from  little  wine. 
My,  such  goings-on!  Willie  hopped  on,  Margaret  hopped  on 
behind,  and  away  they  tore,  through  hill  and  dale,  yelling  and 
shrieking  with  joy,  and  awakening  all  their  famous  neighbors 


Mitzi  Cummings  achieves 
a  new  height  in  her  ex- 
citing Hollywood  life — 
Here's    her    late    gossip 


Well,  after  I  heard  this  story  it 
seemed  I  had  to  take  a  ride,  too  At 
one  in  the  morning  I  was  set  upon  the 
saddle,  Willie  turned  the  key,  and 
with  a  roar  and  a  supplication  and  an 
intriguing  ballooning  of  skirts,  we  wuz 
off!  1  hollered  and  1  whooped!  The 
trees  and  the  flowers  waved  in  sym- 
pathy .  .  .  but  when  I  finally  got  off 
my  knees  caved  in,  and  I  grovelled  on  the  grass.  And  the 
fiends  laughed  like  mad! 

But  that  was  nothing!  'Cause  after  witnessing  a  glorious 
ballet  at  the  Hollywood  bowl  the  next  night,  with  the  moon  and 
the  stars  and  hushed,  enthralled  thousands  and  a  lilting  breeze 
for  accompaniment,  I  was  atrottin'  clown  the  hill  to  the  exit 
with  my  head  still  in  the  drifting  clouds  when  I  heard  a  familiar 
voice.    I  looked  around.    It  was  Walt  Disney. 

"  Why  don't  you  have  Mickey  Mouse  do  a  ballet?  "  I  pleaded. 
'Too  sissy."  f  please  turn  to  page  107  ] 

65 


THE    NATIONAL    GUIDE    TO      MOTION     PICTURES 


Th 


* 


TOP  HAT—  RKO-Radio 


IN  a  sparkling  and  entertaining  film,  Fred  Astaire  and 
Ginger  Rogers  furnish  an  evening's  entertainment  that  you 
really  cannot  afford  to  overlook.  The  musical  numbers  are 
enchanting — the  dance  routines  clever  and  original. 

Astaire  coming  to  London  to  appear  in  a  stage  production, 
practices  his  dancing  in  the  apartment  above  the  one  occu- 
pied by  Ginger  Rogers.  She  is  annoyed  and  goes  upstairs 
to  tell  him  so,  but  it  serves  as  an  opportunity  for  him  to  fall 
in  love  with  her.  Ginger  receives  the  mistaken  impression 
that  he  is  the  husband  of  her  dearest  friend,  Helen  Broderick. 
Fleeing  London  and  the  amorous  advances  of  Fred,  Ginger 
joins  Helen  at  the  Lido  and  discloses  the  situation.  After  a 
time  all  the  complications  are  satisfactorily  straightened  out. 
Edward  Everett  Horton  and  Eric  Blore  for  chuckles. 


^    THE  GAY  DECEPTION— 20+h  Century-Fox 

LIGHT,  whimsical,  preposterous — a  chef's  salad  of  Cinder- 
_ella  and  Prince  Charming  fare — nevertheless  it's  gay,  as 
advertised,  and  there's  no  deception  in  the  entertainment 
value. 

If  you're  one  of  those  who  heretofore  haven't  cared  for 
Francis  Lederer  don't  let  that  stall  you,  because  Lederer 
fits  his  part  like  a  chorus  girl's  tights — and  high  time  too. 
He's  one  of  those  Graustark  princes  working  his  way  incog- 
nito as  a  bell-boy  in  a  super-super  Manhattan  hotel,  when 
Frances  Dee,  a  stenographer  on  a  five  thousand  dollar  sweep- 
stakes ticket  spree,  becomes  his  reluctant  ward. 

In  a  welter  of  misunderstandings  and  impertinently 
charming  situations  involving  society  snobs,  ambassadors, 
cops   and    bellhops,    they    battle    their   way    to    romance. 

66 


OW 

Staqe 

A  Review  of  the   New   Pictures 


<fo    ALICE  ADAMS— RKO-Radio 


A  SUPERBLY  acted,  perfectly  directed,  exquisitely 
written  screen  masterpiece. 

These  are  large  words,  but  we  write  them  in  all  sincerity 
about  "Alice  Adams."  The  original  credit  must  go  to  Booth 
Tarkington  for  his  creation  of  the  very  soul  of  the  small  town 
girl  -who  lacks  money,  family  background  but  most  im- 
portantly that  elusive  commodity  known  as  sex  appeal. 

Starting  with  this  story,  which  could  so  easily  have  been 
made  into  a  dull  program  picture,  by  one  of  those  happy 
blendings  of  fine  scenario,  acting,  direction  and  production, 
"Alice  Adams"  has  been  made  into  the  best  production  so 
far  this  year,  and  we  doubt  that  any  subsequent  release  will 
surpass  it.  It  is  honest,  realistic  and  heart  stirring,  and  at 
the  same  time  has  comedy  sequences  that  will  devastate  you 
with  laughter. 

Katharine  Hepburn  gives  her  finest  performance — yes, 
even  finer  than  in  "Little  Women"  or  "Morning  Glory." 
Frank  Albertson  will  surprise  you  with  his  newly  discovered 
talent  for  characterization.  Fred  MacMurray,  Fred  Stone, 
Anne  Shoemaker,  and  Hattie  McDaniels,  in  a  perfect  bit  as 
a  colored  maid,  are  all  excellent. 

To  quite-new  director  George  Stevens  special  honors  for 
his  subtle  direction. 

This  is  a  picture  for  every  type  of  movie  goer.  To  miss  it 
is  to  miss  greatness. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


THE  BEST  PICTURES  OF  THE  MOWTH 


ALICE  ADAMS 
THE  DARK  ANGEL 
TOP  HAT 


THE  GAY  DECEPTION 
SHE  MARRIED  HER  BOSS 
"HERE'S  TO  ROMANCE- 
HARMONY  LANE 


THE  BEST  PERFORMANCES  OF  THE  MONTH 

Katharine  Hepburn  in  "Alice  Adams" 

Fred  Stone  in  "Alice  Adams" 

Frednc  March  in  "The  Dark  Angel" 

Merle  Oberun  in  "The  Dark  Angel" 

Herbert  Marshall  in  "The  Dark  Angel" 

Fred  Walton  in  "Forbidden  Heaven" 

Douglass  Montgomery  in  "Harmony  Lane" 

Sir  Guy  Standing  in  "Annapolis  Farewell" 

Ginger  Rogers  in  "Top  Hat" 

Fred  Astaire  in  "Top  Hat" 

Eric  Blore  in  "Top  Hat" 

Frances  Dee  in  "The  Gay  Deception" 

Francis  Lederer  in  "The  Gay  Deception" 

Nino  Martini  in  "Here's  to  Romance" 

Mme.  Schumann-Heink  in  "Here's  to  Romance" 

Casts  of  all  photoplays  reviewed  will  he  found  on  pant   ;  16 


ft 


THE  DARK  ANGEL— United  Artists 


SELDOM  does  the  screen  yield,  in  one  production,  such 
beauty  and  power  as  is  found  here.  It  is  motion  picture 
art  at  its  finest. 

Credit  for  the  finished  whole  must  be  split  four  ways:  to 
Samuel  Goldwyn  for  the  magnificent  production;  to  Sidney 
Franklin  for  telling  direction;  to  Merle  Oberon,  Fredric 
March  and  Herbert  Marshall  for  performances  beyond 
criticism;  and  to  Gregg  Toland  for  photography  of  rare 
beauty. 

March  has  never  given  a  finer  performance  than  as  Alan 
Trent,  blinded  lover  of  Kitty  Vane.  His  work,  particularly 
in  the  last  half,  is  nothing  short  of  superb. 

The  exotic  Oberon  of  former  films  is  gone  and  in  her  place 
is  a  new  and  vibrant  personality  and  a  natural,  effortless 
actress  who,  by  this  one  performance  alone,  merits  a  secure 
place  on  the  roster  of  the  movies'  great.  Her  Kitty  will 
enthrall  you. 

By  the  instinctive  Tightness  of  his  every  gesture  and  word, 
Marshall  raises  an  otherwise  lesser  role  to  one  of  prime  im- 
portance. He  isn't  portraying  the  unloved  Gerald;  he  is 
Gerald. 

Perfect  casting  dominates  throughout  to  the  most  minor 
character.  Fine  work  is  contributed  especially  by  John 
Halliday  as  Sir  George,  Janet  Beecher  as  Mrs.  Shannon, 
Claude  Allister  as  Lawrence,  and  Fay  Chaldecott,  as  Betty. 


ft 


SHE  MARRIED  HER  BOSS— Columbia 


UNLESS  you  are  capable  of  handling  a  problem  child  with 
the  same  skillful  tact  and  forcefulness  that  Claudette 
Colbert  does,  you'd  do  well  to  keep  the  youngsters  at  home 
when  you  see  this.  But  don't  let  anything  prevent  you  from 
enjoying  one  of  her  most  amusing  pictures  since  "It  Hap- 
pened One  Night."  Although  the  story  is  slight  and  incon- 
sequential, you'll  forget  it  while  admiring  the  splendid  acting 
of  Miss  Colbert  as  Julia  Scott,  the  perfect  secretary,  who  has 
her  difficulties  living  up  to  the  standards  of  the  perfect  wife 
as  they  are  set  by  her  boss-husband  Richard.  Jean  Dixon  is 
highly  entertaining  as  the  conniving  friend  who  successfully 
manoeuvers  Claudette's  marriage.  But  the  acting  honors 
go  to  little  Edith  Fellows  who  plays  the  part  of  Annabelle  so 
realistically,  you  want  to  wring  her  neck 


<jV    HERE'S  TO  ROMANCE— 20th  Century-Fox 

HERE'S  to  Romance"  is  important  for  several  reasons: 
It  introduces  Nino  Martini,  recently  of  the  opera  and 
radio,  as  an  important  new  star,  gives  you  a  first  movie 
glimpse  of  Madame  Schumann-Heink,  and  presents  you 
with  a  vivid  hour's  entertainment. 

The  story  is  a  gay  blend  of  domestic  comedy  and  operatic 
delight.  Rich  Genevieve  Tobin,  to  discourage  hubby 
Reginald  Denny's  practice  of  acquiring  attractive  proteges, 
becomes  the  patroness  of  the  handsome  Nino  Martini,  a  fine 
tenor  with  sex  appeal.  Nino  falls  in  love  with  Anita  Louise, 
a  dancer,  and  finds  himself  in  difficulties  when  Genevieve 
demands  attention.  Denny  falls  for  Anita.  But  love  works 
out  all  the  complications.  See  it  for  fun  and  listen,  for  the 
f  hrill  of  it,  to  Martini.    His  voice  is  glorious. 

67 


SELECT      YOUR      PICTURES     AND     YOU     WON'T 


& 


HARMONY 

LANE— 

Mascot 


FORBIDDEN 

HEAVEN— 

Republic 


AS  tender  and  moving '  and  beautiful  as  the  beloved 
American  melodies  it  introduces  so  deftly  is  this  screen 
story  of  Stephen  Foster's  bittersweet  life.  Douglass  Mont- 
gomery as  Foster  handles  with  feeling  the  most  sincere  role 
of  his  career,  seconded  by  William  Frawley  and  Joseph  Caw- 
thorn.    Evelvn  Venable  and  Adrienne  Ames. 


A  SIMPLE  story  is  this  on;  which  tells  of  the  banding  to- 
gether of  four  human  derelicts  on  the  night  of  a  heavy 
London  fog.  By  his  unquenchable  enthusiasm  for  life,  Nibs 
(Charles  Fanell)  brings  happiness  to  an  old  lady  (Beryl 
Mercer)  and  an  old  man  (Fred  Walton),  and  love  to  an  em 
bittered  girl  (Charlotte  Henry)     Slow  start,  powerful  end. 


HERE  COMES 

COOKIE— 

Paramount 


SPECIAL 
AGENT 
Cosmopolitan- 
Warners 


THEY  say  crazy  people  are  the  happiest.  Well — here's  your 
chance  to  lose  your  mind  with  Grade  Allen.  When  papa 
George  Barbier  deeds  her  his  millions  to  foil  a  fortune  hunter, 
Gracie  plays  hostess  to  a  hungry  horde  of  homeless  vaudeville 
hams.  You  can  imagine — no — you'll  have  to  see  it  to  b;lieve 
it.    George  Burns  is  the  long  suffering  straight  man 


A  FAST  moving,  entertaining  film  about  Federal  men  war 
ring  on  racketeers  and  securing  their  convictions  via  the 
income  tax  route.  Bette  Davis  is  secretary  and  bookkeeper  for 
Ricardo  Cortez,  big-shot  gambler  and  vice  lord.  She  falls  for 
special  agent  George  Brent,  using  a  newspaper  reporting  job  as 
his  front,  and  puts  the  cause  of  justice  and  true  love  out  ahead 


THIS  IS  THE 

LIFE— 

20th  Century-Fox 


p— — — —1 

..';.. 

•—'.("•>  **T" 

r  *; ' 

Ik.     ~¥i** 

^C^mAj  d    { 

%*-,-   Ill         !■        •-'■m 

*..,M\         i      J                          * 
i:                               *& 

i     1 

HOT-TIP— 
RKO-Radio 


FANS  of  little  Jane  Withers  will  cheer  this  one,  for  little  Jane 
carries  nine-tenths  of  the  picture.  The  story  concerns  a 
talented  orphan  who  becomes  a  stage  prodigy,  is  mistreated 
cruelly  by  the  couple  who  are  capitalizing  on  her  talents,  runs 
away  with  a  young  man  falsely  accused  of  theft,  and  finally 
find  happiness  on  a  farm 


THOSE  lovable  zanies,  Jimmy  Gleason  and  ZaSu  Pitts,  are  at 
I  it  again  in  this  well  constructed  little  story  of  a  race-mad 
cafe  owner  and  his  non-betting  wife.  Jimmy  snitches  his 
daughter's  trousseau  money  to  back  a  nag  which  loses  and  the 
law  descends  when  he  sells  the  mortgaged  restaurant  to  recoup. 
Full  of  Gleason  wisecracks,  the  picture  tickles  the  funny  bone. 


68 


HAVE     TO     COMPLAIN      ABOUT     THE     BAD     ONES 


MORALS  OF 
MARCUS— GB 


CHARLIE 
CHAN  IN 
SHANGHAI— 
20th  Century-Fox 


LUPE  VELEZ'  fiery  temperament  makes  a  delightful  and 
amusing  story  of  a  plot  that  is  not  altogether  new.  But 
Lupe,  as  a  stowaway,  manages  to  inject  a  great  deal  of  humor 
and  much  of  her  infectious  vitality  into  situations  that  are  not 
entirely  unfamiliar.  Ian  Hunter,  a  confirmed  bachelor,  is  the 
foil  for  her  irresistible  and  inescapable  lure. 


MURDER  at  a  dinner  table  in  Shanghai  gives  Charlie  Chan 
another  opportunity  to  teach  his  son  detectiving.  Warner 
Oland  as  Chan  and  Keye  Luke  as  his  son  make  a  marvelous 
team,  and  the  added  comedy  in  this  latest  adventure  should 
satisfy  their  fans.  Lots  of  acti  >n  and  suspense  combined  with 
quaint  sayings  from  Char  He  will  send  vou  away  happy. 


TUMBLING 
TUMBLEWEEDS 
— Republic 


TWO  FOR 

TONIGHT— 

Paramount 


GENE  AUTRY  deserts  the  ether  waves  to  bring  his  cowboy 
ditties  to  the  screen.  The  screen  gains  a  personable  new 
Western  star  as  a  result.  The  story,  dealing  with  a  falsely 
accused  chap's  efforts  to  avenge  the  murder  of  his  father,  be- 
comes pretty  complicated.  But  Autrv's  charm  evens  things  up 
Lovers  of  range  ballads  will  cheer  this  one. 


NUT-HUMOR  audiences  may  enjoy  Bing  Crosby  clowning 
and  singing  his  way,  though  it  might  disappoint  his 
romance-in-moonlight  fans.  Slapstick  comedy  results  when 
Bing,  trying  to  "live"  his  new  play,  uses  Thelma  Todd  instead 
of  his  sweetheart,  Joan  Bennett,  as  his  foil.  Joan,  mostly,  just 
watches  Bing  sing.  Hit  tune:  "To  the  Tip  of  Your  Toes."  Fair 


BONNIE 

SCOTLAND— 

Roach-MGM 


^ 

^fm^mfk 

— — 

« 

1        # 

£    v. 

-~ 

v    ).: 

\ 

ANNAPOLIS 
FAREWELL— 

Paramount 


j  F  the  director  had  chucked  out  the  plot  of  this  one  and  had  let 
I  those  dazzies,  Stan  Laurel  and  Oliver  Hardy,  re*mp  through 
their  glorious  nonsense  and  slapstick,  free  of  the  tedious  story 
of  young  love's  difficult  path,  it  would  have  been  twice  as  good 
as  it  is.  Still,  it's  grand  fun  when  the  team  is  in  focus  but  dull 
as  dishwater  when  it's  not. 


A  WEAK  but  sentimental  story  about  the  time-honored 
traditions  of  Annapolis.    Sir  Guy  Standing  as  the  retired 
naval  commander,  who  is  mentally  living  in  a  past  era,  tries  to 
instill  the  meaning  of  the  traditions  into  Tom  Brown  and 
Richard  Cromwell  and  succeeds  at  the  cost  of  his  own  life. 
I  Please  turn  to  page  117i 


69 


Dolores  Del  Rio  has 
an  exciting  brief  to 
offer  in  her  expound- 
ing of  her  philosophy. 
And  it  is  as  vital  as 
her  vivid   personality 


WHAT   MATTERS 


LAST  week,  while  I  watched  fascinated,  four  Hollywood  stars 
in  four  successive  interviews  sat  opposite  me  and  for  a  time 
examined  themselves  brutally,  searchingly,  so  that  I  might 
have  an  answer  to  my  question. 

I  wanted  to  know:  what  matters  most  in  life?    What  is  the 
first  important  thing  in  your  scale  of  values? 
And  I  got  four  different  answers. 


H; 


IAPPINESS!"  said  Pat  O'Brien,  very  positively.  He 
grinned  at  me  through  the  screen  of  smoke  which  wriggled 
thinly  up  from  his  cigar.  "By  all  means,  happiness.  For  me, 
I  mean.  I've  got  to  have  it  wherever  I  am,  or  whatever  I'm 
doing — other  things  just  don't  matter." 

"Mister  Pollyanna,"  I  laughed.    "You're  lucky.    Not  every- 
one is  capable  of  being  happy  all  the  time." 

70 


"Oh,  but  I  have  an  inviolable  formula!  Two  things — and 
they're  very  simple.  In  the  first  place,  I  don't  worry.  I  sup- 
pose I'm  a  fatalist  about  that — but  what  will  happen  is  just 
going  to  happen  anyway,  no  matter  how  much  you  stew  and 
thrash  around.  I  wait  until  it  comes  and  struggle  with  it  then; 
there's  no  use  being  miserable  for  days  in  advance. 

"And  in  the  second  place,  I'm  dependent  for  my  happiness  on 
just  two  things — my  family  and  my  friends.  I've  got  them 
both." 

I  said:  "You're  contented  because  you've  got  a  grand  posi- 
tion in  life,  you've  got  a  lovely  wife  and  baby,  you've  got  money 
and  everything  on  earth.  For  heaven's  sake,  why  wouldn't  you 
be  happy?" 

He  directed  a  special  smile  toward  the  precarious  ash  on  his 
cigar.     "I  knew  you'd  say  that,"  he  told  me.    "I  don't  blame 


Glenda  Farrell  is  very 
incisive  about  life 
and  what  makes  it 
tick,  as  far  as  she  is 
concerned.  Son  Tom 
has  a   big   part  in   it 


That  home-body,  ge- 
nial Pat  O'Brien  says 
his  formula  on  life  is 
inviolable — can't  be 
beat  or  go  wrong — 
and  he  stands  by  it! 


MOST  IN    LIFE? 


Four  stars  were  asked  that 
all-important,  soul-search- 
ing question — each  star  had 
an  entirely  different  answer 

By  Howard  Sharpe 


you  in  the  least.    But  you  see  that's  wrong  because  I've  always 

had  my  happiness' — always — and  until  a  few  years  ago  I  was 

one  of  the  poorest  men  in  America!    I  could  laugh  in  a  shanty." 

He  spoke  slowly,  remembering:  "There  were  those  first  days 


in  New  York,  before  we  were  married — I  had  a  little  room,  and 
she  had  a  basement  apartment  a  few  blocks  away.  We'd  pool 
our  money  for  food,  and  Eloise  would  cook  it,  and  then  I'd  go 
down  there  for  dinner.  We  lived  pretty  much  on  tuna  fish  and 
rice.    Sometimes  we  had  baked  beans.    And  we  were  happy. 

"But  once  in  a  while  we'd  scrape  together  enough  dimes  and 
nickels  to  make  a  dollar;  and  we'd  go  to  Coney.  It's  a  mar- 
velous trip  over — half  subway  and  then  the  'L,'  riding  on  the 
roof  of  a  city.  There'd  be  fifty  cents  left,  after  we'd  paid  the 
fare;  and  we  could  never  quite  decide  what  to  do  with  that  half 
dollar.  Whether  to  go  on  the  concessions,  or  take  in  a  movie 
and  then  walk  along  the  shore.  .  .  . 

"There  was  one  day  when  we  stood  on  the  boardwalk  eating 
popcorn — we  always  had  popcorn,  regardless  of  what  else  we 
spent — and  a  couple  of  those     [  please  turn  to  page  105  ] 

71 


Impish,  and  very  clever,  is 
this  youngster  who  shares 
child-wonder  honors  with 
Shirley      Temple      at      Fox 


CASTING  Director  James  Ryan 
of  Fox  studios  poked  his  lip  with 
a  pencil  and  dished  out  a  dubious 
stare. 

He  was  interviewing  a  completely  un- 
known kid  for  the  eminent  spot  of  the 

heavy  in  an  all-important  Shirley  Temple  picture.     He  turned 
to  her  mother. 

"But  do  you  think  she  can  be  mean  enough?"  he  wondered. 

"Can  I  be  mean?"  interposed  our  heroine,  in  a  husky 
Georgia-cracker  voice.  Her  lower  lip  rolled  out.  "Can  I  be 
mean?    Sah-ay,  just  give  me  a  chance!" 

A  few  days  later,  Director  David  Butler  tugged  at  a  harried 
ear  lobe.  He  had  an  idea  for  a  swell  scene  where  his  little  brat 
voiced  her  shocking  taste  in  toys  with  "I  want  a  machine  gun!" 

"But  how,"  he  puzzled,  "will  we  ever  get  this  nice  little  girl 
to  go  like  a  machine  gun?" 

"This  nice  little  girl"  jerked  his  sleeve.  Her  eyebrows  shot 
up  under  her  bangs. 


"  You  mean  like  this?  "  she  said.  Her  elbows 
folded.  A  finger  stuck  stiffly  out  before  a 
menacing  squint.  "Huh-huh-huh-huh-huh — " 
she  went,  revolving  madly  about  the  set,  "huh- 
huh-huh-huh — huh-huh-huh-uh — " 

"Take  it!"  screamed  the  director,  "Migosh 
—take it!    TakeiV." 

"Murder  pictures,"  explained  the  nice  little  girl,  smoothing 
her  bangs  calmly,  "are  the  kind  I  like  best." 

Little  nine-year-old,  black-haired,  bratty  Jane  Withers  to- 
day perches  impishly  but  securely  upon  a  high  pedestal  in 
Hollywood's  hall  of  distinction  for  three  excellent  reasons. 

First,  because  when  she  rolled  her  jaw  forward  in  "Bright 
Eyes,"  declared  boldly,  "I  want  a  machine  gun,"  and  coughed 
"huh-huh-huh-huh"  in  a  too,  too  perfect  imitation  of  Liltle 
Caesar  at  his  best,  she  shot  the  Hollywood  cute  kid  racket  as 
full  of  holes  as  last  summer's  screen  porch. ' 

Second,  because  when  she  made  a  wow  out  of  a  weak  picture 
with  as  great  a  performance  as  any  child  actress  has  ever  de- 


72 


"Hey,  you!     Wanna  play?"     And  every 
kid     on     the     block     comes     a-running! 


Jane  not  only  looks  like  her  mother, 
but  also  inherited  from  her  amaz- 
ing    determination     and     courage 


SHE  HAD 


A  mother's  broken  dreams 
and  crushed  ambition  made 
little  Jane  Withers'  suc- 
cess   in    films    inevitable 

By  ANTHONY  McALLISTER 

livered,  in  "Ginger,"  and  launched  herself  on  a  big-time 
career  of  her  own,  she  fulfilled  something  that  is  so  seldom 
fulfilled  in  this  world — a  fond  mother's  life  long  dream. 

And  third,  because  when  I  was  privileged  to  bask  in  the  rays 
of  her  high-voltage  personality  the  other  day  I  realized  that 
right  there  before  me  was  the  McCoy.  A  morocco  bound, 
deckle-edged  edition  of  what  I  had  supposed  had  become 
extinct  by  now — a  real  American  Tomboy. 

Jane  Withers  is  more  than  something — she's  a  whole  lot. 
After  the  preview  of  "  Ginger"  (and  don't  you  dare  miss  it) 
Jane  was  being  pancaked  by  ardent  admirers  ranging  from  six 


to  sixty.  Said  one,  a  grown  man,  "There's  only  one 
thing  wrong  with  your  picture,  Jane.  It  needs  a 
new  title.  'Ginger'  doesn't  do  you  justice.  They 
ought  to  call  it  'Dynamite.'  " 

As  vital  a  little  toughie  as  ever  yelled,   "Hey, 

Stinky!"  and  as  great  a  little  actress  as  ever  grinned 

wickedly  into  a  camera  lens,  "Georgia  Jane,"  with 

a  real  hop  on  the  ball,  has  made  all  curly-topped, 

empty-headed,    saccharine-sweet    posey    baby    dolls    forever 

ridiculous  and  insipid  on  the  screen. 

Excepting  only  that  exquisite  little  goddess,  Shirley  Temple, 
who  could  disarm  bristling  Europe  with  one  dimpled  smile, 
Jane  has  mowed  down  the  pouty,  cutey  ranks  of  mama's 
darlings  and  hop-scotched  in  to  take  Hollywood  like  Grant 
took  Richmond. 
What  a  girl! 

"  She's  always  sold  herself,"  said  her  mother  proudly. 
"I've  never  had  to  say  a  thing.  Jane  talks  right  up  to  them. 
She's  not  afraid  of  anybody."  [please  turn  to  page  90  ] 

73 


ARRESTING 
HEADLINES 


Anita  Louise,  Warner  Bros. 
star,  in  two  moods.  Left: 
An  exciting  coiffure  of  the 
evening,  with  coils  and 
curls.  Above:  Same  bob, 
in     Florentine     simplicity 


Anita  turns  her  head  to 
show  the  puff  curls  as- 
cending from  back  of  the 
ear  to  the  crown  coils, 
with  soft  fringe  curls  at 
the     nape     of     her     neck 


PHOTOPLAY'S      HOLLYWOOD      BEAUTY      SHOP 


74 


Helen  Vinson,  appearing  in  GB's  "Trans- 
atlantic Tunnel,"  shows  a  mass  of  curls 
escaping  from  under  an  Ethiopian  felt 
hat.    Grey  with   green  scarf.    Dache  design 


If  you  have  a  flair  for  the 
more  exotic  styles,  Gai 
Patrick,  in  "Gettin'  Smart," 
shows  a  clever  alliance  of 
braids  and  curls  with  strik- 
ing      off-the-face      contour 


The  back  view  of  Gail's 
new  coiffure  indicates  how 
the  braids  and  soft  puff 
curls  may  be  arranged. 
F  o  r  evening,  a  jeweled 
snood     is     ornamenta 


Page  boy  simplicity,  with  military  cap,  de- 
signed by  Rene  Martin,  worn  by  Martha 
Sleeper,  Republic  Pictures.  Hair  is  parted 
on      the      side,      smooth      crown,      ringlets 


CONDUCTED       BY       CAROLYN       VAN       WYCK 


75 


GLENDA  FARRELL  HAS  A 


Perfume,  subtle  fragrance, 
adds  immeasurably  to  a 
woman's  charm.  Glenda 
should  know.  We  came 
upon  her  as  she  folded 
sachets     in     lacy     lingerie 


Not  every  woman  can  af- 
ford to  indulge  her  every 
mood.  Three  varieties 
may  be  extravagant.  The 
magic  of  Tahitian  nights 
is  in  essence  of  gardenia 


76 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


79 


Hollywood  has  a  new  word  for 


"We  say  'LUX'— then  we  know  our 
nice  things  are  safe"—  says 


"T  T£  7"HEN  I  say  'Lux'  my  things,  my  maid  knows 
*  *  that  means  nothing  else  but!"  Heather  ex- 
plains. "A  swish  through  Lux  and  out  things  come 
superb  as  new,  the  colors  not  faded  a  bit.  We 
wouldn't  think  of  caring  for  lingerie,  stockings, 
blouses,  gloves  and  sweaters  any  other  way." 

Everybody's  using  the  new  word  for  "wash"  be- 
cause "Luxing"  is  different  from  ordinary  "washing." 

These  tissue-thin  flakes  dissolve  instantly  in  luke- 
warm water.  The  rich,  creamy  suds  float  the  soil 
right  out!  And,  with  Lux,  there's  no  danger  to  colors 
and  fabrics  as  with  ordinary  soaps  containing  harm- 
ful alkali. 

Your  nice  things  will  look  lovelier,  last  longer, 
too,  the  Lux  way.  Lux  has  no  harmful  alkali !  Any- 
thing safe  in  water  is  safe  in  Lux. 

Specified  in  all  the  big  Hollywood  studios 

"In  the  RKO-Radio  Studios,"  says  Walter  Plunkett,  Ward- 
robe Director,  "Lux  saves  us  thousands  of  dollars  in  cleaning 
bills  and  replacement  costs,  for  stockings  and  fabrics  stay 
new-looking  twice  as  long.  Not  only  costumes,  but  curtains, 
draperies  and  even  rugs  are  washed  with  Lux  here." 


See  HEATHER  ANGEL  in  RKO's 

"The  Three  Musketeers." 


Leather  angel  «  Unen 

Luxable  fashions .like  ^& 

sports  frock.     U*  *e  *   ls       u. 
looking  Hke  new,    she 


"Y°«    CAM.T 

J? her  *ashinT0*°   to  risk 

toLu^oukno^youtrust 

you  re  safe/" 


DONT  TRUST  TO  LUCK  —  TRUST  TO  LUX  - 


'■JUfM/CrtrCf Scu^ 


N  BEAUTY'S 
NAME 


A  new  atomizer  with  metal  and 
tasseled  top  is  a  useful  trave 
ing  companion.  A  charming  gift 


Wouldn't  you  like  to  know  the  names  of  the  beauty 
aids  used  by  the  Hollywood  stars?  A  new  leaflet, 
"In  Beauty's  Name,"  is  yours  for  the  asking.  If 
your  problems  are  more  personal,  they  will  have 
our  care  and  attention.  For  leaflets  or  information, 
please  send  a  self-addressed,  stamped  envelope  for 
reply  to  Carolyn  Van  Wyck,  Photoplay  Magazine, 
1926  Broadway,  New  York  City.  New  York 


Miss  Lynd  believes  in  being  very  firm 
about  her  throat.  A  cream  with  as- 
tringent qualities,  massaged  with  gentle 
upward  strokes,  refines  and  corrects  lines 


80 


PHOTOPLAY  MAGAZINE   FOR  NOVEMBER,    1935  8I 

Maureen  O'Sullivan,  m-g-m  star, in  "The  Bishop  Misbehaves" 


make-up  Secrets 


FROM  THE 


DIARY 


OF 

Maureen  O'Sullivan 

A  glimpse  into  the  days  when  Maureen  0  'Sullivan 's  success 
was  just  beginning. . .  reprinted  from  her  personal  diary  by 
special  permission. 

JAN.   Am  to  have  screen  test  Friday — getting 
10.   frightened!  Lunch  with  Dick.  He  says  I'd 
better  work  on  my  voice  and  make-up 
before  Friday.  Shall  try  to  see  Max  Factor, 
who  is  called  the  genius  of  make-up. 
* 
JAN.    Had  a  terrible  time  seeing  Max  Factor — 
ii.   so  many  stars  and  beauty  editors  at  his 
studio.Told  me  he  would  create  powder, 
rouge,  and  lipstick  in  a  color  harmony 
shade  that  would  dramatize  my  type.  Says 
he  discovered  color  harmony  to  be  the 
secret  of  beauty.  Shall  seehim  tomorrow. 
* 
JAN.   Max  Factor  is  a  genius!  His  color  har- 
12.   monypowder,rouge,and  lipstick  blends 
perfectly  with  my  complexion  colorings! 
It  gave  me  so  much  confidence  that  I 
went  through  my  screen  test  like  a  veter- 
an. I  never  knew  that  make-up  could 
mean  so  much. 

* 
Would  you  like  to  have  Max  Factor  give  you  a  personal 
make-up  analysis  just  as  he  does  for  screen  stars?  Would  you 
like  a  sample  of  your  color  harmony  make-up  and  an  inter- 
esting illustrated  book  let  on,  "The  New  Art  of  Society  Make- 
up? "A  11  these  u  'ill  be  sent  to  you  if  you  will  mail  the  coupon 
below  to  Max  Factor,  Hollywood. 


Lipstick 


MaxFactor'sSuper-IndelibleLipstick, 
like  the  powder  and  rouge, is  available 
in  color  harmony  shades  for  every 
type.  Keeps  your  lips  young,  lovely. 
Maybe  applied  to  the  inner  as  well  as 
the  outer  surface  of  the  lips,  giving 
them  a  perfectly  even  color  that  lasts 
for  hours.  One  dollar. 


193  5  Max  Factor  &  Co. 


Max  Factor's  Powder,  originated  for 
screen  stars,  is  now  available  to  you  in 
color  harmony  shades  for  brunettes, 
blondes,  brownettes  and  redheads. 
Enlivens  your  skin  instantly  with 
youthful  radiance.  Creates  a  lasting, 
satin-smooth  texture.  One  dollar. 


Max  Factor's  Rouge  created  for  screen 
stars  is  also  available  in  color  harmony 
shades  for  every  type.  Creamy-smooth 
it  blends  easily,  evenly,  and  gives  your 
cheeks  an  alluring  lifelike  glow  that 
lasts  for  hours.  Being  light  tested,  ir 
retains  its  true  color  under  any  light. 
Fifty  cents. 


/rlax  Tacior  *  TTolluwood 


or  *  TTOUUi 

SOCIETY  make-up:  Powder,  Rouge  and  Lipstick  in  Color  Harmony 


\  Mail  for  POWDER,  ROUGE  AND  LIPSTICK  IN  YOUR 

COLOR 

HARMONY 

: 

COMPLEXIONS 

EYES 

H.41R 

• 

•  also  Lipstick  Color  Sampler,   four   shades.     1  enclose   ten  cents  for   postage 
#and  Kindling.    Also  send  me  my  Color  Harmony  Makel  p  Chart  and  48-Mg« 
.Illustrated  Instruction  book,  "The  New  Art  of  Society  Make-  Up" . .     FREE. 

•  1-11-105 

•  MA11F 

Very  L.ghi D 

Fa.r D 

Otmy D 

Med.um n 

Roddy D 

Sallow □ 

Freckled D 

Blue n 

Gfly D 

Green O 

HjmI D 

Brown D 

h\  ONDL 
Light. _D   Dirk._a 

BROtt'NETTE 
Light. _D  Dark.JD 

BRUNETTE 
Light. .a   D«k._D 

REDHEAD 

Light. _Q  Dark._D 

JfHurit<hn,thed 

typf   J&,r»r  jnj  A,.f_0 

• 
• 

*  STRFFT 

LASHES  >C,h. 
L.ght D 

D».k  _  _a 

• 
• 

• 

SKIN      Dry  D 

O.lyO   Norm.lQ 

• 

-   CITY *T»TF 

AGE 

• 

THE  ANSWER  MAN 


FRED  STONE  first  saw  the  light  of  day  in 
Valmont,  Colorado — a  place  that  is  no 
longer  in  existence.  He  has  laughing,  grey- 
blue  eyes  and  curly  hair  that  is  slowly  turning 
white.  Though  his  name  is  an  institution  of 
the  American  stage,  he  is  descended  from  a 
family  of  farmers. 

His  career  began  at  the  tender  age  of  nine, 
when  he  found  some  spangles  that  had  been 
lost  by  a  tight-rope  walker.  He  begged  his 
mother  to  sew  them  to  a  pair  of  old  tights. 
Shortly  after,  he  joined  a  circus  and  has  since 
appeared  in  almost  every  kind  of  theatrical. 
He  was  the  last  of  the  great  actors  to  succumb 
to  the  lure  of  the  movies,  but  they  finally  have 
gotten  him.  In  "Alice  Adams,"  he  has  proven 
himself  to  be  as  capable  and  entertaining  a 
screen  actor  as  he  had  been  on  the  stage. 

Will  Rogers  was  his  most  devoted  friend, 
both  sharing  a  common  interest  in  horses, 
planes  and  cowboys.  Up  until  the  time  of 
Fred's  plane  crash  in  1928,  he  was  an  ardent 
and  enthusiastic  flyer;  but  he  has  not  flown 
since.  And  now,  since  Will  Rogers'  tragic 
death,  there  is  little  doubt  that  he  will  ever  fly 
again.  He  feels  the  great  loss  deeply,  for  to 
him  it  symbolized  one  of  the  rarest  and  most 
beautiful  things  in  life — a  perfect  friendship. 

Gerry  Smith,  Minneapolis,  Minn. — Sorry 
we  had  to  take  so  long  in  answering.  Your 
favorite,  Buddy  Rogers  was  born  on  August  13, 
1904  in  Olathe,  Kansas.  He  is  6  feet  tall, 
weighs  165  pounds  and  has  black  hair  and 
black  eyes.  And — hold  your  breath — no, 
Buddy  has  never  been  married.  You  can 
write  to  him  care  of  the  Metro-Goldwyn- 
Mayer  Studios,  Culver  City,  Calif. 

Mary  Louise  Stormont,  Okmulgee,  Okla. 
— Tom  Brown  was  born  on  January  6,  1913,  in 
New  York  City.  That  would  make  him 
twenty-two.  Tom  may  be  reached  at  the 
RKO  Studios,  780  Gower  Street,  Hollywood, 
Calif. 

Lou  Vera  Ivey,  Decatur,  Ga. — Dick 
Powell  hails  from  Mountain  View,  Arkansas. 
He  has  auburn  hair  and  blue  eyes.  Is  6  feet 
tall  and  weighs  177  pounds.  Before  going  into 
the  movies,  Dick  was  an  orchestra  leader. 
Dick  is  not  married  at  the  present  time.  His 
first  wife  was  a  non-professional.  You  will  see 
him  shortly  in  "Page  Miss  Glory"  and  "Ship- 
mates Forever." 

Mrs.  John  Hamilton,  Los  Angeles,  Calif. 
— Lila  Lee  has  been  married  two  times.  James 
Kirkwood  was  her  first  husband  and  John  R. 
Peine  her  second. 

Gladys,  Colchester,  Conn. — Thank  you 
for  the  charming  letter.  We  hope  you  will 
continue  being  a  constant  reader  of  Photo- 
play. Ruby  Keeler  is  a  native  of  Halifax, 
Nova  Scotia.  She  was  born  August  25,  1909. 
She  is  5  feet  4  inches  tall .  and  weighs  104 
pounds.  Her  eyes  are  blue  and  her  hair  brown. 
She  was  educated  at  the  Professional  Children's 


"Farmer  in  the  Dell"  gives  Fred 
Stone  another  chance  to  display 
his    gay    and    entertaining    talent 


School  in  New  York  City.  Ruby  was  on  the 
legitimate  stage  before  her  entrance  into  pic- 
tures. She  started  with  Warners  and  is  still 
under  contract  to  them.  Al  Jolson  is  her 
husband.  Yes,  her  first  and  only  one.  Ruby 
and  Al  have  recently  adopted  a  little  baby 
boy  and  whom  they  call  Albert  Jr.  Are  they 
fond  of  him?  Ask  their  best  friends.  Her 
latest  picture  is  "Shipmates  Forever." 

Melba  Nelms,  Peoria,  III. — The  only  way 
to  obtain  photographs  of  the  various  stars  is 
to  write  to  them  at  the  studios  where  they  are 
working.  You  will  have  to  send  twenty-five 
cents  for  each  photograph. 

This  is  to  cover  the  cost  of  packing,  mailing 
and  postage. 

Bernice  Feld,  Chicago,  III. — The  above 
also  answers  your  question. 

Charles  G.  McKee,  Winchester,  Va. — 
No  trouble  at  all.  Fifi  D'Orsay  has  only  been 
married  once.  She  is  5  feet  7  inches  tall  and 
weighs  125  pounds.  Her  hair  is  jet  black  and 
her  eyes  hazel. 

She  hasn't  appeared  in  any  other  pictures 
since  playing  in  "Wonder  Bar." 


Constance  Hillman,  Fairmont,  W.  Va. — 
You're  right.  Constance  has  no  middle  name. 
Don't  forget  your  end  of  the  bargain.  Wini- 
fred Shaw,  born  in  San  Francisco,  California, 
on  February  25th,  1910.  She  is  5  feet  6  inches 
tall  and  weighs  1 10  pounds.  Her  hair  and  eyes 
are  both  dark  brown.  At  the  tender  age  of 
eleven,  she  began  her  career  on  the  legitimate 
stage,  appearing  in  such  hits  as  "Simple 
Simon,"  "Ziegfeld  Follies  of  1931,"  and  "Rain 
or  Shine." 

She  entered  the  movies  in  1933  and  will 
appear  shortly  in  "Broadway  Hostess,"  a 
Warner  Brothers'  picture. 

Laura  Bostick,  Lake  Charles,  La. — Fred 
MacMurray  was  born  in  Kankakee,  111.,  on 
August  30th,  but  he  doesn't  confide  the  year. 
He  is  6  feet  3  inches  tall  and  weighs  185  pounds. 
Has  dark  brown  hair  and  brown  eyes.  Claud- 
ette  Colbert  is  a  Parisian  by  birth.  She  was 
born  September  13,  1907.  She  measures  5  feet 
4  inches  and  tips  the  scales  at  107  pounds. 
Her  hair  and  eyes  are  dark  brown.  Gary 
Cooper  hails  from  Helena,  Montana,  where  he 
was  born  May  7,  1901.  He  weighs  180  pounds 
and  is  6  feet  2  inches  tall.  Has  black  hair  and 
dark  blue  eyes. 

Julia  Ball,  Oklahoma  City,  Okla. — 
Dublin,  Ireland,  was  George  Brent's  birth- 
place. He  was  educated  at  the  New  York 
High  School  of  Commerce,  at  the  Rand  School 
and  at  the  University  of  Dublin. 

Janet  Bowman,  Boston,  Mass. — Before 
entering  pictures,  George  Raft  was  a  dancer 
and  appeared  on  the  legitimate  stage.  He  was 
born  September  26,  1903  and  is  5  feet  11  inches 
tall.  He  has  brown  eyes  and  black  hair. 
Some  of  his  pictures  previous  to  "The  Trumpet 
Blows"  were  "Bolero,"  "All  of  Me,"  "The 
Bowery,"  "Pick-Up,"  and  "Night  After 
Night." 

C.  E.  Hustedt,  Providence,  R.  I. — Sorry, 
we  cannot  give  you  the  home  address  of  the 
stars.  You  will  have  to  write  to  them  care  of 
the  studios  where  they  are  working.  Doris 
Kenyon  is  not  under  contract  to  any  company 
at  present. 

Helen  M.  Wicklein,  Reading,  Pa. — Most 
of  the  companies  do  have  New  York  offices 
but  you  will  have  to  write  directly  to  Cali- 
fornia. 

Alfred  Holmes,  Baltimore,  Md. — Dick 
Powell  wa£  born  on  November  14,  1904.  Ac- 
cording to  our  arithmetic  he  should  be  thirty- 
one  this  month.  Rudy  Vallee  is  shy  about 
divulging  his  birthday,  but  he  is  approximately 
thirty-three  years  old.  His  birthplace  was 
Westbrook,  Maine.  The  information  you  re- 
quested about  Tom  Brown  is  given  elsewhere 
on  this  page. 

Pat  O'Brien  was  born  in  Milwaukee,  Wis- 
consin, on  November  11,  1899. 


82 


PHOTOPLAY   MAGAZINE   FOR  NOVEMBER,    1935 


83 


Don't  let  adolescent 
pimples  humiliate  YOU 

Between  the  ages  of  13  and  25, 
important  glands  develop.  This 
causes  disturbances  throughout 
the  body.  Harmful  waste  products 
get  into  your  blood.  These  poisons 
irritate  the  skin — and  pimples  pop 
out  on  the  face,  chest  and  back. 

Fleischmann's  Yeast  clears  these 
skin  irritants  out  of  your  blood. 
And  the  pimples  disappear! 

Eat  Fleischmann's  Yeast  3  times 
a  day,  before  meals,  until  your 
skin  has  become  entirely  clear. 
Start  today! 


by  clearing  skin  irritants 
out  of  the  blood 


84 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,    1935 


0??ZCWtC€,  comes  to  the  girl 

who  guards  against  COSMETIC  SKIN 


IT  is  true  that  men  just  can't  help  falling 
in  love  with  soft,  smooth  skin.  The  girl 
who  doesn't  win  this  charm — and  keep  it — is 
a  foolish  girl  indeed! 

Cosmetics  Harmless  if  removed  this  way 

There's  no  need  to  risk  spoiling  your  looks  by 
letting  unattractive  Cosmetic  Skin  develop. 
It's  when  cosmetics  are  not  properly  removed 
that  they  choke  the  pores — tiny  blemishes  ap- 
pear, enlarged  pores,  blackheads,  perhaps. 


You  can  guard  against  this  modern  com- 
plexion trouble  with  Lux  Toilet  Soap.  Its 
ACTIVE  lather  sinks  deep  into  the  pores — 
gently  carries  away  every  vestige  of  dust,  dirt, 
stale  cosmetics. 

9  out  of  10  screen  stars  use  this  soap  that's 
specially  made  to  remove  cosmetics  thor- 
oughly! Use  cosmetics  all  you  wish!  But  to 
protect  your  skin — use  Lux  Toilet  Soap  before 
you  put  on  fresh  make-up  during  the  day — 
ALWAYS  before  you  go  to  bed  at  night. 


PHOTOPLAY   MAGAZINE   FOR  NOVEMBER,    1935 


85 


I  USE  COSMZTICS,  BUT 

I'M  taking-  no  chances 
with  Cosmetic  Skin. 

THATiS  WHY  /  USE  tUX 

Toilet  Soap  faithfully 


Merle  Ob eron 

STAR  OF  SAMUEL  GOLDWYN'S  "THE  DARK  ANGEL" 


Fashion  Forecast 


CONTINUED  FROM  PACE  53 


definitely  individual,  an  added  virtue  in  the 
eyes  of  woman. 

EVENING 

Colors:  Rich  and  vibrant,  mysterious  change- 
able hues,  multi-colored  fabrics,  Oriental 
effects  in  pale  pastels  with  silver  and  gold. 
Suit  your  individuality,  but  mix  your  colors 
deftly. 

Fabrics:  Rich,  magnifi- 
cent, fabrics  carry  the 
load  of  fashion.  Un- 
crushable  velvet,  taffeta 
velvet,  cellophane  vel- 
vet, lame,  gold  and  sil- 
ver brocades,  heavy 
satin,  chiffon  and  cloque 
crepes. 

Lim :  The  flowing  line  of 
Grecian  or  Roman  in- 
fluence; Renaissance; 
Oriental  drapery;  adap- 
tations of  the  1914  sil- 
houette, slashed  skirts, 
harem  drapes. 
The     decolletage     has 

reached  its  all-time  low. 

The  deep  V  of  the  bodice 

attempts  concealment  be- 
hind    huge     clusters     of 

flowers. 

Gala  nights  bring  forth 

glamorous  evening  gowns 

that  glisten  with  jeweled 

girdles,  buckles,  huge  clips. 

Chokers  of  semi-precious 

stones     are     worn     both 

night  and  day. 

No  evening  top-knot  is 

complete  without  its  halo, 

diadem,     clip,    comb    or 

flower  cluster. 

Romantic  velvet  capes 

in  all  black  or  Renaissance 

tones,   long,   flowing   and 

all-enveloping,  salute  the 

evening.    For  the  woman 

who   does   not   possess   a 

luxurious  fur  wrap,  noth- 
ing takes  the  place  of  the 

cape.       For    utility    and 

warmth,  the  long  wrap  is 

preferable,    but   capes   in 

any  length  are  good. 
Evening    sandals    with 

flat  heels  reflect  the  Greek 

and     Oriental     influence. 

Adjustable  jeweled  heels 

may  be  purchased  sepa- 
rately,  fastened   to   your 

sandal  to  add  to,  or  sub- 
tract from  your  height.     Gold  and  silver  kid 

lead  the  parade. 

DAYTIME 

Colors:  Brown  with  mustard  yellow;  grey  with 
brown;  Italian  red  with  intense  blue;  rust 
with  lapis  lazuli;  chive  green,  copperwood, 
Tuscan  wine,  caribou,  and  of  course,  black. 
For  sports,  wear  gay  colors.  If  you  have  a 
bright  color  complex,  express  it  here.  For 
street  and  afternoon,  dark  tones,  relieved 
by  bright  accents  in  trimming  and  accessories. 


Fabrics:  Multi-colored  tweeds  for  sports; 
tweed  knits,  boucle  knits,  hand  knits; 
cloque  wools;  sheer  novelty  woolens;  broad- 
cloth; duvetyne.  Many  changeable  effects 
in  reversible  fabrics  with  contrast  in  color 
or  texture.    Heavy  crepes,  velveteen,  jersey. 

Line:  Shorter  skirts  for  sports;  for  the  street 
and  afternoon,  twelve  to  fourteen  inches 
from  the  floor.  Be  good  to  yourself  in  the 
use  of  flares,  pleats  and  godets,  but  never 


ing  your  many  gadgets  safely  confined  in  your 
new  Autumn  handbag. 

Full  sleeves  are  flattering,  but  never  clutter 
them  up  with  tricky  detail.  A  full,  simple 
sleeve  is  a  thing  of  beauty.     Leave  it  so. 

Square-shouldered  and  military,  jackets  are 
fastened  with  braided  frogs.  For  town  wear, 
topcoats  in  smooth-finish  woolens  are  lavishly 
trimmed  with  fur.  Swagger  coats  top  two- 
piece  suits,  matching  or  contrasting.  Don't  be 
afraid  to  contrast  colors. 


A  Word  to  the  Fashion  Wise 


The  "collar  clip"  craze  is  doing  nicely,  thanks  to  Joan  Crawford. 
She's  using  them  on  all  sorts  of  costumes  in  series  of  eight  clips,  all 
matching  of  course.  One  set,  created  in  ivory,  she  wears  with  a 
sports  costume.  Another  in  semi-precious  stones  is  for  afternoon 
and  a  third  series,  in  precious  stones,  adds  that  certain  something 
to  the  formal  gown. 

Shades  of  Romeo!  "Juliet"  caps  in  tiny  seed  pearls  are  coming 
back.  Norma  Shearer  ordered  one  for  her  personal  wardrobe  after 
viewing  the  entrancing  sketches  for  her  costumes  in  Shakespeare's 
famous  tragedy. 

Columbia's  young  Marian  Marsh  has  a  trick  idea.  She  transformed 
a  simple  evening  gown  of  black  satin  into  a  glamorous  formal  by  the 
easy  stunt  of  wearing  over  it  a  costume  blouse  of  gay  flowered  lame 
heavily  shot  with  gold.  It  is  of  surplice  design  and  ties  in  the  back. 
You  can  do  it  too. 

If  you're  bothered  with  your  hair  blowing  about  enroute  to  that 
very  swank  party,  try  this:  metallic  mesh  scarfs.  They're  cut  like 
helmets  and  cover  the  coiffure.  What's  more,  they'll  do  wonders  for 
you  along  the  sophistication  line. 

Jean  Harlow  is  sponsoring  the  newest  in  necklines  for  fall  wear. 
It's  called  the  "chain  neckline"  and  she  wears  it  with  a  blue  velveteen 
afternoon  frock.  The  chain,  a  semi-large  link  affair  in  antique  silver, 
slips  through  slits  at  the  side  of  the  neck  and  fastens  at  the  back. 

Nice? 


From  "collar  clips"  to  "dog-collars" — like  granny  wore  when  she 
was  all  dressed  up.  Una  Merkel  has  a  collar  in  seed  pearls,  held  to- 
gether with  thin  bars  studded  in  diamonds.  She's  careful  to  wear  it 
with  gowns  with  the  old-fashioned  touch  to  them.    You  be  as  careful. 


Jabots  are  back!  Billie  Burke  wears  one  on  a  daytime  frock  of 
mauve  crepe.  The  half-jabot  is  of  floral  print,  finely  pleated,  in  tones 
of  orchid,  pink,  blue  and  gray.  The  other  half  is  pleated  with  creme 
mousseline  de  soie.  Simple,  but  so  effective.  And  so  good  to  the 
figure. 


HATS 

Let  color  run  riot,  is  my 
tip  for  the  top.  Berets 
are  round,  flat,  square, 
scooped  like  a  shovel,  or 
tied  in  the  back  Military 
hats  with  coque  feathers. 
Bonnet-like  shapes  tie 
under  the  chin.  Page  boy 
caps.  Veils  everywhere. 
Ostrich  tips  and  quills. 
And  the  "flower  pot  will 
grow  'prettier'"  as  the 
pendulum  swings  from 
the  pancake. 

SHOES 

Unless  you  assemble 
the  correct  style  for  each 
and  every  costume,  select 
plain  and  simple  shoes 
with  a  good  last  to  fit  your 
busy  moving  feet.  There 
is  a  growing  acceptance  of 
color.  New  combinations 
are  in  green  and  brown 
reversed  calf;  burgundy, 
in  suede  with  patent  trim; 
brown,  blue  and  black  as 
usual.  Rust  juniper  calf. 
Flat-heeled  colonials  and 
high-riding  oxfords. 

GtOVES  AND 
STOCKINGS 


at   the   expense  of   flowing   line.      Fullness 

there  is  in   the   new  clothes,   but  it  never 

projects  itself. 

There  is  not  much  change  in  waistlines, 
though  there  seems  to  be  a  tendency  toward  a 
lower  line.  Necklines  continue  to  rise  and 
carry  their  own  ornaments  of  chains,  clips  and 
rope.  More  rope,  seems  to  be  the  cry  for  both 
belts  and  necklines. 

Jeweled  belts  confine  your  jersey  or  your  eve- 
ning gown,  the  only  difference  being  in  the 
leather.  Covered  zippers  and  talon  fasteners 
zip  you  into  your  new  clothes,  as  well  as  keep- 


Wear  your  gloves  longer 
and  unflared,  in  Renais- 
sance shades  of  brown,  ox- 
blood,  Hindu  rust  and 
Araby  green,  to  contrast 
with  your  costume.  Fur 
gloves  match  fur  hoods. 
Velvet  gloves  to  wear  with 
your  velvet  toque. 

Stockings  take  on 
browner  tones  and  come 
in  shades  of  ginger,  dur- 
bar,  Hindustan.     London   mist  and  caribou 
have  a  grey  cast.    Dubonnet  and  green  as  well 
as  blue  and  black  appear. 

FURS 

Furs  are  gorgeous  and  are  used  lavishly. 
Flat  furs  trim  woolens  and  fashion  hats.  Tails 
occasionally  trim  hats  which  are  reminiscent 
of  Daniel  Boone.  Coat  collars  of  blue  and 
silver  fox.  Collars  and  front  panels  of  red  or 
crossed  fox  ornament  tweed  swaggers.  Persian 
lamb  appears  in  young  fashions. 


86 


PHOTOPLAY  MAGAZINE   FOR  NOVEMBER,    1935 


87 


DISCOVERS    REAL   HANDBAG    SECURITY 


*$s 


This   famous   actress 
featuring  security  of 

The  beautiful  ladies  of  the 
screen  are  discovering  that 
unreliable,  loose-closing 
handbags  are  a  thing  of  the 
past — that  today,  it's  possible 
to  combine  absolute  security 
with  smartest  style — in  hand- 
bags featuring  the  Talon 
automatic-locking  fastener. 
They  have  discovered  that 
one  quick  pidl  on  this  flexible, 
easy-gliding  fastener  closes 
bags  tightly  and  securely — a 


entrusts   her   valuables    only   to    handbags 
the  automatic-locking     a    ^    slide  fastener 


closing  that  means  an  abso- 
lutely safe  handbag — and  a 
very  good-looking  one! 

And  you  will  discover  that 
Talon  on  a  handbag  means 
perfection  of  quality  and  de- 
sign— because  only  the  out- 
standing manufacturers  give 
their  bags  the  benefit  of  this 
precision-made  fastener. 

All  the  leading  stores  sell 
them  —  in  all  the  smartest 
styles. 


Here*s  your  protec- 
tion—-the  automatic- 
iocking  feature!  Tug 
at  the  sides  of  your 
bag,  drop  it-,  turn  it 
over  —  the  fastener 
canxt  come  open, 
even  a  little,  unless 
you  pull  it. 


HOOK  LESS      FASTENER      COM 
PHILADELPHIA      •      CHICAGO 


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.      LOS     ANGELES      •      SAN      FRANCISCO 


NEW       YORK      •      BOSTON 
t 

SEATTLE      .      PORTLAND 


Hollywood  Scrambled  Love 


[  CONTINUED  FROM  PAG]     23 


Cabots  and  the  Ames  .  .  .?  (Mr.  Cabot  being 
another  Adrienne  Ex). 

Renee  Torres  and  Vic  Orsatti  just  couldn't 
seem  to  keep  off  the  dance  floor  they  were  hav- 
ing such  a  good  time,  which  probably  had  no 
connection  with  the  fact  that  John  Gilbert 
(who  used  to  go  with  Renee  before  he  started 
to  go  with  Marlene  Dietrich)  was  over  in  a 
corner  with  the  pride  and  joy  of  Paramount, 
who,  in  turn  had  just  nodded  brightly  in  the 
direction  of  Josef  Von  Sternberg! 

All  of  which  goes  to  prove  that  Hollywood 
may  be,  as  advertised,  the  garden  spot  of  love 
in  bloom!  But  it's  the  toughest  place  in  the 
world  to  let  it  wilt! 

Where  Hollywood  has  them,  is  that  it  is  a 
small  town  with  a  big  business;  and  every- 
body important  is  tied  to  it  with  contracts. 

In  New  York,  London  or  Paris,  or  even  Prairie 
Center,  when  a  marriage  goes  on  the  rocks,  or 
a  romance  reaches  a  pfft'in  Walter  Winchell's 
column,  the  principals  are  usually  accorded 
the  privilege  of  getting  decently  out  of  one 
another's  lives,  sight  and  hair. 

D  UT  no  matter  how  you  add  it  up  and  try 
^to  divide,  there's  still  only  ten  miles  separat- 
ing Beverly  Hills  and  Hollywood.  There  are  only 
a  few  cafes  in  which  to  dine,  a  few  night  clubs 
in  which  to  dance,  and  even  a  fewer  number  of 
people  to  give  parties  and  invite  the  Ex's. 

So  Hollywood's  scrambled  romances  con- 
tinue to  bump  shoulders  on  the  dance  floors, 
attend  the  same  parties,  previews,  and  first 
nights,  pal  with  the  same  people  and,  yes, 
even  work  in  the  same  pictures  in  the  most 
socially  strained  post-love  status  in  the  world. 

Just  show  me  the  woman  who  can  afford  to 
look  bored  when  her  ex-husband  or  ex-beau  is 
in  the  room! 

They  can  leave  'em  .  .  .  but  they  can't 
shake  'em  in  Hollywood. 

Take  Carole  Lombard  and  William  Powell 
and  their  honest  efforts  to  get  divorced  socially 
as  well  as  legally.  Of  course,  for  a  solid  year 
after  their  final,  Carole  and  Bill  remained  the 
best  of  friends,  circulating  in  the  same  group. 

That  was  before  Carole  met  Robert  Riskin 
and  before  Bill  caught  up  romantically  with 
Jean  Harlow. 

After  that,  while  Carole  and  Bill  had  the 
best  wishes  in  the  world  for  one  another,  they 
never  seemed  to  get  together  quite  so  often. 

But  when  Carole  walked  into  the  Clover 
Club  one  evening  with  Robert  Riskin  and 
proceeded  to  eat  her  dinner  and  mind  her  own 
business,  not  a  gossip-column  in  town  failed 
to  report  that  she  had  merely  nodded  to  her 
ex-husband  and  failed  entirely  to  speak  to 
Jean  Harlow!  Nobody  particularly  cared  that 
the  so-called  "coolness"  between  the  girls  was 
nothing  short  of  a  plain  lack  of  introduction! 
They'd  never  met.  Any  place  else  .  .  .  they 
might  never  have  met.  But  you  know  Holly- 
wood. Before  the  columnists  were  through 
with  them,  Jean  and  Carole  were  feuding. 

And  it  wasn't  until  Carole,  too,  too  annoyed 
by  the  heckling,  called  up  Jean,  introduced 
herself  over  the  phone  and  invited  her  (and 
Bill,  of  course)  to  her  next  party  that  the 
columnist  fun  stopped! 

After  that  things  were  a  little  dull,  until 
Norma  Talmadge  and  George  Jessel  arrived 
in  Hollywood  for  a  little  vacation  and  a  few 

88 


personal  appearances,  and  you  should  know 
the  box-office  names  that  began  to  scramble  in 
the  social  life! 

When  Merle  Oberon  and  Norma  Talmadge 
met  in  the  living  room  at  Sam  Goldwyn's 
beach  house,  everybody  was  simply  pop-eyed 
to  see  what  was  going  to  happen.  Norma  was 
once  married  to  Joseph  Schenck,  you  know,  and 
Merle  was  once  his  fiancee,  for  a  little  while,  so 
surely  something  would  come  of  it.  It  was  all 
pretty  disappointing  when  the  girls  merely 
acknowledged  the  introduction  in  formal 
politeness  and  then  managed  to  put  the  entire 
length  of  the  room  between  them  after  that 
.  .  .  which  is  about  as  far  as  anyone  ever  gets 
in  Hollywood.  The  only  thing  that  could  have 
been  more  fun  would  have  been  for  Connie- 


Roger  Pryor  and  Ann  Sothern  best 
pals,  but  then  a  tiff — and  a  picture 
they     had     to     work     together    in! 

Bennett  to  walk  in  with  Gilbert  Roland,  be- 
cause Norma  used  to  go  around  with  Gilbert 
quite  a  lot,  just  as  Connie  goes  out  with  him 
quite  a  lot  on  the  evenings  when  Hank  de  la 
Falaise  is  dining  with  little  Joan  Marsh.  Then 
toss  in  Georgie  Jessel  (who  is  now  married  to 
Norma)  and  David  Niven  (who  is  never  very 
far  away  from  Merle  Oberon)  and  then  have 
Joseph  Schenck  arrive  with  the  New  York  girl 
he  is  supposed  to  be  engaged  to  and  what  would 
you  have  but  a  typical  Hollywood  party? 

IN  their  way,   and    after   their   fashion,    the 
studios   have   just    as    much    fun    throwing 
monkey  wrenches  into  parties,  and  scrambling 
and  embarrassing  ex-romantics. 

To  pretty  Ann  Sothern  it  must  have  seemed 
nothing  short  of  the  irony  of  fate  that  Colum- 
bia happened  to  cast  her  in  "The  Girl  Friend" 
with  Roger  Pryor  as  her  screen  sweetheart, 


just  at  the  time  when  she  was  tiffing  violently 
with  Mr.  Pryor  in  the  role  of  her  private-life 
beau!  While  Roger  whispered  sweet  nothings 
in  Ann's  ear  before  the  camera — he  was  whis- 
pering nothing  in  her  direction  when  the  crank 
stopped  grinding,  for  the  simple  reason  that 
they  weren't  speaking  .  .  .  much  less  whis- 
pering! If  they  had  been  in  the  stenographic 
and  public  accountant  business,  say,  Ann 
could  have  taken  her  typewriter,  or  Roger 
could  have  moved  his  books  to  another  firm. 
But  the  Front  Office  laughs  at  heartaches  in 
Hollywood  and  there  was  nothing  left  for  Ann 
and  Roger  to  do  but  to  see  it  through.  This 
is  one  of  the  few  cases  on  record  that  didn't 
end  embarrassingly.  Ann  and  Roger  made 
up  a  week  after  the  picture  ended! 

Columbia  had  no  more  than  signed  Claud- 
ette  Colbert  to  make  "  She  Married  Her  Boss" 
than  they  invited  her  almost-divorced-hus- 
band-who-recently-announced-his-engage- 
ment-to-Sally-Blane  to  make  a  picture  on  the 
same  lot  at  the  same  time! 

K  A.W'BE  Columbia  didn't  know  that  Claud- 
' "  'ette  and  Norman  Foster  were  going  to  all 
sorts  of  bother  to  try  to  beat  the  Hollywood 
game  of  being  thrown  together.  (Just  the  week 
before  Claudette  had  turned  down  a  charming 
invitation  to  a  party  she  would  have  enjoyed 
because,  as  she  explained  to  her  hostess: 
"Norman  and  I  really  haven't  had  a  chance 
to  talk  over  our  break  .  .  .  and  it  would  be 
too  strained  meeting  at  your  house!"  So 
they  met  every  day  at  the  studio  instead!) 
The  only  thing  that  could  have  scrambled  this 
situation  more  thoroughly  would  have  been 
to  have  Sally  Blane  play  the  ingenue  lead  in 
Claudette's  picture. 

Just  the  other  night  I  saw  Estelle  Taylor 
and  "Van"  Smith  dining  at  the  King's  Club, 
and  Hollywood-minded  as  I  am,  I  couldn't 
help  wondering  if  they'd  seen  the  evening 
papers.  There  were  a  couple  of  front  page 
news  stories  spread  out  for  the  world  to  see 
that  should  have  interested  them  both. 

In  the  first  place  it  was  "news"  that  Miss 
Nancy  Carroll,  of  the  Hollywood  Carrolls, 
was  in  Reno  for  what  the  reporters  took  to  be 
the  express  purpose  of  getting  a  divorce  from 
Bolton  Mallory  so  she  might  marry  .  .  .  guess 
who?  .  .  .  Mr.  "Van"  Smith  who  was  dining 
in  Hollywood  with  Estelle  Taylor. 

In  another  box,  almost  as  conspicuous,  was 
the  little  human  interest  story  to  the  effect 
that  Isabel  Jewell  had  taken  a  tearful  leave 
of  Hollywood  proclaiming  to  high  heaven 
that  Hollywood  men  were  "not  to  be  trusted." 
For  six  years  Isabel  had  gone  with  Lee  Tracy 
who  was  now,  supposedly,  "going"  with 
Estelle  Taylor  who  was  dining  in  Hollywood 
with  "Van"  Smith. 

Sandwiched  between  these  items  of  interest 
was  a  large  and  beaming  photograph  of  Jack 
Dempsey  and  Hannah  Williams,  Dempsey 
holding  their  gurgling  daughter,  and  it  was 
kindly  called  to  your  attention  that  jovial 
Jack  was  formerly  the  husband  of  Estelle 
Taylor  who  was  rumored  to  be  the  present 
fiancee  of  Lee  Tracy  who  had  formerly  been 
the  fiance  of  Isabel  Jewell  until  Nancy  Carroll 
left  town  .  .  .but  where  am  I?  Oh,  yes,  I 
was  wondering  what  Estelle  and  "Van"  were 
discussing  that  evening.     I'm  still  wondering! 


PHOTOPLAY   MAGAZINE   FOR   NOVEMBER,    1935 


89 


e)« 


]ee  how  invisible 
Rhythm  Treads 
support  the  foot 
at  3  strain  points 
in  every  stride 


JutUUe 


J/arsella 


Sankr 


H>  I   §  Slightly  Hi 
^r         West  ol  I 


iaher 
West  of  the 
Rockies 


FAMOUS  DANCING  STAR  OF  STAGE  AND  SCREEN 

"Your  Rhythm  Step 
Styling  is  the  Smartest 
I  Have  Ever  Seen!" 


An  Utterly  New  Kind  of 

Style  Shoe  With  3 

Extra  Health  Features 

TO  win  such  praise  from  Marilyn  Miller,  Rhythm 
Step  shoes  had  to  be  sparkling  with  style  and  grace. 
And  they  decidedly  are.  It's  hard  to  believe  such  dainty 
shoes  actually  are  health  shoes.  It's  the  first  time  you 
have  ever  seen  a  trim,  light,  really  stylish  shoe  with 
comfort  features.  You  will  find  the  reason  in  invisible 
Rhythm  Treads — a  revolutionary  principle  that  makes 
it  possible,  for  the  first  time,  to  put  real  comfort 
features  into  lovely  style  shoes  without  sacrificing  a 
bit  of  their  grace. 

The  exclusive  Rhythm  Treads  buoy  up  your  foot  at 
three  additional  points,  instead  of  merely  bracing  the 
main  arch.  They  so  scientifically  tread  your  step  and 
cradle  your  foot  that  Rhythm  Step  shoes  keep  their 
dainty  shape  and  provide  perfect  support  for  all  arches 
— instead  of  just  one!  With  this  entirely  new  invention 
there  is  no  need  for  thick  leathers,  weighty  construc- 
tion, blocky  heels  and  heavy  shanks  to  ease  the  strain 
ot  body  weight.  It  means  extra  support  at  no  extra 
cost — in  shoes  so  fashion-right  and  lovely  they  will  win 
you  at  sight.  See  them  now — at  smart  stores  everywhere! 


7^*£ALT*^ 


JOHNSON,  STEPHENS  &  SHINKLE  SHOE  CO..  St.  Louis,  Mo. 

Makers  of  Fashion  Plate  Shoes 

Recognized  Style  Leaders  jor  Over  20  Years 


She  Had  to  Be  Famous 


[  CONTINUED  FROM  PACE  73 


Mrs.  Withers  is  a  plumpish  nice  looking 
woman  with  a  sunny  disposition  and  just  a 
hangover  of  a  Southern  accent.  She  touched 
Jane's  treasures  reverently — the  endless  array 
of  dolls  perched  all  over  the  apartment,  the 
autographed  pictures  of  movie  stars  and  radio 
greats,  the  dressing  table  she  had  liked  so 
well  when  making  "Ginger"  that  the  studio 
had  given  it  to  her,  the  silver  loving  cup 
from  the  beach  parade,  the  "brought  one" 
buttons  she  had  earned  at  Sunday  School,  the 
press  clipping  book.  She  fondled  them  as  if 
they  were  her  own. 

Then  the  story  came  out. 

IT  was  a  satisfying  story — the  kind  it  does  you 
'good  to  hear,  with  an  ending  that  nourished 
the  spirit  and  warmed  the  heart. 

Mrs.  Withers  wanted  to  go  on  the  stage  when 
she  was  a  girl.  She  wanted  desperately  to 
act — more  than  anything  else  in  life.  But  her 
family  was  a  respectable  German  family  of 
Louisville  and  they  didn't  believe  in  such 
things  for  their  daughters.  A  woman's  place 
was  in  the  home. 

So  Jane's  mother  married  and  went  to 
Atlanta  to  live,  swearing  that  if — no — when 
she  had  a  daughter,  that  daughter  should  be 
what  she  had  always  longed  to  be — an  actress. 
Don't  most  parents  see  in  children  a  second 
chance  at  life? 

And  long  months  before  her  expected  baby 
came,  she  walked  down  Peach  Tree  Street,  in 
Atlanta,  where  the  marquees  of  the  theaters 
blazed  in  electric  lights  the  names  of  great 
actresses.  But  to  her  they  always  read  "Jane 
Withers"  for  that  was  the  name  she  had  al- 
ready chosen  from  the  world  of  little  girls' 
names,  because  she  had  thought  it  all  over  and 
decided  that  "Jane"  would  look  best  in  lights. 

She  went  to  shows — all  that  time — almost 
every  day.  Stage  plays  and  musical  reviews, 
concerts  and  movies — everything  that  came 
to  town. 

And  always  the  girl  who  sparkled  and  pir- 
ouetted or  sang  lovely  songs  was,  of  course, 
her  little  girl,  Jane  Withers. 

"But  how  do  you  know  it  will  be  a  girl?" 
her  friends  kept  insisting  when  they  heard  her 
speak  of  "Jane"  and  saw  the  pink  bassinet 
and  the  little  chifforobe  full  of  dainty  little 
girl-baby  clothes. 

"She  will  be,"  repeated  Mrs.  Withers.  "  She 
has  to  be." 

And  she  was.  A  bright-eyed  little  buster 
with  a  wide  grin  who  clapped  her  tiny  hands 
when  her  mother  sang  "Just  A  Love  Nest"  to 
her  and  who  heard  hundreds  of  other  hands 
being  clapped  three  years  later  when  her 
mother  took  her  hand  and  trotted  her  over 
to  the  neighborhood  movie  house  where  they 
had  "amateur  nights." 

They  only  paid  eight  dollars  for  the  first 
prize  on  "amateur  night,"  but  Jane  made 
quite  a  good  thing  of  it,  because  she'd  travel 
around  to  all  the  amateur  nights,  and  always 
she'd  win  the  prize,  sometimes  two  or  three  a 
week.  Mothers  with  young  hopefuls  got  to 
calling  up  Mrs.  Withers. 

"Is — is  Jane  going  to  be  down  at  the 
theater  tonight?"  they'd  ask. 

"Yes,"  Mrs.  Withers  would  usually  say, 
"yes,  she  is." 

"Then,"  they'd  sigh,  "I  think  I'll  wait 
until  next  time  to  take  Marjorie."' 

90 


But  little  girls  who  won  the  prize  on  amateur 
nights  didn't  have  their  names  up  in  lights  on 
Peach  Tree  Street,  nor  did  little  girls  who 
became  big  juvenile  radio  revue  hits.  Jane 
at  five  was  topping  an  Atlanta  radio  program, 
making  forty-five  dollars  a  week.  But  that 
wasn't  what  her  mother  had  dreamed  about 

Her  friends  told  her  she  was  crazy  to  go 
alone  with  Jane  to  Hollywood.  They  re- 
minded her  that  she  didn't  know  anyone 
They  read  her  the  warnings. 

"  But  when  they  see  her,"  said  Mrs.  Withers, 
confidently,  "they'll  want  her." 

They  didn't  see  her  for  some  time.  "  Thank 
heaven,  there  wasn't  any  financial  trouble," 
Mrs.  Withers  said.  Mr.  Withers  couldn't 
leave  his  job  with  the  tire  company  in  Atlanta, 
but  he  sent  the  allowance  regularly  every  week. 
But  there  was  plenty  of  trouble  getting  inside 
studio  gates,  until  one  day  when  a  friend  asked 
her  to  come  along  with  her  to  a  studio  appoint- 
ment at  Fox.  Mrs.  Withers  and  Jane  just 
tagged  along,  but  Jane  knew  what  it  was  all 
about. 

The  casting  man  saw  her.  Jane  saw  to  that. 
"My,"  he  said,  "that's  a  cute  little  girl.  Do 
you  mind  if  we  take  her  address  and  telephone 
number?" 

"Not  at  all,"  said  Mrs.  Withers. 

CO  Jane  got  a  job  in  "Handle  With  Care," 
^and  her  mother  could  already  see  the  bright 
bulbs  on  Peach  Tree  Street  shouting  "Jane 
Withers."  She  wrote  her  friends.  They  wrote 
back,  "We  saw  the  picture,  but  we  couldn't 
see  Jane.  Mrs.  Green  says  she  thought  she  saw 
her  in  a  scene  or  two." 

But  it  was  different  with  "Bright  Eyes." 
Mrs.  Withers  dug  a  photograph  out  of  the 
table  drawer.  The  resplendent  front  of  the 
biggest  movie  house  on  Peach  Tree  Street 
screamed  a  dream  come  true. 

"SHIRLEY  TEMPLE  IN  'BRIGHT 
EYES,'  "  it  proclaimed  brilliantly,  "  WITH 
ATLANTA'S  OWN  JANE  WITHERS."  And 
she  won't  have  to  share  the  billing  when 
"Ginger"  comes  to  town. 

"You  can  guess  what  this  means  to  me," 
said  Mrs.  Withers.  Her  father's  awfully 
proud  of  Jane  too — although,"  she  laughed, 
"he  wanted  a  boy. 

"Shall  I  have  Jane  come  in — or  shall  we  go 
out — she's  in  her  'pent-house',"  explained  Mrs 
Withers,  "having  a  birthday  party." 

The  "pent-house"  was  a  yellow  square  play- 
house perched  on  the  roof  of  the  garage.  Over 
the  door  two  crossed  American  flags  pro- 
claimed the  patriotism  of  the  name  beneath  it 
—  in  sizeable  black  letters  —  "JANE 
WITHERS."  Scattered  around  the  outside 
were  various  boxes. 

"For  the  dogs,"  whispered  Mrs.  Withers, 
"they  don't  allow  dogs  in  the  apartment,  but 
Jane  is  always  picking  up  stray  dogs  on  the 
street.  She  slips  them  up  here  and  hides  them 
in  these  boxes.  Sometimes,"  she  sighed,  "we 
have  a  regular  dog  hotel." 

Jane,  in  a  red  corduroy  bathrobe  and  an 
absurd,  stringy  tartan  hair  ribbon,  was  pour- 
ing tea  for  a  three-foot  doll  and  a  protesting 
maltese  kitten  yclept  Bubbles. 

"Bubbles  has  a  birthday  every  week,"  she 
announced,  twisting  her  face  into  a  smile  of 
greeting.  When  Jane  talks  her  eyebrows  pop 
up  and  down  beneath  her  bangs  and  her  eyes 


squint   and   then   open.     Her   lips   twist   all 
around. 

"Her  father  told  her  to  stop  twisting  her 
face  all  up  when  she  talked,"  recalled  Mrs. 
Withers,  "but  Jane  said,  'Why,  Daddy,  that's 
what  made  Marie  Dressier' — so — Jane — don't 
do  that!" 

Jane  had  handed  Bubbles  a  vigorous  birth- 
day bite  on  the  ear  and  Bubbles,  objecting  to 
such  natal  day  mayhem,  was  raising  his  pleas 
to  high  heaven. 

"Remember,"  warned  her  mother,  "your 
father  said  he'd  take  Bubbles  away  if  you 
didn't  stop  biting  him." 

Jane  looked  sad.     "  But  I  love  him  so." 

"You'll  get  germs." 

Jane  made  a  face.  "Germs,"  she  said,  "I 
hate  that  word."  She  kissed  Bubbles  on  the 
neck  and  squeezed  his  ribs  savagely.  Bubbles 
wriggled  free,  yowling,  and  decided  to  clear 
out. 

Jane  regarded  his  retreating  bounds  philo- 
sophically. "I  like  cats,"  she  stated.  "Cats 
and  dogs — and  kids." 

"Boys  or  girls,"  I  asked. 

"Oh,  I  like  girls,"  said  Jane,  "but  not 
much." 

"  She  likes  Jackie  Searl,"  said  Mrs.  Withers. 

"Mo-ther,"  protested  Jane.  "You're  always 
telling  on  me." 

"I  think  he's  the  boy  friend,"  said  Mrs. 
Withers. 

Jane  shot  a  glance.     "I  like  kids." 

Over  at  the  other  place,  at  "fifty-five-fifty- 
five,"  (doubtless  a  street)  it  seems,  Jane  was 
promoter  and  president  of  the  "All-Kids 
Club."  She  liked  "fifty-five-fifty-five"  about 
the  best  of  all  the  places  they  had  lived,  al- 
though one  apartment  house  had  Chinese  serv- 
ants, which  was  nice,  because  as  Jane  con- 
fided, "They  always  carry  knives."  But  at 
"fifty-five-fifty-five"  there  was  a  haunted 
house  next  door  and  a  vacant  lot  with  trees. 
The  "All-Kids"  built  a  club  house  in  the  trees, 
which  was  a  wonderful  idea  because  you  could 
sit  up  there  all  day  with  a  spyglass  and  watch 
for  "enemies." 

One  day  Jane  and  the  kids  tunneled  into 
the  cellar  of  the  "haunted  house"  and  dis- 
covered a  "pirate's  chest."  It  contained,  in- 
stead of  doubloons,  a  lot  of  fancy  dress  clothes, 
in  which  the  "All-Kids"  immediately  arrayed 
themselves  and  scattered  about  the  house  until 
some  one  called  Frank,  the  cop  on  the  block. 
Frank  was  a  member  of  the  "All-Kids  Club," 
but  he  was  forced  to  break  his  blood  vows  and 
chase  his  colleagues  off  private  property. 

"  RUT  one  kid,"   related  Jane    breathlessly, 

'-'"got  clear  to  the  attic  before  Frank  got 
there — and  you  know  what  he  saw?" 

I  didn't. 

"A  skel'ton,"  said  Jane  impressively,  "a 
skel'ton,  hanging  on  a  rope?' 

'•Jane!"  said  Mrs.  Withers.  "Maybe  you'd 
better  tell  about  the  nice  kids  over  there." 

When  the  Withers  moved  to  their  present 
home,  Jane  had  already  made  "Bright  Eyes." 
The  day  they  moved  in  a  ring  of  tykes  lined  up 
beneath  the  window.  They  didn't  know  Jane's 
name,  only  the  name  she  had  in  "Bright  Eyes." 

"Joy-eee"  they  wailed  in  whiny  voices,  "Joy 
Smy-uth — kin   you   come   down    and   play?" 

Jane  poked  her  head  out  the  window,  hands 
on  hips. 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


"Say-ay,"  she  said,  "lay  off  that  Smythe 
stuff.  My  name's  Jane.  Be  down  in  a  minute." 
Now  she  spends  all  the  nickels  in  her  weekly 
dollar  allowance  sustaining  boom  times  for  the 
swarm  of  kids  in  the  block — all  of  whom  sell 
magazines  or  something. 

You  can't  imagine  what  a  feminine  Penrod 
this  little  character  is.  She's  right  out  of  a 
Booth  Tarkington  book.  She  told  me  how 
much  fun  it  was  to  put  on  a  circus  and  how  to 
make  a  dog  into  a  lion  by  sticking  feathers 
around  his  neck.  She  said  the  only  way  to  run 
a  club  was  to  have  secret  codes. 

She  said  she  was  a  whiz  at  marbles  and  that 
she  could  make  a  slot  machine  pay  every  time. 
When  she  was  making  "Ginger,"  she  said,  she 
and  Jackie  Searl  would  go  every  noon  and  play 
the  slot  machines. 

CHE  said  she  could  pick  a  winner  in  a  horse 
^race  and  that  once  she  had  won  seven  dol- 
lars and  a  half  on  the  gambling  ship — 

"Jane!"  said  Mrs.  Withers,  with  a  soprano 
smile,  "S-h-h-h — " 

"Well — maybe  it  was  just  seven  dollars," 
said  Jane,  "but  remember  how  all  the  people 
were  hanging  around  me  for  luck?" 

What  a  girl! 

And  Mr.  Withers  had  wished  for  a  boy!  It 
looked  to  me  as  if  they  both  had  got  their  wish. 

"Of  course,  I  had  a  swell  time  making 
'Ginger,'  "  proceeded  Jane,  unruffled,  "es- 
pecially when  I  was  up  on  the  roof.  But  boy! 
Will  I  have  fun  next  picture!  Did  you  ever 
play  'tramp'?" 

I  couldn't  remember.' 

"Me  and  John — he  was  our  darkey  man 
down  in  Atlanta — we  used  to  sneak  off  up  the 
railroad  tracks  and  play  'tramp',  "  confided 
Jane.  "  Boy,  is  it  fun!  Well — in  my  next  pic- 
ture I'm  going  to  wear  boy's  clothes  and  run 
away  with  a  tramp." 

Mrs.  Withers  chuckled.  "She's  tickled  to 
death  about  that,"  she  said.  "Whatever 
Jane  does  at  the  studio  she  puts  her  whole 
heart  into.  I  guess  I'm  partly  responsible  for 
that.  When  she  was  just  a  little  thing  I  used 
to  tell  her,  'Whatever  you  do,  put  something 
in  it.  Put  something  in  it  or  don't  do  it  at 
all.'" 

"Then  Jane,"  I  said,  "when  you  said  'I 
want  a  machine  gun'  in  'Bright  Eyes' — did 
you  really  want  a  machine  gun?" 

"Sah-ay,"  said  Jane,  "I  just  love  to  pop 
ducks  in  a  shootin'  gallery.  If  I  really  did 
have  a  machine  gun — "  * 

She  crouched  in  her  chair.  Her  lip  rolled 
out.  A  finger  stuck  stiffly  out  before  a  menac- 
ing squint.  Another  jerked  an  imaginary 
trigger. 

"  Huh-huh-huh-huh-huh — "  went  Jane,"huh- 
huh-huh-huh-" 

What  a  girl — what  a  girl! 
The  man  was  right.     She  isn't  ginger,  she's 
dynamite. 


"You're  going  to  have  a 

college  education 

regardless" 

That  was  his  father's  order  to  Manches- 
ter Morris.  And  what  did  Manchester 
do?  You'll  find  out  in  December  PHO- 
TOPLAY, out  November  5.  Since,  Man- 
chester became  your  old  friend  Chester 
Morris,  as  you'll  discover  in  this  most 
amusing    story    ever    written    about    him. 


COOL  UNDER  FIRE! 


COOLER — they've  got  a  touch  of  mild  menthol  to  refresh  your  throat. 
Tastier — because  the  fine  tobacco  flavor  is  kept  at  the  peak.  And 
you  get  a  fat  dividend  in  the  valuable  B&W  coupon  in  each  pack;  save  them 
for  handsome  premiums.  (Offer  good  in  U.S.A.  only.)  Now  that  the  season 
of  overheated  rooms  and  sniffles  is  coming,  do  right  by  your  throat;  get 
on  the  trail  of  KGDLS.  And  send  for  latest  illustrated  premium  list  No.  10. 


AMAZIN 
AUTO    LIGHTER 

HOLDS  FULL  PACK  . . .  HANDS  DRIVER  CIGARETTI 
ALREADY  LIT  . .  .  $2.50  VALUE  MAILED  FOR  $1.00 
PLUS  FIVE  FRONTS  FROM  KG9L  OR  RALEIGH  PACK- 
AGES (OR  SENT  FOR  ONLY  ISO   RAW  COUPONS) 


THIS  smart-looking  holder-and-lighter 
clamps  to  steering  post  in  a  jiffy.  Out  of 
your  way — but  handy.  Holds  24  cigarettes. 
Press  with  finger,  and  it  hands  you  a  smoke 
already  lit.  Safer,  more  convenient  for  driver. 
Would  be  swell  value  at  $2.50  but  it's  not  for 
sale  in  stores.  It's  yours  for  only  $1  plus  five 
fronts  from  KOOL  or  RALEIGH  packs.  (You 
can  combine  KOOL  and  RALEIGH  fronts  to 
total  5.  No  need  to  destroy  packages,  simply 
tear  out  printed  label  fronts.)  Or — if  you  prefer 
— send  us  150  B  8b  W  coupons,  and  no  money. 


Brown  &  Williamson  Tobacco  Corp. 
P.  O.  Box  180,  Louisville,  Kentucky 
Check  offer  you  select  (good  in  U.S.A.  only) 

□  I  enclose  $1  (dollar  bill,  stamps  or 
money  order)  and  five  fronts  from 
packages  of  KOOL  or  RALEIGH 
Cigarettes. 

]    I  enclose  150  B  &  W  coupons. 


Send  lighter-holder  post-paid  to 


Name, 


Address. 
City 


-State. 


Director  "Woody"  Van  Dyke  enjoys  having  his  friends  about  him,   and   sees   that  they   have  a   great 
time.       Here    he's    the    center    of    Brian    Aherne,     Isabel     Jewel,    Shirley     Ross,     and     Fred    Keating 


Left,  Eric  Blore  and 
Kasha  Le  Sueur,  Joan 
Crawford's  sister-in- 
law,  tuck  in  some  of 
the  Van  Dyke  barbecue 


More  of  the  barbecue. 
Eric  Blore,  above  cen- 
ter, looks  over  the 
cards  before  Fred 
Keating  tries  some 
tricks.  Charles  Butter- 
worth    also    eyes    'em 


[continued  from  page  6| 
slant  at  them.     Don't  you  think  it  would  be 
worth  a  try? 
Mrs.  Daisy  Hessler,  Hutchinson,  Kansas 

BOW,   MISS  ARTHUR 

IEAN  ARTHUR  gives  true  expression  to  a 
^woman's  feelings,  not  only  in  the  relation 
to  the  man  she  loves,  but  as  a  comrade,  a 
sister,  and  a  daughter — and  all  in  the  same 
drama.  She  knows  how  to  follow  a  sudden 
inclination  into  an  action,  filled  with  charming 
drollery;  and  she  can  make  a  smiling  sense  of 
humor  break  through  the  worry  and  the  woe 
of  a  nearly  hopeless  conflict. 

C.  L.  Christensen,  New  York  City 

92 


A  MASTERPIECE 

EVEN  at  this  late  date  I  come  forth  to  praise 
*—  and  hail  the  courageous  producer  for  it — 
Walter  Wanger's  "Private  Worlds  "  In  it  the 
cinema  digs  more  deeply  and  dramatically  into 
the  souls  and  beings  of  its  characters  than  any- 
thing ever  pictured  before.  To  see  "Private 
Worlds"  is  to  live,  breathe,  and  remember  it 
— perhaps  forever — which  truly  is  a  test  or  a 
measure  of  quality  that  very  few  pictures  have 
so  far  remotely  attained.  Adding  to  this  the 
splendid  and  thoroughly  capable  work  of  its 
cast,  the  haunting  appropriateness  of  its  music. 
plus  the  incomparable  beautiful  photography. 
"Private  Worlds"  is  indeed  a  masterpiece. 
Florence  Zuleger,  Minneapolis,  Minn. 


KEEP  ACCENT  IN 

A  FTER  "  Escapade,"  William  Powell  steps 
'  *out  of  character  for  a  moment  to  introduce 
Luise  Rainer.  And  Miss  Rainer  says  that  she 
will  try  to  improve  her  English  for  her  next 
picture. 

Why  is  it  that  Hollywood  always  does  that 
to  foreign  actors  and  actresses?  A  foreign 
accent  always  sounds  nice  on  the  screen  for  a 
change. 

It  would  be  very  nice  if  Miss  Rainer  and 
other  foreign  actors   and   actresses   like   her 
could  keep  their  accent,  as  long  as  it  is  as  clear 
as  Miss  Rainer's  is. 
It  is  fetching. 

R.  G.  Kehoe,  Pelham,  N.  Y. 


PHOTOPLAY   MAGAZINE   FOR   NOVEMBER,    1935 


93 


Still  the  Greatest  Mothe 


RED   CROSS 
SERVICE 

IN 

RELIEF, 

HEALTH 

AND 
SAFETY 


"Red  Cross  relief  workers  rescue  families  in  flooded  sections,  house  refuges, 
feed  families  and  give  medical  care  .  .  ." 

"Red  Cross  mobilizes  relief  forces  to  house  and  care  for  the  panic-stricken 
families  in  the  tornado-swept  belt  .  .  ." 

"Red  Cross  emergency  hospitals  and  25  nurses  protect  lives  in  the  dust 
bowl  area  where  measles  epidemic  and  pneumonia  patients,  victims  of  the 
prolonged  dust  storms,  need  care  .  .  ." 

Descriptive  phrases  such  as  these  are  part  of  every  news  story  of  a 
catastrophe,  because  Red  Cross  disaster  relief  workers  are  always  first  on  the 
scene.  Their  task  is  to  bring  order  out  of  chaos,  to  see  that  suffering  is 
halted,  that  the  injured  are  cared  for. 

Weeks  later  when  memory  of  the  disaster  may  have  been  effaced  to  all 
but  those  upon  its  immediate  scene,  the  Red  Cross  relief  workers  are 
still  carrying  on.    There  are  problems  of  returning  families,  who  are  with- 


out resources,  to  a  self-sustaining  basis,  and  there  may  be  problems  of  sick, 
and  injured  still  in  hospital.  . 

During  ten  months  up  to  May  1,  1935,  the  Red  Cross  gave  relief  in  85 
disasters,  appropriating  $585,850.  Floods  and  tornadoes  were  of  greatest 
frequency.     In  this  period,  13,500  families  were  cared  for. 

This  is  but  one  service  of  the  Red  Cross.  Its  Public  Health  Nurses 
annually  visit  more  than  a  million  sick  and  well  in  the  interest  of  good 
health.  Red  Cross  nurses  teach  Home  Hygiene  and  Care  of  the  Sick  to 
additional  thousands  of  men  and  women,  school  boys  and  girls.  It  trains 
men  and  women,  boys  and  girls  in  Life  Saving  and  First  Aid. 

More  than  50,000  C.  C.  C.  members  were  trained  in  First  Aid  in  1935, 
and  thousands  were  taught  Life  Saving  to  safeguard  swimmers  from  drown- 
ing. .  ,  . , 

The  Red  Cross  has  cooperated  with  federal  relief  agencies  in  every  beLd. 


BROADWAY'S 

GIFTS   TO 
HOLLYWOOD 


Taylor  and  June  Knight  present 
another  phase  of  the  new  dance, 
Broadway  Rhythm,  from  M-G- 
M's  screen  musical  extravaganza 


Jack  Benny,  stage 
and  radio,  as  well 
as  screen  star,  is 
a  Broadway  gos- 
sip columnist  in  the 
musical,  which  has 
a  galaxy  of  other 
noted  big  "names" 


Introdoocin'  Mine. 
la  belle  Arlette. 
otherwise  Eleanor 
Powell,  in  "Broad- 
way Melody."  She 
has  a  pair  of  the 
cleverest  dancing 
feet  in  Hollywood! 


94 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


95 


Face  Down 


[  CONTINUED  FROM  PAGE  39  1 

floor,  groped  uncertainly  for  the  wall,  braced 
himself  and  stood  for  a  moment,  then  said  to 
Vilma  Fenton,  "  Don't  mind  me,  I'm  all  right." 

Dick  Brent  led  the  way  across  the  corridor. 
The  door  of  the  opposite  room  was  ajar.  Brent 
pushed  it  open,  stepped  inside.  He  groped  for 
and  found  a  switch  button,  clicked  on  the 
lights. 

Very  apparently  this  room  had  recently  been 
occupied.  The  tracks  of  muddy  feet  were  on 
the  carpet.  Several  cigarette  stubs  were  on  the 
floor  near  the  door.  A  long  wedge-bladed 
knife  had  fallen  near  them.  A  gray  cap  soaked 
with  rain  was  in  the  middle  of  the  bed,  as 
though  someone  had  carelessly  flung  it  there  on 
entering  the  room. 

Brent  took  swift  charge  of  things. 

"You  can't  stay  away  from  your  guests, 
Miss  Fenton,"  he  said.  "You'd  better  leave 
this  to  me." 

"How  about  you,  Arthur,"  she  asked,  "can 
you  go  back  downstairs  and  act  as  though 
nothing  had  happened?" 

"Just  a  moment,  I'll  see,"  he  said.  He  gave 
his  head  a  quick  shake  from  side  to  side, 
swayed  for  a  moment,  then  managed  a  grin. 
"A  little  punch  groggy,  ma'am,  but  I  can  take 
it." 

"  (~10  down  and  see  that  the  cocktail  glasses 
^are  filled,  Arthur,"  the  actress  told  him. 
"Remember,  it  was  just  a  window  that  blew 
open  and  smashed  the  glass.  Don't  answer 
too  many  questions." 

The  big  man  took  a  deep  breath,  walked 
from  the  room. 

Brent  indicated  the  cap  on  the  bed,  the  knife 
on  the  floor,  the  row  of  cigarette  stubs. 

"The  assailant  hid  in  this  room,  smoking 
cigarettes  while  he  was  waiting.  He  heard 
steps  going  past  the  door,  stepped  out  into  the 
corridor.  Either  he  knew  it  was  the  butler  and 
wanted  to  get  him,  or  else  thought  it  was  some- 
one else." 

"Thought  it  was  who?"  she  asked,  her  eyes 
staring  steadily  into  Brent's  face. 

"You,"  he  told  her. 

She  didn't  so  much  as  wince,  but  stood  very 
straight,  her  backless  gown  showing  her  figure 
to  advantage.  Her  face  was  no  longer  pale,  but 
flushed  with  natural  color. 

"Who  was  it?"  he  asked. 

"I  don't  know." 

"You  haven't  time  to  lie  to  me." 

"I  know  it." 

"Who  was  it?" 

"I  don't  know." 

She  met  his  eyes  defiantly  but  steadily. 

"  Why  did  you  kill  Dr.  Copeland?  "  he  asked. 

"I  didn't  kill  him." 

"Do  you  know  Merla  Smith?"  Brent  asked. 

"Not  personally,  why?" 

"  Do  you  know  who  she  is?" 

"Yes,  of  course,  the  daughter  of  J.  Fenton 
Smith,  the  millionaire  lumber  man.    Why?" 

"Dr.  Copeland's  day  book  shows  that  she 
had  an  appointment  with  him  early  this  after- 
noon, but  there  isn't  any  case  history  for  her. 
I  wondered  if  she  might  be  connected  with  any 
dealings  you  may  have  had  with  Dr.  Cope- 
land." 

"Impossible!"  the  actress  exclaimed  with 
such  vehemence  that  Brent  would  have  been 
entirely  convinced  had  he  not  had  previous 
experiences  with  this  young  woman's  ex- 
traordinary ability  as  an  actress. 


STEICHEN 


w 


// 


No 


ior  lips   that  want  romance 


It's  a  clever  girl  who  keeps  her 
lips  an  ardent  invitation  to  ro- 
mance. But  lips  can't  be  that .  . . 
if  the  skin  is  dried  and  roughened  by  Lip- 
stick Parching. 

So,  you  must  ask  your  Lipstick  to  do 
more  than  merely  tint  your  lips.  It  should 
protect  the  texture  .  . .  keep  that  sensitive 
skin  smooth  and  petal-soft.  That's  where 
so  many  lipsticks  fail.  Some  seem  actually 
to  leave  the  lips  rougher. 

Coty  has  proved  that  lipstick  can  give 
you  the  most  exciting  color .  .  .  indelible 
color  .  .  .  without  any  parching  penalties! 


j!j  Try  the  new  Coty  "Sub-Deb" 
Lipstick  and  see!  It  actually 
smooths  and  softens  lips.  That's 
because  it  contains"Essence  of  Theobrom," 
a  special  softening  ingredient. 

Make  the  "Over-night"  Experiment! 
The  "over-night"  test  has  convinced  many 
girls  that  Coty  Lipstick  is  every  bit  as  re- 
markable as  we  say.  Just  put  on  a  tiny  bit 
of  the  lipstick  before  you  go  to  bed.  In  the 
morning — rejoice!  Your  lips  are  smooth 
and  soft  as  camellia  petals! 
Coty  "Sub-Deb"  comes  in  5  indelible  col- 
ors, 50c.  Coty  "Sub-Deb"  Rouge,  also  50c. 

A   revelation!     Coty  "Air  Spun"   Face 
Powder  .  .   with    a    new    tender    texture. 


SUB.    DEB"    LIPSTIC 


kJOS 


"Why  did  you  try  to  make  me  the  fall  guy?" 
Brent  asked. 

"I  didn't." 

"Listen,"  he  told  her.  "You  knew  I  was 
going  to  go  to  Dr.  Copeland's  office.  You 
tried  to  fix  things  so  that  the  police  would  pick 
me  up  there." 

"No,  no,"  she  said,  "please  don't  think  that 
of  me.  I  didn't  know  anything  about  it  .  .  . 
until  .   .  ." 

"Until  after  I  had  left  Alter's  office?"  he  in- 
quired. 

"Yes." 

"You  knew  what  Alter  was  going  to  do?" 

"After  you  left.  .  .  .  Oh,  I  don't  mean  that. 
I  don't  know  what  Alter  did." 

Dick  Brent  laughed  grimly. 

"Don't  try  to  protect  him,"  he  said.  "I've 
got  so  I  know  him  by  this  time.  I  should  have 
been  on  my  guard  when  he  made  such  lavish 
promises  about  money." 

She  remained  silent,  as  though  rigidly  adher- 
ing to  some  resolve. 

"Not  talking?"  he  asked. 

"Not  talking,"  she  replied. 

DRENT  opened  his  pocket  knife,  pressed  the 
*-^ point  of  its  blade  into  the  wooden  handle  of 
the  big  knife  which  had  been  left  on  the  floor. 
He  produced  a  small  phial  of  powder,  dusted 
it  over  the  surface  of  the  big  knife,  covering 
both  the  handle  and  the  blade. 

"Fingerprints?"  she  asked. 

"Lots  of  them,"  he  told  her.  "I  want  a  safe 
place  where  I  can  leave  this  knife  until  I  can 
send  out  a  man  with  a  fingerprint  camera  to 
photograph  those  latents." 

She  indicated  a  closet.  Brent  opened  the 
closet  door,  opened  a  cedar-lined  drawer  in  the 
closet,  deposited  the  knife,  setting  it  carefully 
on  edge,  propped  up  by  the  pen  knife.  He 
closed  the  drawer,  closed  the  closet  door,«locked 
it,  and  put  the  key  in  his  pocket. 

"  What  hold  did  Dr.  Copeland  have  on  you?" 
he  asked. 

"I  can't  tell." 

"You  will  sooner  or  later." 

"I  can't." 

Brent  looked  at  his  wrist  watch  and  said 
bluntly,  "Okay.  Someone's  always  trying  to 
make  me  the  fall  guy.  Go  down  to  your 
guests." 

She  came  a  step  toward  him. 

"You  detest  me?"  she  asked. 

"Yes,"  he  told  her,  without  any  particular 
rancor,  as  one  who  is  stating  a  matter  of  fact. 

She  stood  very  close  to  him. 

"Listen,"  she  said,  "you  must  understand 
me.  I  play  fair.  I  didn't  have  anything  to  do 
with  what  happened  to  you.  I  wouldn't  have 
permitted  it  had  I  known  what  was  being 
planned.  I'm  not  a  spoiled,  selfish  snob.  I've 
fought  my  way  up  from  the  bottom. 

"My  publicity  agent  tells  me  I  must  keep  it 
under  cover,  but  I  was  a  waitress  in  a  railroad 
restaurant.  I've  worked  as  a  stenographer  and 
been  darn  glad  to  get  work  when  I  could  get  it. 
When  I  couldn't  get  stenographic  work  I'd 
wait  tables.  Then  I  got  a  break  in  Holly- 
wood." 

"Why  tell  me  this?"  he  asked,  but  his  eyes 
were  no  longer  hostile.  They  were  surveying 
her  face  with  quizzical  interest. 

"  Because,"  she  said,  "I  have  only  one  creed. 
I  play  fair.  I  don't  want  you  to  think  I 
double-crossed  you,  and  I  want  you  to  know 
what  it  means  to  me  ....  I  can't  tell  you. 
.  .  .  Even  if  I  could  bring  myself  to  do  it,  I 
haven't  the  time.  But  everything  I  have  is  in 
danger.  My  career  may  be  swept  out  from 
under  my  feet." 

Brent  raised  his  eyebrows. 


"That  serious?"  he  asked. 

"That  serious,"  she  told  him. 

Brent's  eyes  narrowed.  "  Get  back  to  your 
guests,"  he  said. 

"What  are  you  going  to  do?" 

"I'm  going  visiting." 

It  took  a  moment  for  his  remark  to  register. 

"You  mean  you're  going  to  see  Frank 
Alter?" 

"I'm  going  to  see  Frank  Alter." 

She  placed  an  impulsive  hand  on  his  sleeve. 

"Please,"  she  said,  "don't  tell  Alter  what's 
happened  here." 

"Why?  He's  your  lawyer,  isn't  he?  Haven't 
you  got  confidence  in  him?" 

Slowly  she  shook  her  head.  "Not  after 
.  .  .  not  after  tonight.  I  went  to  him  be- 
cause I  was  told  he  always  got  results,  and  I 
needed  results.  I  needed  them  most  des- 
perately. But  not  so  badly  that  I  needed  to 
double-cross  those  who  are  trying  to  help  me. 
And  even  Alter  didn't  intend  to  let  the  police 
catch  you.     When  I  protested,  he  said  you 


Paulette  Goddord,  in  a  scene  from 
the  new  Charlie  Chaplin  production. 
The  film,  many  months  in  the  making, 
is  scheduled  for  release  before  long 

were  too  resourceful  to  be  caught.  Do  you 
understand  how  I  feel?" 

Looking  into  her  eyes,  he  said  slowly,  "Yes, 
I  understand." 

Her  face  brightened.  "Come  on,"  she  said, 
"I  must  get  back  to  my  guests.  You'll  have 
to  leave.  I'll  make  excuses  for  you.  Re- 
member that  you're  a  very  old  friend,  a  very 
intimate  friend." 

"You'll  give  me  some  other  name?"  he 
asked,  "in  speaking  of  me  to  your  guests?" 

"I  don't  care,"  she  told  him.  "You  may  be 
known.  Someone  there  may  have  recognized 
you  or  may  see  you  later  on  and  find  out  your 
real  name.  I  dare  not  let  anyone  think  your 
visit  was  professional." 

She  led  him  down  the  stairs  and,  as  they 
approached  the  living  room,  Dick  noticed 
there  were  no  longer  sounds  of  merriment 
emanating  from  behind  the  thick  curtains 
which  were  drawn  across  the  entrance.  It 
was  as  though  some  subtle  tension  of  fear 
had  gripped  the  house. 

Wind  still  blew  wildly  through  the  broken 
window,  whistled  past  the  jagged  fragments  of 
glass  and  made  a  cold  draft  down  the  corridor. 

"Tell  me,"  she  asked,  "did  someone  jump 
out  through  that  window?" 

"I  don't  know,"  he  said,  "I'll  make  an 
investigation  when  I  get  outside." 


"You'll  be  careful?"  she  asked. 

"You,"  he  told  her,  "are  the  one  to  be 
careful." 

She  flung  aside  the  portieres,  and,  with  the 
motion,  her  personality  underwent  swift 
transformation. 

The  actress  in  her  came  to  the  front.  She 
stood  smiling  at  her  guests  with  half  parted 
lips  and  starry  eyes. 

"K/Y   FRIENDS,"   she  said,   "tonight  I'm 

v  'very,  very  happy.  I've  met  an  old  friend, 
one  with  whom  I'd  lost  contact  for  years. 
I'm  sorry  that  he  can't  stay,  but  I  want  you 
to  know  Dick  Brent." 

She  turned  to  him,  placed  her  hand  on  his 
arm. 

"I'm  not  performing  individual  introduc- 
tions," she  said.  "He's  late  for  a  most  im- 
portant appointment  and  I  promised  him  he 
wouldn't  be  delayed." 

She  raised  her  face  to  his. 

"  Good  night,  Dick,"  she  said,  in  a  low, 
purring  voice. 

For  a  moment  he  wondered  why  she  had 
chosen  to  say  good-night  to  him  at  this  place 
and  in  this  manner,  then  suddenly  he  realized 
the  significance  of  her  upraised  chin,  her  red, 
half  parted  lips. 

He  bent  forward. 

Her  arm  flung  itself  joyously  around  his 
neck.  She  pressed  her  lips  to  his  in  a  long, 
clinging  embrace. 

Guiltily,  she  jumped  back,  laughed  nerv- 
ously, said,  "Oh  Dick,  what  made  you  think 
that  just  because  I'd  become  prosperous  I  was 
going  to  forget  my  old  friends?  Why  did  you 
try  to  keep  out  of  my  life?  Come,  I'll  run  to 
the  door  with  you.     You  must  hurry." 

She  waved  her  hand  to  her  guests,  grabbed 
his  arm,  pushed  him  toward  the  corridor, 
said  to  the  butler  who  handed  Brent  his  hat 
and  raincoat  in  grim,  hostile  silence,  "Never 
mind,  Arthur,  I'll  open  the  door  for  Mr. 
Brent." 

She  twisted  at  the  knob.  Brent  pulled  it 
open.  Moist  wind  rushed  in  through  the  door- 
way, whipping  her  garments  about  her. 

"Lock  the  door,"  Brent  told  her.  "Keep 
it  locked.  You'll  hear  from  me,  later. 
Good  night,  Miss  Fenton." 

She  clutched  at  his  arm,  said  in  a  hurried 
whisper,  "  Don't  ever  call  me  that.  Call  me 
Vilma.  Remember,  you're  an  old  friend.  No 
one  must  ever  suspect  you're  seeing  me  in  a 
professional  capacity." 

He  nodded.    "Good  night,  Vilma." 

"Goodnight,  Dick." 

She  stood  in  the  doorway  for  a  moment  as 
he  moved  out  into  the  rain.  The  lights  from 
the  hallway  filtered  through  her  white  evening 
dress,  disclosed  the  contours  of  a  figure  that 
a  leading  costume  designer  had  emphatically 
declared  was  the  best  in  Hollywood. 

She  raised  fingers  to  her  lips,  blew  him  a 
kiss,  and  then  the  door  closed. 

Brent  took  a  small,  flat  flashlight  from  his 
raincoat.  He  moved  through  the  damp 
shrubbery.  His  feet  skidded  on  the  muddy 
surface  of  the  ground  until  he  had  to  clutch 
at  the  overhanging  branch  of  a  tree  to  steady 
himself. 

I IE  was  directly  under  the  hallway  window 

'  '  which  had  been  broken.  It  was  some  twelve 
feet  above  the  ground,  and  Brent,  sending  the 
beams  of  his  flashlight  in  a  questing  circle, 
looking  for  footprints  in  the  moist  ground, 
found  himself  staring  at  an  overturned  chair, 
surrounded  by  fragments  of  glass  which  re- 
flected back  the  beam  of  his  spotlight. 

There  were  no  footprints.     Brent  snapped 


96 


PHOTOPLAY   MAGAZINE  FOR  NOVEMBER,    1935 


out  the  flashlight,  returned  to  the  porch, 
pressed  the  doorbell. 

A  moment  later  the  big  butler  opened  the 
door.     His  face  was  coldly  impassive. 

"  You  wished  to  see  Miss  Fenton?  "  he  asked. 

"No,"  Dick  said,  lowering  his  voice,  "tell  her 
there  are  no  footprints  under  (he  window.  The 
man  who  struck  you  must  still  be  in  the 
house." 

"Unless,"  the  butler  said  meaningly,  "he 
left  by  the  front  door." 

Brent's  voice  was  impatient.  "  Forget  that 
stuff.  Give  my  message  to  Miss  Fenton.  Tell 
her  not  to  remain  alone  in  this  house  under  any 
circumstances.  Tell  her  I'm  sending  out  a  man 
to  cover  the  premises  from  the  inside.  She  can 
trust  him.     His  name  is  Peters." 

The  butler  bowed  from  the  waist. 

"Very  good,  sir,"  he  said  in  a  tone  which 
contained  neither  respect  nor  humility. 

A  moment  later  the  door  slammed  with  the 
sound  of  complete  finality. 

CHAPTER  VI 

THE  storm  had  increased  in  intensity. 
'  Wind,  which  had  blown  first  from  the  south- 
west, swung  to  the  southeast.  Along  the 
Dark  Canyon  Road  toward  Burbank,  euca- 
lyptus trees  threshed  about  like  grotesque, 
thick-ribbed  umbrellas  turned  wrong  side  out 
by  the  force  of  the  wind. 

Dick  Brent  turned  his  car  to  the  right  and 
started  climbing.  From  time  to  time,  gusts  of 
wind  hit  the  automobile,  and  made  it  wabble 
over  the  wet  pavement. 

Frank  Alter  had  built  his  house  on  the  ridge. 
From  one  side  he  had  a  view  over  the  dam  and 
reservoir,  out  to  the  lights  of  Los  Angeles. 
From  the  other  side  he  could  see  across  the 
long  panhandle  of  the  Universal  lot,  out 
toward  the  San  Fernando  Valley.  Jagged 
cloud  wisps  seemed  to  clutch  at  the  tiled  roof 
of  the  big  house,  as  though  trying  to  arrest 
their  wind-driven  progress. 

But  the  wind,  blowing  through  the  pass 
with  the  force  of  a  gale,  whipped  the  stream- 
ers of  down-flung  moisture  into  fragments, 
struck  the  clouds  themselves  with  sufficient 
force  to  make  them  swirl  and  eddy  as  they 
scurried  over  the  mountain  pass  to  spread  out 
in  a  more  orderly  formation  over  the  valley. 

Rain  pelted  with  ever  increasing  violence. 

Brent  turned  his  car  into  _the  driveway, 
switched  off  the  ignition  and  the  headlights. 

He  reconnoitered  before  ringing  the  bell. 
Lights  showed  from  a  window  in  the  study. 
The  shade  had  been  drawn,  but  there  was  an 
inch  at  the  bottom  through  which  sufficient 
light  filtered  to  illuminate  the  driving  rain- 
drops. 

Dick  squashed  his  way  through  the  soft 
earth  to  peer  in  at  that  window.  He  had 
trusted  Alter  once,  to  his  sorrow.  He  didn't 
intend  to  walk  blindly  into  the  lawyer's 
clutches  again. 

Through  the  slit  between  the  curtain  and 
the  base  of  the  window,  he  saw  the  paunchy 
criminal  attorney  seated  in  a  huge,  overstuffed 
Chair,  his  short,  stubby  legs  thrust  out  in 
front  of  him,  the  feet  resting  on  an  ottoman. 
A  cigar  was  held  between  the  first  and  second 
fingers  of  his  right  hand.  He  was  talking, 
and  gesturing  with  that  hand  as  he  talked. 

DRENT  could  not  hear  the  words,  but,  from 
uthe  man's  gestures,  he  could  reconstruct  the 
suave  stream  of  ready  eloquence  which  was 
purring  from  the  lips  of  the  professional  spell- 
binder. 

Brent  shifted  his  position  to  see  the  person 
with  whom  Alter  was  talking. 


en^^Lwi 


-&L 


97 


vuw... 


LET     A     BEAUTY     MIRACLE     TAKE     PLACE     IN     YOUR     SKIN 


cnts.  esiztfAM. 


No  wonder  DELV  is  the  most 
sensationally  popular  cream  of 
the  day! 

Based  on  a  new  cosmetic  prin- 
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different  in  texture,  different  in 
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It  cleanses. 

It  lubricates. 

It  clarifies. 

DELV  is  a  cooling  and  stimulat- 
ing cream  that  imparts  to  the 
skin  a  soft  dewy  freshness. 

It  is    the  only  cream  you   need 


CO  OJ2426a1 

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Try  a  jar  today  and  you'll  thank 
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A  Free  Jar  of  DELV 
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Primrose  House  asks  you  to  try  this 
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fill  in  the  coupon  below  and  mail  it 
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a  full-size  jar  of  DELV  today,  it  is  on 
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stores.  The  price  is  amazingly  low, 
only  one  dollar. 


fi 


VMnfaoAe 


DELV 


PRIMROSE    HOUSE  595  Fifth  Avenue,  New  York 

Please  send  me  without  charge  a  sample  jar  of  delv.  I  would  like  to  try  delv  by  using 
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Name 


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(This  coupon  offer  is  good  in  the  United  States  only) 


She  was  a  vivid  personality,  red  hair, 
sparkling  blue  eyes,  slender,  tapering,  well- 
kept  hands,  a  neat  form,  and  ankles  generously 
displayed  beneath  the  hem  of  a  well-tailored 
outfit. 

Brent  recognized  her  from  having  seen  her 
photograph  in  the  society  rotogravure  sections 
of  various  Sunday  newspapers. 

She  was  Merla  Smith. 

Studying  her  face,  Brent  decided  she  was 
listening  but  that  she  was  far  from  being  con- 
vinced. Her  face  had  an  expression  of  aloof 
amusement,  a  cynical  lack  of  belief  which 
indicated  the  lawyer's  words  were  not  carrying 
conviction,  but  that  she  found  his  attempt 
amusing. 

Brent  left  the  window,  pushed  his  way 
through  the  wind-drive^  sheets  of  rain,  until 
he  found  the  steps  leading  to  the  porch  which 
opened  from  the  lawyer's  study.  He  pounced 
his  feet,  stamping  the  mud  from  them,  giving 
sufficient  warning  of  his  approach  so  that  the 
attorney  could  set  the  stage  in  his  study. 

Dick  had  rung  the  bell  for  the  fourth  time 
when  he  heard  the  sound  of  steps  behind  the 
door.  A  bolt  clicked,  a  thain  rattled.  The 
door  opened  a  cautious  two  inches,  held  in 
place  by  a  heavy  chain. 

Dick  Brent  stared  silently  into  the  wide 
eyes  of  the  lawyer. 

"Why,  hello,  Dick,"  Alter  said  with  quick 
and  effusive  cordiality.  "What  brings  you 
out  here?" 

Brent  said  nothing. 

Despite  the  cordiality  of  the  lawyer's  voice, 
he  hesitated  for  several  seconds  before  his 
fumbling  fingers  dropped  the  safety  chain 
from  its  catch  and  opened  the  door. 

"Come  in,"  he  Said.  "Come  in  and  have  a 
hot  toddy.  It's  a  wild  night.  The  servants 
are  out.  I'm  here  alone.  I  was  working  on  a 
brief,  but  it  can  wait." 

Dick  slipped  out  of  his  raincoat  as  he 
entered  the  study. 

"Where  do  you  want  this?"  he  asked.  "It's 
dripping  wet." 

Alter  took  it,  said,  "I'll  hang  it  in  the  down- 
stairs bathroom  for  a  moment.  Wait  just  a 
second." 

He  was  gone  almost  two  minutes.  When  he 
returned  his  manner  was  nervous. 

"Well,"  he  said,  "how  about  a  hot  toddy? 
The  servants  are  out,  but  I  can  make  you  one 
easily." 

"KIO  thanks." 

'  ^     "But  you're  all  wet." 

"Just  my  legs  and  shoes." 

Alter  indicated  a  gas  register. 

"There's  hot  air  coming  through  that. 
Stand  in  front  of  it  and  it  will  dry  you  out  in 
no  time." 

Brent  remained  seated,  his  legs  crossed. 

"It's  nothing,"  he  said. 

"You  might  catch  cold  that  would  develop 
into  pneumonia.  You  can't  be  too  careful  of 
wet  feet.    You  .  .  ." 

"Forget  it,"  Brent  said,  shortly,  seating 
himself  in  the  chair  which  Merla  Smith  had 
occupied. 

The  lawyer  fidgeted  uneasily.  "What  the 
devil's  the  matter  with  you,  Dick?  Perhaps 
you're  sore  because  I  overlooked  the  formality 
when  I  first  called  you  earlier  this  evening." 

He  took  a  wallet  from  his  pocket,  thumbed 
through  a  sheaf  of  bills  and  said  in  his  most 
conciliatory  tone,  "Perhaps  a  thousand  dollars 
now  and  then  more.  .  .  ." 

Dick  extended  his  hand,  took  the  money  and 
said,  "This  chair  feels  warm." 

For  a  moment  Frank  Alter  became  rigidly 
motionless.      Then  he  smiled  and  said,   "It 


should.  I  was  dozing  in  it  when  I  heard  the 
bell.  The  bell  wakened  me.  Hope  you  didn't 
have  to  ring  more  than  once." 

Dick  took  the  greenbacks,  folded  them, 
shoved  them  into  his  trouser  pocket. 

"I  was  in  Copeland's  office,"  he  said,  "and 
someone  tipped  off  the  cops." 

"Oh,  no,"  Alter  declared,  "you're  mis- 
taken on  that,  Dick.  That  couldn't  have 
happened.  They  probably  found  the  body  in 
the  alley  and  decided  to  take  a  look  at  the 
office  on  general  principles.  It  couldn't  have 
been  a  tipoff." 

Brent  dismissed  the  lie  with  a  shrug  of  his 
shoulders.  "Let's  talk  facts,"  he  said.  "How 
long  have  you  been  representing  Vilma 
Fenton?" 

By  an  effort  the  lawyer  controlled  his  face. 
His  eyes  widened. 

"  Vilma  Fenton?  Why  she's  a  motion  picture 
actress." 

"Of  course  she's  an  actress,  and  you're 
representing  her.    You  tried  to  pass  her  off  as 


George  Burns  and  Gracie  Allen  try 
hard  to  erase  the  look  of  anguish 
from  the  face  of  Grade's  pet  ca- 
nine. If  these  two  can't  succeed, 
it's   a   safe  guess   no   one   else  can 

Mary  Smith,  but  I  recognized  her  voice,  de- 
spite the  fact  that  she  tried  to  muffle  it  under  a 
handkerchief." 

"Perhaps  you've  made  a  mistake,"  Alter 
said  in  a  voice  which  carried  no  conviction 
whatever. 

"No  mistake,"  Brent  assured  him.  "I've 
just  been  talking  with  Vilma  Fenton.  I 
recognized  her  voice  there  in  your  office." 

"You  talked  with  her?" 

"Yes." 

"But  she's  my  client.  You  had  no  right  to 
go  directly  to  her.    You  .  .  .  ." 

"If  you'd  played  square  with  me,"  Brent 
said,  "I'd  have  played  square  with  you.  You 
started  double-crossing  me.  Now  you  can 
take  what  I'm  dishing  out.  I'm  the  one  that's 
doing  the  dishing  now.  You're  the  one  that's 
taking  it.     Do  you  get  that  straight?" 

"Now,  Dick,  don't  fly  off  the  handle," 
Alter  pleaded.  "I  got  you  the  business,  you 
know,    and  ..." 

"You  got  me  the  business,"  Dick  said,  "be- 
cause you  needed  me,  not  because  of  any 
particular  sentiment,  and  remember  this, 
I'm  working  for  Vilma  Fenton.  She's  my 
client.  She's  also  your  client.  If  you  choose 
to  cut  corners  with  her,  that's  a  matter 
between  you  and  her.    As  far  as  I'm  concerned, 


I'm  representing  her  and  I'm  going  to  do  what- 
ever is  for  her  best  interests.  Now  then, 
what's  your  game?" 

"  Why,  what  do  you  mean,  Dick?  " 

"You  know  what  I  mean.  When  I  first 
came  to  your  office,  you  said,  'We're  in  a  jam,' 
or  words  to  that  effect,  as  you  lawyers  like  to 
express  it.     Now  then,  who  was  the  'we'?" 

"Why,  Dick,  I  told  you  what  I  meant  by 
that.  I  was,  of  course,  identifying  myself  with 
my  client.  I  was  using,  so  to  speak,  an  editorial 
plural." 

"Baloney!"  Dick  Brent  said.  "You  were 
in  the  jam  just  as  much  as  she  was.  Why 
should  you  be  mixed  up  in  Dr.  Copeland's 
murder?" 

Alter  got  to  his  feet,  trying  to  be  jovial,  but 
his  smile  was  sickly. 

"Come,  come,  Dick,"  he  said,  "you're  all 
worked  up.  I'm  going  to  get  a  hot  toddy, 
whiskey,  nutmeg,  sugar  and  water."  He 
smacked  his  lips.  "That'll  start  the  blood 
circulating,  eliminate  the  danger  of  those  wet 
feet,  and  we  can  talk  to  better  advantage." 

He  didn't  wait  for  Dick  to  answer,  but 
pushed  his  way  from  the  room. 

I  EFT  alone,  Dick  heard  the  wind  whistling 
*—  around  the  house  with  redoubled  fury. 
Listening  to  it,  he  closed  his  eyes  and  thought 
how  much  it  resembled  human  screams. 

He  was  tired.  He'd  been  working  under  a 
strain.  After  all,  his  feet  were  wet  and  cold, 
and  .  .  . 

He  suddenly  sat  bolt-upright  in  his  chair, 
his  eyes  wide  open. 

"Had  that  been  a  scream?" 

He  listened.  The  wind,  sucking  at  the 
corners  of  the  house,  almost  duplicated  the 
noise  he  had  heard — almost  but  not  quite. 

Dick  waited  several  eventless  seconds,  then 
once  more  dropped  back  against  the  cushions. 
He  stretched,  yawned,  then  bit  his  yawn 
abruptly  in  two.  His  arms  dropped  to  his 
sides. 

He  jumped  to  his  feet,  moved  two  quick 
steps  so  that  his  back  was  to  the  wall  and 
stood  listening. 

There  could  be  no  doubt  of  it.  This  time  it 
had  been  a  scream. 

Brent  waited  a  tense  five  seconds,  then 
crossed  the  study,  opened  the  door  to  the 
corridor,  listened  and  could  hear  nothing  save 
the  howling  of  the  wind.  Then,  over  and 
above  the  noise  of  the  storm,  he  heard  the 
quick  patter  of  running  feet.  A  door  slammed. 
A  slender  figure  came  into  view  at  the  corner  of 
the  corridor,  ran  toward  him. 

The  upper  part  of  her  tailored  suit  had  been 
torn.  A  silk  blouse  was  ripped  down  the 
front,  showing  a  pink,  lace-trimmed  slip.  Her 
hair  was  tousled  as  though  she  had  been  en- 
gaged in  a  losing  struggle  with  the  wind. 

It  was  her  eyes  that  fascinated  Brent. 

The  eyes  were  wide,  startled,  horrified, 
staring  ahead  of  her  with  a  fixity  of  terror 
which  made  her  seem  to  be  hypnotized  by 
stark  fear. 

A  few  moments  before,  Brent  had  seen  her 
calmly  self-possessed,  very  much  aloof,  and 
mildly  amused. 

Now,  Merla  Smith,  daughter  of  a  multi- 
millionaire, well-known  figure  in  the  younger 
social  set,  was  running  toward  him  with 
outstretched  arms,  a  chalky-white  face  and 
terror-stricken  eyes. 

As  Dick  stepped  into  the  corridor,  she 
looked  back  over  her  shoulder  and  screamed 
again. 

[  Next  month — an  astounding  development  in 
this  fascinating  mystery  serial  of  Hollywood  life  ] 


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99 


The  Fretting  Frog 


[  CONTINUED  FROM  PAGE  27  ] 

self-confident  and   competent  young   woman 
of  the  world. 

One  day  on  the  set  when  we  were  shooting 
the  picture  "  She  Married  Her  Boss,"  Claudette 
said  to  me: 

"  You  know-,  Greg,  in  many  respects  'nice 
girls'  have  greater  obstacles  to  overcome  in 
achieving  something  outstanding  in  life  than 
their  so-called  less  fortunate  sisters. 

"They  have  so  many  things  to  live  up  to. 
They  can't  do  this  and  they  can't  do  that  It 
simply  isn't  done. 

"I'll  never  forget  the  heart-breaking  days 
when  I  trudged  from  booking  agencies  to  man- 
agers' offices  in  New  York  looking  for  a  job,  a 
chance  to  go  on  the  stage.  I  had  been  reared 
and  educated  in  the  French  way,  sheltered  and 
protected  from  life.  I  was  so  shy,  I  was  tongue- 
tied  when  a  hard-boiled  guy  would  glare  at  me 
and  growl:  'Well,  what  can  you  do?' 

"How  I  envied  the  girls  who  could  exchange 
wise-cracks.  They  could  do  anything,  or  so 
they  firmly  believed  And  they  got  the  jobs. 
That  I  ever  got  an  opportunity  was#  purely 
accidental. 

"It  has  taken  me  years  to  break  down  my 
natural  reserve.  But  look  out  for  me  now 
I'm  goin'  to  town!" 

I'm  sure  she  is.  For  one  thing,  Claudette  is 
one  of  those  rare  introspective  individuals  who 
can  laugh  at  herself.  She  has  a  swell  sense  of 
humor. 

VV/HAT  broke  the  ice  with  us  first  was  when  I 
vv  discovered  that  sense  of  humor.  Claudette 
has  one  weakness  which  she  frankly  admits  She 
frets  about  herself.  Her  picture  roles,  health, 
weight,  contracts,  world  affairs,  what  other 
people  think.  In  fact,  everything  I  can  think 
of.    She  even  frets  over  her  friends'  fretting. 

When  I  first  hung  the  sign  of  "The  Fretting 
Frog"  on  the  back  of  her  set  chair,  the  studio 
workers  expected  a  blow-up. 

We  got  it  all  right,  but  not  what  was 
expected.  Claudette  howled  with  laughter. 
She  loved  it. 

Next  day  I  found  a  sign  on  the  back  of  my 
chair.  It  read:  "Dr.  Lucius  La  Cava.  Dan- 
gerous Ward." 

Claudette's  humorous  tribute  to  my  weak- 
ness for  the  study  of  psychiatry. 

When  we  were  making  "Private  Worlds,"  I 
had  the  surprise  of  my  life  psycho-analyzing 
Claudette.  (Incidentally  this  test  is  a  remark- 
able aid  to  a  director.  To  really  understand 
and  sympathize  with  a  player's  emotions  should 
enable  the  director  to  capture  and  guide  her 
expressions  properly.) 

Subject  to  her  "nice-girl"  beginnings, 
Claudette  would  ordinarily  be  guessed  very 
much  of  an  introvert.  To  my  amazement  I 
discovered  that  she  is  as  much  extrovert  as 
introvert.  For  the  uninitiated  in  psycho- 
analysis, an  extrovert  is  a  person  who  thinks, 
feels  and  lives  objectively.  To  the  contrary 
an  introvert  is  one  who  thinks,  feels  and  lives 
within  one's  self,  subjectively.  Her  score  in  the 
psycho-analysis  test  stood  28  introvert  and  27 
extrovert. 

All  life  is  balance.  An  individual  who  can 
strike  so  delicate  a  balance  may  derive  the 
utmost  from  life. 

We  scored  the  test  in  this  manner:  Answers, 
Not  at  all— 0,  A  Little— 1  Much— 2,  and  Very 
Much— 3. 


>se  the  girl  zoilk. SvatuAcwu/ 
^J.f^^/CHARLES  FARRELL 


•  * 


HERE   ARE   THE   LIPS   CHARLES   FARRELL   SAW 


i^*****-'**42*****!, 


UNTOUCHED:  Lips  without 
any  lipstick  often  look  faded 


PAINTED:  lips  colored 

with  paint  look  unnatural 


TANGEE:lntensif.esthe 
natural  rose  of  your  lips 


Film   star  picks 

girl   with  Tangee  Lips 

in   Hollywood  test 

0  Three  girls  were  with  us  when  we  visited 
Mr.  Farrell.  One  had  no  lipstick  on;  one  wore 
her  usual  lipstick;  and  the  third  used  Tangee. 
"Which  lips  do  you  prefer,  Mr.  Farrell  ?"  "The 
naturally  rosy  lips  of  this  girl,"  he  said,  select- 
ing the  girl  wearing  Tangee  Lipstick. 

And  millions  of  other  men  prefer  natural  lips 
too.  That's  why  so  many  women  are  changing 
to  Tangee  Lipstick.  For  Tangee's  magic  color 
change  principle  brings  out  your  own  natural 
color  .  .  .  makes  your  lips  rosy  and  kissable 
.  .  .  more  appealing  to  men.  It  can't  give  you 
"that  painted  look",  because  it  isn't  paint.  For 
those  who  prefer  more  color,  especially  for 
evening  use,  there  is  Tangee  Theatrical. 


•  Charles  Farrell  picks  the  Tangee  girl  in  this  lipstick 
test.  Picture  snapped  between  scenes  of  "Forbidden 
Heaven",    a  Republic  Pictures  Corporation  release. 

Try  Tangee.  It  comes  in  two  sizes,  39c  and 
$1.10.  Or,  for  a  quick  trial,  send  10c  for  the  spe- 
cial 4-piece  Miracle  Make-Up  Set  offered  below. 

•  BEWARE  OF  SUBSTITUTES.  ..  when  you  Tiny,  ask 
for  Tangee  and  be  sure  you  see  the  name  Tangee  on  the 
packiurf.  Don't  let  some  sharp  sales  person  siriteh  you  to  an 
imitation  .  .  .  then  's  onto  otn   Tangee. 


71     World's  Most  Famous  Lipstick 
ENDS    THAT    PAINTED    LOOK 


•    4-PIECE     MIRACLE     MAKE-UP    SET 

THE  GEORGE  W.  LUFT  COMPANY  P115 

417  Fifth  Avenue,  New  York  City 

Rush  Miracle  Make-Up  Set  of  miniature  Tangee  Lipstick, 
Rouge  Compact,  Creme  Rouge,  Face  Powder.  I  enclose  10V 
(stamps  or  coin).  15?  in  Canada. 

Shade       D  FIesh       D  Rachel        □  Light  Rachel 


N/ime 

(Plea 

se  Frini 

City 

State 

Here  is  Claudette's  chart. 
Compare  the  questions  and  score  and  then 
you  might  try  it  yourself. 

INTROVERT 

Do  you  feel  as  though  you  were  set 
aside  from  most  people  because  of  their 
apparent  inability  to  understand  you?  2 

Are  you  self-conscious  and  why  in  pri- 
vate life?  1 
Do  you  hate  to  make  a  show  of  yourself?       3 
Do  you  indulge  in  day-dreams?                     3 
When  offended  do  you  draw  within  your- 
self and  sulk?                                                        0 

Are  you  self-centered,  interested  mostly 
in  what  happens  to  you  and  those  dear  to 
you?  2 

Are  you  a  poor  mixer,  unable  to  become 
friendly  with  strangers  at  once?  2 

Are  you  moody,  and  do  your  moods  in- 
fluence your  emotions?  0 
Do  you  like  to  be  alone  most  of  the  time?       1 
Do  you  dislike  being  affectionate?  0 
Have  you  heard  anyone  declare  you  had 
depth  of  mind?  2 
Are  you  jealous?  1 
Are  you  idealistic?                                           2 
Do  you  become  tense  under  stress  or  ex- 
citement?                                                           3 
Have  you  a  feeling  of  inferiority?                 3 


Is  it  hard  for  you  to  ask  for  a  job  or 
make  a  deal?  3 


TOTAL 
EXTROVERT 


28 


Do  you  forget  yourself  when  you  work, 
talk  or  play?  3 
Is  it  easy  for  you  to  order  people  around?  2 
Is  life  a  game  to  you  to  be  played?  0 
Do  you  live  to  dress,  look  snappy,  etc.?  1 
Are  you  practical?  3 
Do  you  get  over  a  quarrel  or  disappoint- 
ment quickly?  2 

Do  you  like  people,  enjoy  having  them 

around  you  much?  1 

Are  you  naturally  active,  and  do  you 

like  doing  things?  3 

Are  you  naturally  loving  and  affection- 
ate? 3 
Do  you  take  up  fads?  0 
Are  you  realistic  and  have  you  much 
common  sense?  2 
Are  you  easy  going  as  a  rule?  3 
Can  you  change  your  manner  of  living 
without  being  disturbed?  1 
Are  you  a  go-getter  by  nature?  0 
Are  your  feet  solidly  on  the  earth?  3 


TOTAL 


27 


On  the  introvert  side  I  was  not  surprised  to 
find  that  Claudette  feels  that  people  do  not 
understand  her.  The  psychological  answer  to 
that  feeling  may  be  found  in  her  extrovert 
answer  that  she  likes  people,  as  a  group,  only  a 
little 

Nor  was  I  surprised  to  find  that  she  has  an 
inferiority  complex,  is  self-centered,  a  poor 
mixer  or  that  she  is  idealistic. 

But,  I  was  surprised  to  find  that  she  is  not 
very  shy  or  self-conscious,  does  not  sulk  at  all. 
is  not  moody  and  does  not  dislike  being  affec 
tionate. 

On  the  extrovert  side,  I  was  not  surprised  to 
learn  that  Claudette  is  practical,  realistic 
active,  feet  solidly  on  the  ground,  but  not  a  go 
getter  by  nature. 

I  was  surprised  to  discover  that  she  com- 
pletely forgets  herself  when  at  work  or  play, 
gets  over  a  quarrel  or  disappointment  easily,  is 
easy-going,  and  naturally  loving  and  affec- 
tionate. 

Claudette  may  not  have  been  all  these 
things  yesterday,  but  this  chart  reveals  the 
Claudette  Colbert  of  today. 

She  is  rapidly  becoming  one  of  the  finest 
actresses  we  have  on  the  screen.  She  has  made 
a  big  leap  to  the  top  in  public  popularity. 

Now  I'm  doing  the  fretting  because  I  may 
have  to  chance  her  nickname! 


Why  Clark  Gable  Stayed  at  the  Top 


CONTINUED  FROM  PAGE  25 


humor.  Or  the  superior  person  who  is  his 
wife,  Rhea  Gable. 

But  none  of  that  is  more  than  an  accessory 
to  what  the  situation  has  demanded — character. 

It  isn't  what  started  Clark  Gable  off  that 
counts  so  much  as  what  has  stuck  with  him 
through  these  five  years  to — that  sort  of  stuff 
you  find  in  champions — what  brought  Demp- 
sey  back  in  the  ring  with  Firpo,  what  grimly 
stalled  off  match  point  for  Helen  Wills  Moody. 

I  think  it  took  Clark  quite  a  spell  to  shake 
off  the  punches  of  his  past  and  realize  just  what 
was  holding  up  his  right  arm  in  the  Hollywood 
ring. 

I  know  he  once  remarked  quizzically  that  the 
first  time  he  really  felt  that  success  had  come 
to  him  was  on  one  Christmas  morning  a 
couple  of  years  ago. 

For  his  two  stepchildren,  whom  he  adores, 
he  had  bought  a  couple  of  new  Fords. 

When  he  gazed  out  the  window  that  morn- 
ing and  saw  the  cars  standing  there  in  the 
driveway,  bright,  new  and  shiny,  he  was  im- 
pressed by  what  all  the  mash  notes,  praise- 
worthy articles  and  hurrah  of  his  new  status 
had  failed  to  drive  home. 

The  fact  that  he  was  able  to  do  that  much 
for  people  he  loved  made  him  feel  that  after 
all  perhaps  he  really  did  amount  to  something! 

It's  no  use  to  paint  any  right  guy  such  as 
Clark  Gable  with  any  golden  gilt  of  human 
infallibility  just  to  get  across  the  fact  that  he 
does  have  a  character  reserve  that  has  brought 
him  through  in  the  pinches. 

He's  been  in  the  pinches  because  he  is 
human. 

But  he  has  always  come  through. 

There  was  a  time  when  something  separated 
him  from  his  wife,  briefly.  But  he  had  sense 
enough  and  character  enough  to  whip  that 
and  go  back  to  her. 

There  was  a  time  when  rumors  seeped 
through  Hollywood  that  he  was  looking  with 
more  than  casual  interest  at  a  certain  glamor- 


ous actress.  But  truth  or  untruth,  whichever 
it  was,  he  handled  it  gracefully  and  proceeded 
unscathed. 

In  fact,  the  only  instance  on  record  when 
Clark  Gable  ever  sallied  forth  publicly  with  a 
woman  other  than  his  wife  occurred  at  the 
late  lamented  Agua  Caliente. 

He  was  making  "Hell  Divers"  on  location 
in  San  Diego,  across  the  border  from  the 
Mexican  Monte  Carlo.  To  soothe  his  fevered 
brow  a  work-weary,  wedded  executive,  name- 
less here,  had  recruited  a  very  fetching  looking 
blonde.  They  were  to  relax  one  evening  at  the 
Caliente  gaming  tables. 

Clark  got  wind  of  the  philandering,  literally 
stole  the  girl,  motored  her  to  Mexico.  There 
the  surprised  and  frantic  blonde-less  exec 
discovered  his  escaped  dove  on  the  arm  of  the 
dark  menace,  Gable.  After  the  exec  had 
suffered  enough,  Clark  gallantly  returned  the 
forbidden  beauty  to  him! 

There  was  a  time  about  a  year  ago  when  a 
greater  danger  than  romantic  rumors  of 
marital  ripples  menaced  Gable's  career. 

I  THINK  at  that  time  Clark  would  have  sold 
'  out  his  career  for  thirty  cents  and  a  promise 
of  peace. 

You  might  have  heard  he  was  "slipping." 
When  any  star  doesn't  knock  'em  cold,  you'll 
hear  he's  slipping.  It  was  that  period  before 
"  It  Happened  One  Night." 

His  first  screen  "wind"  was  about  gone.  He 
was  tired.  He  had  been  fed  to  weak  and 
wicked  women  on  the  screen  one  after  the 
other.  He  was  physically  as  sick  as  a  cat. 
You'll  remember  how  thin  and  tired  he  looked. 
The  vigor  wasn't  there.  It  wasn't  there  to 
give.  Probably  you  don't  realize  just  what 
that  force  which  makes  Clark  Gable  on  the 
screen  costs  him  in  energy.  It  is  a  definite 
element.    If  it  isn't  there,  it  doesn't  show. 

He  went  on  the  operating  table,  ostensibly 
for  an  appendicitis  operation.      They  found 


intestinal  complications  and  made  it  a  major 
slash.  Snipped  out  some  extra  yardage 
Since  then  on  he  hasn't  been  able  to  ride  a 
horse.  That's  why,  incidentally,  Clark  turned 
his  love  for  horseflesh  to  racing  nags  (viz.: 
"Beverly  Hills"  the  much  publicized  bangtail 
of  last  year  who  certainly  was  no  threat  to 
Omaha). 

It  took  a  long  time  to  get  over  that  blow  to 
health,  to  regain  confidence  and  ambition  and 
morale. 

DUT  Gable  has  managed  it,  because  he  has 
Dthe  stuff. 

It  is  a  strange  jest  of  fate  that  finds  Clark 
Gable  coming  into  his  own  at  the  very  time 
when  he  expected  to  be  washed  up. 

The  same  idea — that  it  really  can't  last- 
persists  in  his  subconscious  mind,  even  now 
Not  long  ago  he  hinted  that  five  more  year? 
was  his  limit.    No  one  but  himself  believes  it 

And  I  think  the  recognition  by  himself,  as 
he  stands  today,  stronger,  more  solid,  more 
entrenched  as  a  popular  idol  than  ever  before 
rather  appals  him,  rather  awes  him. 

At  any  rate,  Clark  Gable  has  changed,  since 
that  illness.  He's  more  sober  and  serious — 
more  responsible.  Graduated  from  the  sen 
sation  class,  he's  a  postgraduate  actor. 

Last  Spring  he  set  out  from  the  studio  one 
rainy  afternoon  for  a  radio  broadcast.  He 
drove  his  inconspicuous  Ford  roadster,  but 
that  didn't  disguise  him.  Halfway  there  a 
big  sedan  filled  with  women  spotted  him 
They  shouted  and   gave  chase. 

They  passed  him,  ran  him  into  the  curb 
He  backed,  twisted,  ran  up  alleys  and  side- 
streets,  hid  in  garages.  It  was  a  definitely 
dangerous  chase  over  slippery  streets.  Its 
excuse — nothing,  except  the  rabid,  unthinking, 
practically  persecuting  curiosity  of  a  bunch  of 
dumb  females. 

"Why  don't  you  call  a  traffic  cop  and  shake 
them?"   wondered   the  friend   who  rode  with 


100 


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101 


him.  "They'll  wreck  your  car  before  we 
know  it." 

"Oh,  I  wouldn't  do  that,"  said  Clark, 
skidding  out  of  the  way.  "How  can  you  com- 
plain because  somebody  chases  after  you?" 
he  grinned.     "That's  my  public." 

He  adores  New  York,  but  he's  scared  to 
death  to  go  there.  They  mob  him.  When  he 
flew  to  Dallas,  Texas,  only  recently  for  the 
marriage  of  his  stepdaughter,  the  pilot 
swooped  over  a  large  crowd  at  the  landing 
field.    Clark  spotted  them. 

"Shall  I  go  on?"  asked  the  pilot.  "There's 
another  field  farther  on." 

"No,"  said  Clark,  "we'll  make  it." 

They  did,  after  a  mobbing  that  was  soul- 
twisting  torture  to  Clark  Gable  every  minute. 

Then  (can  you  tie  it!)  he  read  in  one  paper 
where  Clark  Gable  had  "hired  a  crowd  to 
meet  him"! 

Clark  Gable,  unfortunately  for  him,  but 
fortunately,  I  think,  for  his  career,  is  about  the 
farthest  thing  from  a  crowd  lover  as  you 
might  imagine,  except  possibly  Garbo  or  a 
Southern  darkey  about  to  be  lynched. 

There  are  very  few  people  in  Hollywood  who 
really  know  him  today.  He  gets  around,  yes, 
but  the  Gables  aren't  the  entertaining,  social 
kind.  He  has  maintained  a  rugged  love  for 
hunting,  fishing  and  the  outdoors  which  is 
no  phony  "man's  man"  pose.  As  a  matter  of 
fact,  such  things  are  the  very  essence  of  his 
play  days. 

THERE  are  rough  mountaineers  in  Wyoming 
'  who  have  no  idea  that  that  city  feller  from  Los 
Angeles  who  packs  in  with  them  is  a  cele- 
brated movie  star — and  wouldn't  care  much 
if  they  did.  To  them,  he  is  just  a  good  shot 
or  a  smart  guy  with  a  rod  and  reel. 

There  was  a  boy  who  asked  for  a  ride  and  got 
it  once  when  Clark  was  invading  the  Kaibab 
Forest  in  search  of  mountain  lions. 

As  Clark  climbed  into  the  car,  he  said: 
"Y'know,  mister,  you  look  like  Clark  Gable, 
the  movie  star." 

"Funny,  isn't  it?"  said  Clark.  "I  am  Clark 
Gable." 

The  boy  brightened. 

"That's  a  swell  idea,"  he  said.  "I'll  pre- 
tend I'm  Jackie  Cooper." 

This  part  of  Clark  Gable,  the  rugged,  simple, 
direct,  close-to-realities  part  which  shows  in 
every  screen  print  of  his  personality  is  his 
personality,  is  what  makes  him  great,  an  idol, 
and  an  artist  whether  or  not  he  will  ever  be 
selected  as  an  actor  of  any  great  shakes. 

It  is  bone,  sinew  and  fibre  of  him,  and  it  will 
never  change. 

But  my  brief  is  that  this  is  also  the  stuff  be- 
hind the  character  which  has  brought  about 
another  change:  The  metamorphosis  of  Clark 
Gable  from  a  strict  sensation  into  a  mature, 
rounded,   confident   screen  star. 

But  Lionel  Barrymore,  who  got  our  hero 
that  first  screen  test  at  M-G-M,  and  who 
knows  actors  and  particularly  Clark  a  whole 
lot  better  than  I  do,  snorts,  as  only  Lionel 
Barrymore  can  snort. 

"  Change?  The  only  change  in  Clark  Gable 
is  his  weight.     He's  ten  pounds  too  fat." 


WHAT     PICTURE     HAS     WON 

PHOTOPLAY'S    GOLD    MEDAL 

OF  HONOR? 

The    announcement   will    be    made    in   the 
December    issue,    out    November    5. 


/gic&l/    UU&WL>S4^ 


GO  PLACES 

COMFORTABLY 

IN  ENNA  JETTICKS 


^ptewsa,^ 


a   real  pretty  sports  shoe 
in  black  or  brown  calf. 


Brown  or  black  calf,  for  both 
actii'e  and  spectator  sports. 


Busy  Mary  Boland,  famous 
for  her  comedy  roles,  says, 
"You  can't  be  funny  if  your 
feethurt,soI  must  have  com- 
fortable shoes.  But  I  want 
people  to  laugh  at  what  I 
say — not  at  the  way  I  dress. 
So  I'm  just  as  fussy  about 
the  smartness  of  my  shoes." 
Smartness  and  comfort 
aren't  an  easy  combination 
to  find.  But  you  always  find 
it  in  Enna  Jetticks. 
MARY  BOLAND  appear- 
ing  in  the  Paramount  Picture 
"The  Big  Broadcast  of 1936." 


5 


AND 


*6 


SLIGHTLY  H/Offi It  IN  CANADA 


AMERICAS  SMARTEST  WALKING  SHOES  GO  PLACES  COMFORTABLY 


( 


1LOVE1LY  LADY 

of  course  you  live  at  the  Sherry-Netherland 


Where  the  advantages  of  permanent  residence  are  available  by 
the  day,  week,  month  or  year. 

Correctly  designed  and  finely  appointed  suites  of  1,  2,  3,  4  and  5  rooms, 
each  with  large  serving  pantry, available  by  the  day,  week  or  longer.  Also 
Tower  Suites  of  5  Master  Rooms  and  4  Baths,  occupying  an  entire  floor. 


|£!  Jhe  okerrij  JNetkerlanJ 


Facing  the  Park 
FIFTH  AVENUE   AT   59th 
NEW  YORK 


Song  Hits  Make  Stars  and  Stars  Make  Song  Hits 


CONTIM'ED  FROM  PAGE  29 


music  —  the  song  hits?  Answer  —  Messrs. 
Dubin  and  Warren.  Bet  you  didn't  send 
them  any  fan  mail. 

The  star-makers  who  may  take  bows  prac- 
tically exclusively  are  Messrs.  Sam  Coslow 
and  Arthur  Johnston,  Ralph  Rainger  and  Leo 
Robin,  Mack  Gordon  and  Harry  Revell,  Herb 
Nacio  Brown  and  Arthur  Freed  and  Richard 
Rodgers  and  Lorenz  Hart. 

You  could  tabulate  Bing  Crosby's  career 
through  "Please,"  "Learn  to  Croon," 
"Thanks,"  and  many  others. 

You  could  tabulate  Dick  Powell's  career 
just  as  simply  through  such  numbers  as  "Why 
Do  I  Dream  Those  Dreams?",  "Keep  Young 
and  Beautiful,"  "I  Only  Have  Eyes  For  You," 
and  several  and  so  forths.  Or  Al  Jolson's 
clear  from  "Sonny  Boy."  Or  Carl  Brisson's 
from  "Cocktails  For  Two"  to  "A  Little  White 
Gardenia." 

K  /USIC  is  a  large  lump  of  gold  in  Holly- 
'  v  'wood's  treasure  house.  Hit  songs  make 
hit  pictures.  Hit  songsters  build  up  followings, 
box-office.  Ever  since  "42nd  Street,"  the 
screen  has  guarded  its  music  carefully.  Like 
strychnine,  the  right  amount  administered 
wisely  is  what  the  doctor  ordered.  Too  much, 
wantonly  prescribed,  can  be  fatal. 

Before  "42nd  Street"  the  problem  of  a  screen 
tunesmith  was  comparatively  simple.  He 
had  to  say  "I  Love  You"  in  a  little  different 
way  than  it  had  been  said  before.  That  was 
about  all. 

Today,  song  writing  is  a  high  order  of  crafts- 
manship. The  idea  is  still  to  say  "I  Love 
You"  in  a  new  way,  but  to  say  it  with  proper 
regard  for  (1)  script  situation,  (2)  mood  in 
scenes,  (3)  personality  and  vocal  equipment 
of  the  singer  and,  (4)  period.  And  that 
"period"  means  historical  period — not  the  end 
of  a  sentence.  There  are  a  hundred  other  little 
things  to  help  send  a  Hollywood  song  writer 
to  the  asylum  before  he  completes  a  satis- 
factory set  of  songs. 

Consider  the  problem  facing  Leo  Robin  and 
Ralph  Rainger  (the  "Love  In  Bloom"  lads) 
who  had  the  script  of  "Rose  of  the  Rancho," 
one  of  Paramount's  most  ambitious  musicals 
of  the  year,  dumped  in  their  capable  laps. 

The  setting  was  California  in  1852 — when  it 
was  still  mostly  Spanish,  but  with  a  respectable 
American  pioneer-miner  influence. 

The  star  was  not  a  crooner,  or  a  torchsinger, 
but  Gladys  Swarthout,  a  Metropolitan  opera 
star — with  John  Boles  singing  opposite. 

The  problem  was  to  have  Mr.  Boles  and  Miss 
Swarthout  say  "I  Love  You"  musically, 
naturally,  most  effectively  in  keeping  with 
their  voices  and  personalities  and  yet  enter- 
tainingly to  a  present  day  audience. 

On  top  of  this  little  order,  the  songs  must 
blend  into  the  dialogue  to  carry  on  the  con- 
tinuity. 

The  achievement  of  all  of  these  things.  Also, 
Gladys  Swarthout  is  a  new  screen  star.  Failure 
in  one  of  the  above  details — and  she  would  be  a 
fizzle.  Just  a  little  thought  which  Messrs. 
Robin  and  Rainger  carried  to  bed  with  them 
each  night  to  make  them  sleep  well  while  they 
struggled  to  meet  a  musical  deadline — a  dead- 
line which  is  even  more  exacting  and  important 
than  a  newspaper  zero  hour.  Because  to 
ignore  it  costs  big  money. 

Harry  Warren  found  himself  right  at  the 

102 


deadline  once  on  a  Dolores  Del  Rio  picture. 
They  were  ready  to  shoot.  Delay  would  have 
cost  thousands  of  dollars.  He  walked  on  the 
set  in  despair. 

"Have  you  got  your  tango?"  said  the 
director. 

"Yes,"  said  Warren,  con  bravado,  without  a 
note  in  his  head.  He  sat  down  at  the  piano 
and  played  a  tango — the  tango.  He  can't  tell 
you  to  this  day  how  he  did  it. 

Hollywood  song  teams  will  turn  out  forty 
or  fifty  hit  songs  apiece  a  year.  They  will  turn 
them  out  somehow.  Because  they  must  be 
turned  out — and  on  time.  Some  they  will 
write  in  fifteen  minutes.  Others  will  take  days. 
Gordon  and  Revell's  "Did  You  Ever  See  a 
Dream  Walking?"  was  knocked  out  com- 
pletely, as  you  have  hummed  it,  words  and 
music,  in  that  unbelievable  quarter  of  an 
hour. 

Ralph  Rainger  had  been  humming  the 
music  to  "Love  In  Bloom"  for  months  before 
he  finally  brought  it  down  to  the  office  with 
him  one  morning.  Rainger  works  in  the  morn- 
ing, Robin  at  midnight.  They  never  work  to- 
gether until  one  of  them  has  something  he 
wants  the  other  to  hear. 

Robin  heard  the  music — "Can  it  be  the 
breeze,"  he  murmered,  "that  fills  the  trees — 
ta-dum  ta  dum-dum  perfume — H-m-m-m  it's 
love  in  bloom." 

The  song  was  written  that  morning.  Then 
just  to  show  you  how  not  even  a  songwriter 
can  tell  what's  good  or  what's  bad,  they  de- 
cided to  throw  it  out,  because  it  sounded  "too 
effeminate."  Fortunately  someone  heard  it 
first  and  said  "hold  everything!"  Aren't  you 
glad? 

Certainly  Bing  Crosby  must  be.  It  was  his 
outstanding  song  of  last  year.  But  Bing  is  one 
star  who  draws  gratitude  from  ditty  designers 
as  well  as  dishing  it  out.  Practically  any  song 
that  Bing  Crosby  sings  is  a  sure-fire  hit.  If  it 
fits  him,  he  will  make  the  world  sing  it.  And 
the  main  rule  for  fitting  a  song  to  Bing — Sam 
Coslow,  Gordon  and  Revell,  and  Robin  and 
Rainger  will  tell  you — is  to  feed  him  "curves"- 
songs  with  a  up-and-down-hill-and-dale  qual- 
ity— Boo-boo-boo-b-oo-booo — you  know. 

Bing  is  able  to  "phrase  a  song"  and  help  it. 
He  is  one  song-made  star  who  in  turn  makes 
stars  of  his  songs. 

On  the  other  hand,  the  flop  of  Lanny  Ross  as 
a  screen  star  was  due  directly  to  his  songs- 
paradoxical  as  that  must  sound,  because  Lanny 
had  a  golden  voice,  a  great  radio  name,  and 
good  looks.  But  when  he  knew  that  the  world 
was  looking  at  him  he  tried  to  act  and  drama- 
tize his  songs.  His  acting  got  by — but  not  his 
songs — and  that  killed  him.  Dick  Powell  for 
a  brief  instant  bordered  on  the  same  pitfall 
when  he  took  opera  lessons  and  began  to  opera- 
ize  his  tunes.  Fortunately  he  listened  to  good 
advice  and  snapped  out  of  it. 

THE  actions  of  a  star-song,  however,  aren't 
'  as  easy  to  control  as  those  of  a  song-star. 

Every  song  writer  finishes  a  score  with  a 
prayer  that  it  will  be  a  hit.  But  the  verdict  is 
up  to  you  and  you  and  you.  And  no  jury  was 
ever  more  hard  to  fix. 

It's  important  too,  because  practically  every 
song  written  for  pictures  is  published  later  in 
sheet  music  form.  At  Paramount,  two  music 
publishing  firms  operate  right  in   the  music 


department  of  the  studio,  the  Famous  and  the 
Crawford  Music  Companies.  They  handle  the 
output  of  Gordon  and  Revell,  Robin  and 
Rainger,  and  Sam  Coslow,  the  one  lone  wolf 
song  "team"  in  town. 

This  adds  an  extra  but  withal  delightful 
headache  to  the  movie  music-makers.  They 
must  write  their  picture  songs  with  an  eye  to 
the  popular  sheet  music  sales  The  radio  has 
cut  the  possibilities  'way  down,  of  course. 
Even  a  smash  hit  will  hardly  sell  500,000 
copies  today,  where  it  used  to  reach  past  the 
million  mark.  But,  of  course,  a  surprising 
sun  of  coconuts  can  be  realized  from  the  royal- 
ties of  even  a  half  million  sales  at  thirty  cents 
a  copy. 

No  writer  yet  has  been  able  to  accurately 
predict  a  hit  or  a  flop.  In  fact,  a  certain  pub- 
lishing firm  in  New  York  will  pay  anyone 
$25,000  a  year  just  to  predict  hits  and  fizzles 
accurately  month  in  and  month  out.  But  no 
one  has  ever  held  the  job. 

Sam  Coslow  wrote  a  song  called  "Three 
Little  Piggies  Went  to  Market."  He  wrote  it 
as  a  gag.  It  became  a  hit.  He  sweated  and 
tore  his  soul  over  a  number  called,  "Fare- 
Thee-Well."    It  died. 

One  of  the  strangest  phenomena  about  star- 
songs  is  the  fact  that  in  order  to  really  enjoy 
and  thrill  to  a  melody,  you  must  hear  it  several 
times  and  become  familiar  with  it.  "Love  In 
Bloom"  might  have  left  you  cold  the  first  time 
you  heard  it — but  after  the  tenth  time  you 
were  probably  holding  her  a  little  more  tightly 
when  the  orchestra  hit  it  up. 

HERHAPS  you've  wondered  why  you  hear  the 
'hit  songs  of  a  forthcoming  movie  over  the 
radio  weeks  before  you  get  a  chance  to  see  the 
picture. 

Songs  have  to  be  "broken  in."  Usually  the 
studio  releases  them  to  the  broadcasting  sta- 
tions four  to  six  weeks  before  the  picture  hits 
the  theaters.  But  even  by  the  time  you  begin 
to  hear  them,  the  harassed  and  hard  working 
jingle  twisters  are  tearing  their  hair  chasing 
an  inspiration  for  the  score  of  the  next  picture 
assignment. 

Mack  Gordon  and  Harry  Revell  will  hop  on 
a  train,  or  a  boat,  or  a  plane  and  go  somewhere 
— anywhere.  They  have  to  have  a  change  of 
scenery  to  dish  up  a  new  mess  of  tunes.  Gor- 
don literally  picks  'em  out  of  the  air,  or  right 
off  the  street. 

One  day  he  and  Revell  were  standing  on  a 
busy  street  corner.  A  beauteous  damsel 
swished  by.    They  approved. 

"What  a'dream!"  said  Revell. 

"A  dream  walking,"  agreed  Gordon,  "Mi- 
gosh — where's  my  pencil?  'Did  You  Ever  See 
A  Dream  Walking?'  " 

Another  night  they  walked  into  a  dance.  A 
little  girl  stopped  Mack  and  asked  for  his  auto- 
graph. Smiling,  he  wrote,  "Stay  As  Sweet  As 
You  Are — Mack  Gordon."  Inside  he  met  a 
girl  named  Cook. 

"Why  don't  you  write  a  song  about  me?" 
she  bantered. 

"Well — 'Cook'  isn't  a  very  lyric  name," 
sparred  Gordon.  "What  else  do  they  call 
you?" 

"Cookie,"  she  said. 

That  night  two  song  hits  were  written — 
"Stay  As  Sweet  As  You  Are"  and  "Lookie, 
Lookie,  Here  Comes  Cookie"! 


PHOTOPLAY   MAGAZINE   FOR   NOVEMBER.    1935 


103 


Larry  Rodgers,  of  Roclgers  and  Hart,  stand- 
ing on  a  curb  in  Paris  saw  two  taxis  crash. 
Gendarmes  hauled  a  frightened  girl  out  of  the 
wreckage.  "Whew,"  she  cried,  "my  heart 
stood  still!" 

Remember  it? 

Of  course  the  classic  song  inspiration  story 
of  Hollywood  concerns  one  Lou  Alter  who 
writes  songs  for  Warner  pictures.  Alter  was 
camping  out  on  the  desert  near  Palm  Springs 
last  Winter.  In  the  middle  of  the  night  a  full 
moon  made  the  sands  as  light  as  day.  He 
couldn't  sleep.    So  he  wrote  "Moon  Crazy." 

A  few  hours  later  one  of  those  sudden  desert 
storms  blew  up.  Rain  pelted  down  on  the 
back-to-nature  insomniac.  It  ruined  his  rest, 
but  it  was  a  golden  shower,  for  Alter  wrote  a 
song,  "I  Was  Taken  by  Storm"! 

Freak  inspirations,  however,  can't  compare 
with  the  hair  twisting,  brain  racking,  perspir- 
ing hours  of  creation  passed  by  the  clan  of  big 
B  flat  and  G  sharp  men  in  the  constant  scurry 
to  make  new  stars  out  of  songs  and  keep  old 
stars  with  new  songs. 

Trying  to  say  "  I  Love  You"  in  a  new  way 
forty  or  fifty  times  a  year  isn't  such  a  set-up 
as  it  might  seem. 


"Everything's  Been  Done  Before"  is  more 
than  just  a  song.  And  transgressions  are  par- 
donable in  the  song  racket. 

Some  years  ago  the  same  Al  Dubin,  of  whom 
we  have  here  sung,  wrote  a  song  called  "A 
Fool  There  Was." 

He  was  in  New  York  at  the  time.  Walking 
along  the  street,  he  met  a  friend  of  his  just  in 
from  Chicago. 

"Say,  Al,"  said  the  friend.  "I'm  glad  I  met 
you.  I  was  going  to  call  you  up  to  tell  you 
about  the  guy  who's  stealing  your  song  back 
in  Chicago." 

"Stealing  my  song?"  said  Dubin.    "How?" 

"Why,"  said  the  informer,  "he's  printing 
the  words  to  your  song  on  little  cards  and 
selling  them  all  around  the  town. 

"We  haven't  caught  up  with  him  yet — but 
believe  me  when  we  do,  we'll  put  him  where  he 
belongs." 

Dubin  was  interested. 

"Who  is  this  guy?"  he  wanted  to  know. 
"What's  his  name?" 

"  Wait,"  said  the  other.  "  I've  got  one  right 
here."  He  produced  a  card.  "Look,"  he 
said,  "right  there  at  the  bottom — 'Rudyard 
Kipling.'    Ever  hear  of  the  guy?" 


A  Present  for  Mother 


CONTINUED  FROM  PAGE  44 


set  and  into  their  hearts  with  her  genuine  good- 
ness and  her  genuine  greatness. 

Mary  Gordon,  who  has  been  making  pic- 
tures in  Hollywood  for  fifteen  years,  playing 
extra  parts  and  bits,  hasn't  any  real  name  in 
Hollywood  or  anywhere  else.  But,  of  course, 
if  you  will  listen  for  one  minute  to  any  one  of 
Messrs.  Bacon.  Cagney,  O'Brien  or  McHugh, 
you'll  realize  that  all  of  that  is  due  to  be 
changed  very  soon  now. 

She  is,  they  will  tell  you  (and  you'll  remain 
told),  capable  of  the  most  sincere  and  deeply 
moving  emotional  scenes  of  any  actress  in 
Hollywood.  She  is,  they  will  assure  you,  the 
real  star  of  their  little  picture,  "The  Irish  In 
Us,"  and  she  will  be,  they  predict  vigorously, 
with  half  a  chance,  a  grand  old  lady  of  the 
screen  who  will  wring  hearts  in  the  manner  of 
the  late  Marie  Dressier  or  May  Robson. 

All  because  Mary  Gordon  has  proved  again 
that  the  greatest  single  word  in  the  English 
language  is  "Mother." 

And  all  because  Jimmy  Cagney  and  Pat 
O'Brien  and  Frank  McHugh  have  proved 
again  that  every  man — and  especially  every 
Irishman — is  forever  just  somebody's  little 
boy. 

"You  could  be  the  real  mother  of  those  three 
boys,"- was  the  first  thing  Lloyd  Bacon  said  to 
Mary  Gordon.  For  weeks  he  had  been  search- 
ing for  someone  who  could  be  the  mother  of 
those  three  boys.  The  little  picture  he  was 
about  to  direct  was  no  epic.  It  was  a  simple 
little  thing,  short  on  story,  dependent  on  feel- 
ing. It  was  a  human  story  about  a  mother  and 
her  sons. 

He  knew  it  must  be  acted  with  something 
extra — with  something  from  within — or  else 
the  whole  picture  would  fail. 

Bacon  had  tested  seventeen  prominent, 
established  character  actresses  for  the  part,  in- 
cluding Marjorie  Rambeau,  Beryl  Mercer  and 
Helen  Lowell  before  this  plump  little  lady  in- 
formed him  in  a  thick  Scotch  burr  that  she  was 
the  Mary  Gordon  who  had  sent  him  the  note 
with  the  still  pictures. 

She  had  had  a  hard  time  getting  in  to  see 


about  this  job  of  mothering  the  Irish.  They 
wouldn't  let  her  in  the  studio  gates,  of  course, 
without  a  ticket  from  Central  Casting — be- 
cause you  can  be  in  Hollywood  for  fifteen 
years,  you  know,  and  still  be  just  an  extra 
woman.  So  she  had  sent  a  note  and  some  old 
photographs — one  with  Charlie  Murray — and 
Bacon  thought  they  told  him  something.  He 
called  up  the  casting  office. 

"Can  you  get  a  woman  named  Mary  Gordon 
out  here?  " 

"Mary  Gordon?"  they  said.  "Why,  you 
don't  want  Mary  Gordon,  Mr.  Bacon.  She's 
just  an  old  extra  woman — Scotch.  Been  sit- 
ting around  the  sets  for  years.  She'd  never  do 
for  any  sort  of  a  part." 

"Get  her  for  me  anyway,"  said  Bacon. 

\V/HEN  he  saw  her  standing  there  with  her 
*^  anxious  eyes  that  mirrored  sadness,  with 
her  hands  that  showed  the  marks  of  toil,  with 
the  indefinite  aura  of  nobility  which  shines  from 
the  soul  of  a  good  woman,  this  director  knew 
she  was  anybody's  mother — everybody's 
mother. 

He  told  her  the  story  of  the  picture  and  she 
cried  as  he  told  it. 

"You're  a  mother  of  sons?"  he  asked. 

"No  sons,"  she  said,  "only  ma  daughter, 
Molly." 

He  asked  for  her  story  and  she  told  him. 
Maybe  he  didn't  cry,  but  there  was  a  lump  in 
his  throat. 

"Don't  you  want  to  take  a  test?"  said  the 
supervisor. 

"It's  not  necessary,"  said  Bacon.  "Here, 
Mary,  take  this  script." 

That  is  how  Mary  Gordon,  after  fifteen  years 
of  struggling  to  wring  a  meager  living  out  of 
Hollywood,  to  raise  and  educate  her  daughter, 
came  to  the  gates  of  her  Promised  Land. 

She  came  on  the  set  the  first  day  nervous, 
naturally,  and  flustered.  It  all  meant  so  much 
to  her.  Fifteen  years'  experience  with  stars 
had  taught  her  what  to  expect — no  mercy,  no 
patience,  no  help,  no  tolerance,  no  attention  to 
one  of  her  caste — an  extra  woman. 


PUREST  SILVER 
SHIELDS  ITS  LOVELINESS 

What  a  joy  to  possess  .  .  .  and  liov  easy 
to  buy  .  .  .  this  excjui.site  Silverware  .  .  . 
graced  with  its  Sterling-lite  (lesions  .  .  . 
lortined  with  its  extra  Silver  overlay  .  .  . 
and  reflecting  tlie  spirit  of  Today!  It 
costs  so  little — yet  even  greater  savings 
are  possible.  Ask  your  dealer  for  details. 

Al  tu/t<ci&a/in 
V0^  HOUSEKEt^. 


Three  stars  stood  beside  her.  They  would  be 
quick  and  capable,  efficient  and  at  ease.  They 
would  be  superior,  jealous  of  their  rights. 

Her  first  lines  were  hard.     She  stumbled. 

"I'm  sorry,"  she  heard  a  red  headed  boy  say 
quickly  to  the -director,  "I  muffed  that.  My 
fault.    Let's  try  it  again." 

She  faltered  again.  A  take  was  such  an  im- 
portant thing  for  an  extra  woman  to  spoil. 

"What's  the  matter  with  me?"  said  a  curly 
headed  map  of  Ireland.  "I  read  the  wrong 
line." 

Jimmy  Cagney  and  Pat  O'Brien  and  Frank 
McHugh  didn't  consciously  take  Mary  Gordon 
under  their  wings.  It  was  instinctive.  There 
wasn't  a  word  spoken  between  them  about  the 
conspiracy  which  developed  at  once  and  grew 
day  by  day  until  every  one  of  those  three  Irish 
muggs  was  fighting  to  outdo  the  other  in  creat- 
ing a  starring  part  for  Mary  Gordon. 

"Look,"  Jimmy  would  say,  "what  you  did 
then — that  reminds  me  of  my  mother.     She 


up  every  trick  of  their  experiences  to  hand  her 
the  picture. 

And  when  five  additional  scenes  had  been 
written  for  Mary  Gordon  in  the  picture,  when 
she  realized  what  had  happened,  when  they 
told  her  she  would  be  famous  and  showed  her 
the  power  of  her  tears  on  the  screen,  she  paid 
her  debt  in  full  when  she  said: 

"Ye  might  be  my  own  sons.  Sure — I 
couldn't  have  done  it  if  I  hadn't  seen  the  tears 
in  your  eyes." 

(~\T  course,  Mary  Gordon  hasn't  any  real 
^-^sons.  She's  all  alone  in  Hollywood  except 
for  Molly,  whom  she  brought  over  from  the 
old  country  as  a  wee  bairn  fifteen  years  ago. 

They  settled  near  the  old  Robertson-Cole 
studio — it  was  that  long  ago — where  the 
RKO-Radio  lot  stands  today.  Hollywood 
then  was  as  Hollywood  is  today — lavish  with 
the  few  it  honored,  cruel  to  the  many  it 
spurned. 


No,  they're  not  giving  motor  boating  trophies  away.  They  all  belong 
to  Gene  Richee,  Paramount's  famous  portrait  photographer,  but  he  will 
probably  have  some  difficulty  getting  back  the  one  Carole  Lombard's 
holding.    Even  Fred  MacMurray  is  unable  to  induce  her  to  part  with  it 


used  to  say  to  me, '  Jimmy,  you're  so  thin.  You'll 
have  to  drink  a  glass  of  muddy  water  so  I  can 
see  you' — can't  we  work  that  in  for  Mary?" 

"I  had  an  Irish  aunt,"  Frank  McHugh 
would  remember,  "when  she  got  annoyed  she 
used  to  give  a  little  sniff — like  this.  Try  it, 
Mary." 

"Here,"  would  offer  Pat  O'Brien,  "why 
don't  you  get  your  face  into  the  camera  more, 
honey.  Nobody  wants  to  look  at  my  mugg  all 
the  time.  Give  me  your  arm — now,  turn 
around — like  that." 

And  Mary  would  dab  at  her  eyes  and  say  in 
her  Scotch  burr,  which  Frank  McHugh  had 
patiently  tutored  into  an  Irish  brogue,  "Ah — 
bhoys,  ye're  so  g-r-r-and  to  me.  I  can't  under- 
stand it.    Actor  people  just  aren't  that  way." 

But  what  Mary  Gordon  didn't  realize  was 
that  those  boys  saw  in  her  the  image  of  their 
own  mothers.  Then  they  weren't  actor  people 
■ — they  were  just  boys,  her  boys.  She  didn't 
know  that  they  were  having  the  time  of  their 
lives  babying  her  and  helping  her  and  conjuring 

104 


Mary  saw  an  ad  in  the  paper.  She  was  look- 
ing for  work.  "Wtd."  it  ran,  "short  time 
waitress  in  the  Robertson-Cole  studio  lunch- 
room." She  got  the  job.  Five  dollars  a  week 
and  free  lunches.  She  got  a  chance  to  cook  and 
wait  tables  too  for  fourteen  dollars,  so  she 
doubled  up,  because  she  was  used  to  hard  work. 
Hadn't  she  run  a  boarding  house  in  the  old 
country  during  the  war?  Hadn't  she  shined 
thirty-five  pairs  of  boots  each  morn  before 
breakfast? 

Soon  Mary  was  boss  of  the  lunchroom. 
There  she  saw  the  great  actors.  She  saw  them 
troup  in  at  noon  and  separate  themselves 
haughtily  from  the  lowly  extras.  That's  why 
she  expected  to  be  treated  as  she  was  when  the 
studio  changed  hands  and  she  started  gleaning 
a  living  from  five  and  sometimes  seven-and-a- 
half  dollar  extra  checks. 

But  Molly  was  growing  up.  She  wanted  to 
go  on  with  her  schooling,  so  Mary  Gordon 
played  scrubwomen — usually  always  scrub- 
women,   and    landladies   and   cooks   and   old 


crones,  thankful  for  the  all-too-infrequent  calls 
which  grew  fewer  unto  the  vanishing  point 
when  the  depression  came  and  business  was 
bad. 

The  rent  was  the  big  thing  They  could 
eat  and  manage  to  live  with  the  occasional 
checks  from  the  studios,  with  what  Mary 
could  make  on  nursing  jobs  and  what  Molly 
picked  up  every  now  and  then  for  extra  work. 
But  the  rent.  There  was  a  chance  to  move 
up  over  the  garage  behind  a  fine  Hollywood 
home — rent  free.  It  meant  hard  work,  but 
that  was  to  be  expected  from  life. 

For  two  and  a  half  years  Mary  Gordon  did 
all  the  work  of  that  great  house,  cared  for  the 
garden  and  even  polished  the  big  car  in  the 
garage  below.  There  was  an  agreement  that 
when  a  studio  call  came  she  could  drop  her 
work  and  go.    But  calls  didn't  come  very  often. 

Molly  finished  high  school  and  won  a 
scholarship  of  three  hundred  dollars.  She 
wanted  to  go  on  to  college.  Then  one  day  she 
came  home  to  Mary  with  a  pain  in  her  side 
and  her  young  cheeks  were  pale.  The  doctor 
said!  "Appendicitis,"  and  the  hospital  took 
the   three   hundred   dollars. 

DUT  Molly  went  to  college.  Mary  Gordon 
usaw  to  that.  She  worked.  She  did  anything 
to  make  an  honest  dollar.  In  her  creed  that's 
what  a  mother  should  do. 

Not  long  ago  when  things  were  very  bad, 
Mary  went  down  to  the  Assistance  League  in 
Hollywood  to  see  Mrs.  John  Ford,  the  wife  of 
the  director,  who  had  always  managed  to 
find  an  extra  spot  somewhere  in  his  pictures 
for  Mary. 

"I  need  some  work,  Mrs.  Ford,"  said  Mary 
Her  blue  eyes  were  serious.  "I'll  do  any- 
thing to  make  an  honest  dollar." 

"God  bless  you,  Mary,"  said  Mrs.  Ford, 
"we'll  find  something." 

She  did,  and  Mary  went  to  work  in  the  home 
of  a  Hollywood  actor,  preparing  meals — until 
things  picked  up  again. 

That  is  the  story  that  Lloyd  Bacon  learned — 
the  valiant  story  of  Mary  Gordon,  the  little 
extra  woman  whose  goodness  and  motherliness 
shone  from  her  face  like  the  light  from  a 
saint.  He  drew  it  from  her  the  day  he  first 
interviewed  her  for  the  part  that  was  so  hard 
to  fill  in  "The  Irish  In  Us."  He  knew  that  a 
mother  of  that  steel  was  the  mother  for  the 
three  boys  in  his  picture.  He  knew  it  the 
minute  he  met  her. 

And  so  did  the  three  boys. 

This  year  Molly  graduates  with  honors 
from  college,  and  this  same  year  Mary  grad- 
uates with  honors  from  the  college  of  work 
and  worry — which  is  Hollywood,  the  one  side 
of  Hollywood  you  don't  always  hear  about. 

And  that  is  a  supremely  satisfying  ending 
to  the  bittersweet  story  of  a  Hollywood 
mother,  who  besides  being  a  mother  is  as  noble 
a  Scott  as  the  Gordons  who  fought  at  Ban- 
nockburn   with   Bruce. 

And  it's  a  promising  commencement  that 
her  triumph  in  tears  foretold  that  day  on  the 
set  in  the  biggest  scene  of  her  picture  which, 
in  the  autumn  of  her  years,  was  also  the  biggest 
scene  of  he  life. 

Now  there  is  a  present  for  Mother. 

Mary  Gordon's  courage  and  devotion  have 
come  back  to  her  threefold.  She  will  reap  her 
reward  this  side  of  Heaven — right  here  in 
Hollywood,  where  she  has  earned  it.  She  is 
a  great  actress,  and  the  world  will  know  it. 

At  least,  that's  what  her  three  new  Irish 
sons  will  tell  you.  If  you  think  differently 
you'll  have  to  reckon  with  Jimmy  Cagney, 
Pat  O'Brien  and  Frank  McHugh. 

And  that  is  a  pretty  large  order. 


PHOTOPLAY   MAGAZINE  FOR  NOVEMBER,    1935 


105 


What  Matters  Most  In  Life? 


B 


H 


CONTINUED  FROM  PAGE  71 


wicker  chairs  on  wheels  came  by.  It  was  a 
crazy  thing  to  do,  but  we  squandered  our  last 
cent  and  rented  those  two  chairs.  And  we  sat 
in  them,  pompously,  eating  popcorn,  pockets 
empty,  while  the  darkies  in  their  white  coats 
pushed  us  through  the  crowds." 

The  corners  of  his  mouth  quirked  at  the 
memory.  "  The  best  part  of  it  all  was  what  the 
girl  on  the  boardwalk  said.  The  darkies  have 
little  whistles  that  they  blow  to  make  a  path 
for  the  chairs;  and  this  girl — she  had  red  hair 
and  was  about  seventeen,  I  remember — had 
to  jump  out  of  the  way.  She  was  pretty  sore. 
She  said:  'Oh — make  way!  Make  way  for  the 
rich  folks! '" 

And  there  were  other  incidents,  other 
simple  pleasant  things  that  made  up  living 
and  happiness  for  Pat  and  his  wife.  There 
were  long  rides  through  the  sharp  clear  nights 
of  Manhattan,  on  the  high  top  of  a  double- 
decker  bus;  from  86th  and  Fifth  Avenue  to 
Washington  Square — a  stroll  through  the 
Village — and  then  out  Riverside  Drive  clear 
to  196th  Street. 

THERE  was  the  period  in  Plainfield,  New 
'  Jersey.  "I  was  in  a  stock  company  there," 
Pat  told  me,  "but  I  lived  in  Brooklyn  and 
ferried  across  every  night.  They  asked  me 
why  I  didn't  take  an  apartment  near  the 
theater  and  save  the  long  trip  back  and  forth." 
He  twisted  his  cigar  between  his  fingers.  "  But 
you  see  that  ferry  trip  was  part  of  my  happi- 
ness. I  couldn't  tell  them  why — I  couldn't 
tell  them  about  standing  among  the  parked 
cars  in  the  bow  and  hearing  the  sounds  of  the 
boat,  nor  of  watching  New  York  come  slowly 
nearer.  .  .  ." 

He  could  not  talk  of  these  things,  then.  He 
knew  only  that  standing  there,  he  could 
catch  the  black,  cool  smell  of  water;  that 
standing  there,  he  could  see  two- cities — one 
upright  and  glowing  and  lit  by  a  billion 
stars;  one  wavering  and  magical  in  the  bay 
below.    He  could  not  give  up  these  things. 

And  so  with  Hollywood,  and  wealth,  and 
all  the  things  he'd  ever  dreamed  of,  Pat  has 
not  been  any  happier  than  before.  Luck  has 
enhanced  his  appreciation  and  his  scope,  but 
if  it  changed  again — he'd  laugh  once  mor&4n  a 
shanty. 

"There  are  still  the  basic  things,"  he  in- 
sisted, crushing  his  cigar  in  a  tray.  "My  wife, 
my  baby,  my  friends.  What  does  it  matter 
where  we  are,  how  we  live?  I  had  to  learn  to 
drive  a  car  when  I  came  to  California  and 
could  finally  afford  one;  I  get  a  bang  out  of  the 
Mayfair,  because  it's  new  to  me — but  I'd  still 
rather  buy  a  bag  of  popcorn  and  do  the  roller- 
coaster  at  Ocean  Park. 

"We're  leaving  for  Panama  in  a  few  days, 
on  my  vacation.  And  we're  going  in  a  freighter. 
We'll  be  happier  doing  that,  do  you  see?  " 

I  understood  then  that  Pat  O'Brien  has  no 
scale  of  values.  He  doesn't  need  one,  because 
all  the  important  things  in  his  life  are  merely 
sub-topics  to  the  first  Roman  Numeral: 
Happiness. 

(T1ENE  RAYMOND  waved  away  the  waiter, 
^-^put  his  elbows  on  the  table,  and  lifted  his 
glass. 

"Success,  of  course,"  he  answered  me. 
"  What  else  is  there?  " 

I  smiled.  "Suppose  you  define  your  term. 
Success  is  an  elastic  word,  you  know — stuck 


full  of  meanings  and  implications.  Just  what 
do  yon  mean  by  it?  " 

Gene  stared  at  me  a  moment  and  then 
frowned.  "I'd  never  thought  of  taking  it 
apart  before.  The  word  to  me  means  achieve- 
ment— achievement  of  the  task  you  want  to 
accomplish.  It  doesn't  matter  very  much 
what  that  is  ...  .  But  in  the  end  you've 
got  to  have  success  with  yoirfsclf.  In  addition 
to  all  the  other  things — fame,  money,  love — 
you've  got  to  have  an  inner  satisfaction;  you 
must  know  that  you've  not  gone  back  on 
any  one  of  your  ideals." 

He  sat  quiet  for  a  time,  thinking.  "In  my 
case,"  he  went  on  finally,  "all  this  is  tied  up 
with  the  business  of  making  pictures — with 
Hollywood.  Any  success  I  have  must  be  in 
that  field.  But  I'm  beginning  to  realize  that 
my  definition  of  the  word  is  generally  outlawed 
here.  There  aren't  many  ideals  connected  with 
the  movies — rather,  you  could  almost  put  the 
Hollywood  attitude  in  two  words:    So  what? 

"What  I  mean,"  he  explained,  "is  that,  as  a 
general  rule,  the  producers  don't  actually  set 
out  to  make  a  great  picture.  Most  of  them 
work  on  the  theory  that  when  a  production 
turns  out  especially  well  it's  an  accident.  So 
they  get  a  story,  choose  a  cast,  make  a  budg- 
et, and  shoot  as  fast  as  possible,  knowing  it 
will  probably  be  just  another  feature. 

"If,  occasionally,  the  critics  rave  and  the 
public  hurrahs — then  everyone  sits  back 
smugly  and  says,  'Luck  is  with  us.  Another 
hit!'  " 

(^TlENE  thumped  his  spoon  on  the  table. 
^— '"  Well,  they'rewrong.  Somewhere  in  back  of 
every  great  picture  there  is  one  man  with 
ideals,  one  man  who  set  out  in  the  beginning 
to  make  it  a  thing  of  genius.  And  that  man — 
star,  or  director — is  the  one  who  has  had  the 
real  success  when  the  thing  is  found  to  be  a 
masterpiece.  There's  no  such  thing  as  an 
accidental  hit." 

Gene  Raymond  holds  this  special  brief,  and 
you  cannot  make  him  deny  it.  In  considering 
the  lead  for  any  production  he  must  first  read 
the  script,  and  believe  in  its  superiority,  before 
he  can  give  his  answer.  And  in  every  picture 
that  he  makes  there  is  his  basic  ideal,  his 
conviction  that  it  will  be  a  good  movie — so 
when  the  audience  applauds,  he  has  achieved 
success  not  only  in  their  eyes  but  in  his  own 
as  well. 

Nearly  two  years  ago  Samuel  Goldwyn  was 
introducing  a  ready-made  star  named  Anna 
Sten;  it  was  an  experiment  in  the  realm  of 
publicity  to  see  what  ballyhoo  could  make  of 
an  unknown  personality.  He  needed  a  male  lead 
and  sent  for  Gene  Raymond. 

But  there  was  no  script. 

Gene  was  sorry. 

Three  months  later  Goldwyn  had  a  story, 
unwritten  as  yet  but  still — a  story.  He  sent 
a  casting  director  to  Columbia  with  a  synopsis 
for  Gene's  approval;  and  stubborn  Mr.  Ray- 
mond entered  the  producer's  sanctum  next  day 
with  thumbs  pointed  firmly  groundward. 

There  was  storm  and  fury — a  half-hour 
sales-talk— more  storm  and  fury.  Gene, 
standing  solidly  by  his  ideals,  was  immovable. 
One  of  the  requirements  would  have  been  that 
he  dye  his  hair.  He  said!  "I'm  certain  you 
can  find  someone  whose  hair  is  already  dark, 
who'd  fit  the  part  much  better  than  I  would" 
— and  went  away. 


THE   NAKED    EYE! 

To  YOUR  naked  eye,  it  probably  looks  as  if 
the  country  were  full  of  women  more  beau- 
tiful than  you,  about  to  steal  your  best 
beau!  Probably  that's  the  trouble — your 
naked  eye!  Try  slipping  your  lashes  into 
Kurlash.  Lo!  your  lashes  are  curled  up 
in  a  fascinating  sweep  like  a  movie  star's, 
looking  twice  as  long,  dark  and  glamorous. 
Your  eyes  sparkle  (that's  more  light  enter- 
ing!), are  deeper  and  more  colorful!  No  heat 
— no  cosmetics!  $1,  at  stores  near  you. 


Dear  Mrs.  J.  M. — far  from  being  "obvious" 
eye  make-up  is  extremely  subtle.  Apply  a 
little  Shadette — $1 — in  blue,  violet,  green 
or  brown  to  your  eyelids,  close  to  the  lashes 
and  blend  it  outward.  It  defies  detection  but 
how  your  eyes  deepen  and  sparkle! 


Jimt JejcJvriuarujz 


Lashes  also  need  never  look  "made  up." 
Try  this  Lashtint  Compact.  The  little  sponge 
stays  damp  for  hours — and  supplies  just  the 
right  moisture  to  insure  even  applications 
of  the  fine  mascara.  Result:  silky,  natural 
looking  lashes!  $1,  in  black,  blue  or  brown. 


Jane  Heath  will  gladly  send  you  personal  advice  on 
eye  beauty  ij  you  drop  her  a  note  care  oj  Department 
A- II.  The  Kurlash  Company,  Rochester,  N.  Y.  Tim 
Kurlash  Company  oj  Canada,  at  Toronto,  3. 


But  a  code  of  this  sort  must  carry  with  it 
persistence,  patience.  "Not  the  patience  of 
Job,"  Gene  grinned,  drawing  on  his  menu  a 
profile  of  Lily  Pons  who  was  in  the  next  booth. 
"And  not  drudgery.  I  knew  a  person  once 
who  worked  at  his  job  diligently,  every  hour 
of  the  day  and  every  day  of  his  life — waiting 
for  opportunity.  But  he  died  with  the  job 
unfinished.  ...  I  think  it's  a  question  of  the 
truism  modified:  'All  things  come  to  him  who 
hustles  while  he  waits.'  " 

He  folded  the  menu  and  sent  it  by  a  bus- 
boy  to  Miss  Pons.  "Of  course,"  he  con- 
tinued, "I  want  a  lot  of  things.  I  want  all  the 
things  money  can  buy — I  want  the  perfect 
love,  certainly — I  want  the  international 
fame  that  comes  with  being  a  star. 

"But  I've  got  to  have  th\s  first:  I've  got  to 
fight  discouragement,  and  I've  got  to  have 
success  with  myself.  Even  if  I  never  get  any 
of  those  other  things — if  I  have  nothing  left 
but  the  knowledge  that  I've  lived  up  to  my 
convictions — then  I  shall  have  succeeded  in 
life." 

ri  LEND  A  FARRELL,  in  white  slacks, 
^-^  romped  through  the  doorway,  and  with 
her  came  a  sort  of  breathless  excitement.  I 
flung  my  question  at  her  and  she  laughed  her 
answer:  "Love!" 

Lounging  opposite  each  other,  we  started  a 
rapid  fire  dialogue  with  only  an  occasional 
pause  for  breath. 

Glenda:  It's  the  most  important  thing  in 
the  world.  Take  it  away  from  me  for  just  one 
day  and  I  die  a  little,  inside.  Everything 
I  do,  all  my  philosophy,  my  living,  is  centered 
in  it. 

I:  Who  is  he? 

Glenda:  Oh,  I  don't  mean  just  the  popular- 
song  type. of  thing.  (Humming)  "A  world 
without  love  is  a  world  without" — that's  only 
a  small  percentage.  I  mean  the  deep  affection 
I  have  for  my  family,  for  my  friends,  even  for 
the  menagerie  I  keep.  And  they  must  love 
me  in  return.  You  can  define  Glenda  Farrell 
in  four  words — "Love  and  be  loved".  .  .  . 

/:  You  think  there  are  two  kinds  of  love, 
then?  One  connected  with  a  single  definite 
person,  I  suppose,  and  spelled  in  capitals: 
L-O-V-E.  And  then  the  every-day  pleasant 
affection  for  the  cat  and  the  two  kid  cousins 
and  your  friends  at  the  studio. 

Glenda:  I  suppose  that's  it.  Maybe  I  just 
have  a  warm-hearted  nature.  But  I  can't 
hate  anyone — and  I  can't  bear  it  if  some- 
body doesn't  like  me.  Of  course  I  fight  like 
the  dickens  with  my  family,  but  we  always 
make  up  six  minutes  later.  I  can't  think  of  a 
person  I  dislike — there's  always  something 
lovable  in  everyone,  you  know.  X  say  if  you 
radiate  love,  others  are  bound  to  love  you; 
overlook  things  in  other  people,  be  willing  to 
give — of  yourself  and  of  your  time  and  of 
your  thoughts.  If  you  don't  enjoy  doing 
that  there's  no  happiness  for  you. 

/:  It  takes  a  pretty  big  person  to  live  like 
that.    Petty  people  wouldn't  stand  a  show. 

Glenda:  (Succinctly)  Then  be  big. 

/:  Isn't  success,  money,  important  too? 

Glenda:  (Disposing  of  success  with  a  move- 
ment of  her  hand)  Not  so  important.  Of 
course  I  want  it,  but  mostly  so  I  can  give  my 
family  things.  It  all  gets  back  to  the  basic 
foundation  of  love — I  adore  them,  so  I  must 
have  success  and  money  to  make  them  happy. 

/:  But  Glenda,  love!  Love  in  capitals. 
Where  does  that  come  in? 

Glenda:  (Frowning,  biting  her  lip)  I'm  al- 
most afraid  to  talk  about  that.  It's  a  paradox, 
a  bugaboo. 

I:  Why? 


Glenda:  Because  I'm  searching  for  some- 
thing all-enclosing  that  I  can't  quite  find. 
(Sitting  up  straight)  If  I  could  love  someone 
the  way  I  loved  that  truck-driver  in  my 
neighborhood  when  I  was  fifteen — if  I  could 
recapture  a  worship,  so  complete  and  unselfish, 
as  that — then  the  world  would  be  mine.  (Lying 
back  with  closed  eyes)  It  was  a  Mack  truck 
he  drove.  ...  I  never  met  him. 

/:    First  love  is  always  incomparable. 

Glenda:  That's  why  a  woman  shouldn't 
marry  until  she's  older.  The  man  she  loves 
at  seventeen  is  not  the  man  she  loves  at 
twenty-five.  She  changes  mentally  and  every 
other  way — grows  up,  let's  say- — between 
those  ages. 

(Smiling  suddenly)  My  son  Tommy's  in  love 
now  with  his  first  girl.  And  what  he  goes 
through!  He  lies  on  his  stomach  on  the  floor 
and  dreams  into  the  distance.  He  says: 
"Well,  I  guess  I'll  make  a  phone  call — "  and 
then  broods  darkly  for  a  while.  Finally  he 
says:  "Mama,  would  it  be  good  technique  to 
call  her  today? — after  all  I  said  I  would,"  and 
I  tell  him:  "Make  them  wait,  Tommy,  make 
them  wait."  But  he  gets  so  miserable  I  tell 
him  to  go  ahead.  .  .  . 

And  of  course  it's  agony.  I  know.  I  suffer 
right  along  with  him.  But  he  lives  on  it — 
and  so  do  I. 


HE  WAS  TOLD  THAT  HE 

COULD   NEVER  WALK 

AGAIN 

In  his  late  fifties,  Fred  Stone  thought 
he  was  down  and  out.  His  health  had 
been  broken  in  a  terrible  accident.  His 
career  as  a  dancer  was  finished.  To- 
day, at  62,  Fred  Stone  is  hailed  as  Hol- 
lywood's greatest  discovery.  Read  his 
dramatic  story  in   December 

Photoplay 

Out    November   5 


Appointments  were  changed,  I  had  blow- 
outs on  the  way,  and  a  nearsighted  servant 
mumbled  at  me  that  Madame  did  not  want 
to  buy  a  vacuum-cleaner — but  when  at  last 
I  sat  opposite  Dolores  Del  Rio  and  asked: 
"What  do  you  think  is  the  most  important 
thing  in  life?"  she  answered,  "Living."  And 
I  knew  it  had  been  worth  all  the  trouble. 

Living  to  lovely  Mrs.  Cedric  Gibbons  has  a 
vivid  connotation:  it  is  composed  of  her 
passionate  love  for  life;  of  her  invincible  faith 
in  herself  and  in  her  God;  of  courage.  It  is  a 
bright  arc,  not  yet  beginning  to  fade.  And  it 
has  grown  from  a  vital,  sensitive  personality 
that  expresses  itself  in  her  words: 

"I  must  live  well — I  must  experience 
everything  fully!  I  must  not  be  afraid  of 
new  things  or  new  people  or  new  adventures, 
but  seek  them  glorying  in  the  strangeness.  If 
they  have  danger  then  I  must  not  be  the 
coward  that  runs  off  crying;  if  they  leave  a  bad 
taste  then  I  must  find  something  new  to  take 
the  taste  away.  But  I  must  not  regret  any- 
thing I  have  ever  done.  .  .  .  Only  the  things 
I  have  been  afraid  to  do! 

"And  I  must  love  spontaneously  without 
thought  of  futures  nor  of  faults.     I  have  not 


hidden  from  dangerous  men  because  they 
might  hurt  me;  if  there  is  a  little  hurt,  bah! 
It  makes  you  appreciate  the  better  people." 

This  is  her  exciting  brief,  the  creed  by  which 
she  lives;  but  once,  when  she  lived  the  quiet 
cloistered  life  of  a  girl-of-good-family  in  old 
Mexico  City,  there  was  no  chance  for  adven- 
ture, no  opportunity  for  living  deeply.  Then 
her  days  were  made  of  a  million  small  fears, 
her  nights — which  might  have  been  richly 
colored  interludes  in  that  romantic  legend  of  a 
city — were  spent  reading,  preparing  for  bed 
Then  she  refused  invitations  to  skate  in 
Winter,  because  she  might  slip  and  hurt  her- 
self; then  she  wore  second-best  gowns  to 
parties,  fearful  of  tearing  a  beautiful  new  dress 
made  especially  for  this  event — and  derided 
herself  later  for  the  craven,  miserable  evening 

She  was  seventeen  when  she  got  her  slender 
curious  hands  on  a  small  volume  named  "La 
Pair  dc  Vivre" — "The  Fear  of  Living" — and 
read  about  the  tribulations  of  a  French  family 
who  were  afraid  to  face  life,  who  backed  away 
from  problems  and  the  ordeal  of  existence. 
"I  thought,"  she  told  me,  " '  this  book  is 
about  me!  I  am  fearful  of  living — I  have 
pair  dc  vivre.'  " 

A  ND  it  set  Dolores  Del  Rio  to  thinking. 
'  '  Slowly  she  ventured  a  little,  found  what  ex- 
citement and  adventure  were,  began  a  loud 
beating  of  small  wings.  Two  years  later  she 
made  her  decision,  imperilled  her  fortune  and 
her  social  position,  and  came  to  Hollywood 
where  she  had  only  one  chance  in  a  thousand 
of  finding  justification. 

"I  was  mad  to  do  it,"  she  laughed,  "because 
my  family  and  my  friends  would  have  ostra- 
cized me  if  I'd  been  a  failure.  I  couldn't  have 
gone  back.  But  you  see — I  found  success! 
And  I'm  so  glad  I  came — how  awful  to  have 
stayed,  to  have  met  the  same  people  every  day, 
to  have  done  the  same  things — how  incredibly 
dull!" 

She  chuckled  softly.  "So  many  people  have 
pair  de  vivre.  I  am  constantly  giving  my 
advice  to  young  friends:  'Leave  home,  find  a 
job,  make  your  own  way,  live  fully,  you  will 
succeed,'  I  tell  them.  I  say:  'Forget  this  safe, 
secure  position.  Take  a  chance,  find  a  better 
thing' — and  then  for  months  I  am  tortured  for 
fear  I  have  been  wrong.  But  it  has  always 
turned  out  well  .  .  .  the  advice  has  always 
been  good. 

"Living  for  me  is  made  of  three  things: 
Love,  travel,  and  good  books  or  music.  Suc- 
cess—it never  made  me  happy.  Fame — when 
I  had  it  most,  I  was  miserable.  Money — love 
costs  nothing,  you  can  travel  third-class, 
there  are  libraries.  Excitement  is  not  based 
on  night-clubs  or  gaiety,  but  for  me  it  is  in  a 
kiss;  in  arriving  at  a  new  land;  in  the  cre- 
scendo of  a  symphony.  .  .  ." 

"And  if  you  were  deprived  of  those  things?" 

"Then  I  would  still  live.  I  love  the  earth 
and  what's  on  it — the  mountains,  that  sea 
out  there,  they'd  still  exist.  The  sun  still 
shines;  I  could  always  take  sun-baths.  Be- 
sides, you've  forgotten  my  faith.  I'd  get  my 
three  things  back  somehow.  Even  if  I  didn't 
— to  live  would  be  enough.    Just  to  live  well." 

And  here  in  this  house,  built  like  a  Metro- 
Goldwyn-Mayer  set,  by  Cedric  Gibbons, 
master  of  set  designers,  gorgeous  Dolores  has 
settled  herself  with  a  stubborn  courage  and  a 
panorama  for  life. 

To  Hollywood,  then,  I  asked  my  question: 
"What  matters  most  in  life?"  And  looking 
within  itself  it  found  four  answers.  Happi- 
ness! Success!  Love!  Living!  Four  flags  on 
a  single  tower. 


10", 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


107 


Spinning  Around  With  Mitzi 


CONTINUED  FROM  PAGE  65 


I  giggled,  thinking  of  Mickey  doing  leaps  and 
twirls  with  a  bunch  of  nymphs.  My  next  ques- 
tion was  a  little  more  practical. 

"What  did  you  enjoy  the  most  on  your  trip 
to  Europe?" 

"  Coming  home,"  he  said  patly.  "  But  there 
was  one  awfully  nice  thing,  though,  I  read  you 
all  through  Europe!"  Bluggs,  the  smelling 
salts! 

Talking  about  airplanes — or  were  we?  Did 
you  read  about  the  one  that  crashed  into 
Connie  Bennett's  front  yard  at  Malibu?  Ooh! 
Was  the  lady  mad!  Not  because  it  dirtied  up 
her  sand  pile  or  becuz  the  newspapers  said  it 
narrowly  escaped  scraping  her  epidermis  when 
she  was  actually  many  miles  away,  but  because 
she  wasn't  there  to  see  it! 

"Malibu,"  moaned  the  thin  woman,  "has 
been  so  abysmally  dull  this  year." 

DUT  nothing's  ever  dull  around  the  Pat 
^O'Brien  menage.  If  it  isn't  one  thing,  it's  half 
a  dozen  of  another.  The  latest  took  place  at  the 
missus'  swanky  dress  shop  in  Beverly.  A  nice 
looking  woman,  avec  spouse,  came  in  and  asked 
to  try  on  an  expensive  gown.  When  she  had 
been  properly  buttoned  up  she  trotted  back  to 
the  front  of  the  store  to  show  hubby.  Sud- 
denly the  salesgirl  spotted  a  suspicious-looking 
bit  of  material  dangling  from  his  slightly  bulg- 
ing coat. 

"Hey!"  yelled  she,  "give  me  back  that 
dress!"  She  yanked  and  out  came  not  one, 
but  three  gowns  that  the  gent  had  purloined 
whilst  the  wife  had  the  salesgirl  safely  out  of 
sight  in  the  fitting  room. 

Then  Mrs.  Pat  appeared  on  the  scene  just  in 
time  to  see  the  woman  streaking  madly  out  of 
the  front  door  with  the  dress  still  on  and  still 
unpaid  for!  Mrs.  Pat  dashed  out  after  her,  and 
galloped  down  the  street  yelling  wildly, 

"Help!    Police!    Help!    Police!" 

But  nobody  paid  the  least  bit  of  attention  to 
her. 

Finally  she  cornered  the  thief-ess  in  a  back 
alley,  pinned  her  to  the  wall,  stripped  $49.50  of 
satin-back  crepe  from  off'n  her  hide,  and  left 
the  lidy  in  her  petticoat! 

For  months  and  months  me  and  Marian 
Marsh  (you've  never  seen  a  lovelier  kiss) 
swapped  lunches.  First  it  was  her  turn,  then 
mine.  Last  week  she  phoned:  "Let's  go  in  for 
bigger  and  better  lunches,  Mitzi,  let's  bring 
along  our  maws." 

So  we  brought  the  ladies  to  the  Vendome, 
introduced  them  to  each  other,  and  right  off 
everybody  started  talking  at  the  same  time! 
Between  tossing  the  gab  about,  yelling  hulloes 
to  Anita  Stewart,  Douglass  Montgomery,  the 
lovely  Ruth  Selwyn,  Maxie  Rosenbloom, 
Arline  Judge,  Lyle  Talbot  and  Jeanette  Mac- 
Donald,  to  say  nought  of  Marian  signing  auto- 
graphs every  four  minutes  for  admiring 
visitors,  we  had  a  ducky  lunch.  I  couldn't 
exactly  tell  you  what  we  ate,  but  we  managed 
to  decorate  our  innards  satisfactorily.  Both 
parents,  incidentally,  had  themselves  a  chi-chi 
time.  Ma  Cummings  was  tossing  "My  Mitzi, 
etc.,"  all  over  the  place.  And  Ma  Marsh  was 
fighting  for  opportunities  about  "My  Marian!" 
Great  institution,  mothers! 

Which  reminds  me  about  Fay  Wray  and  the 
reporter.  She  was  being  interviewed  just  be- 
fore paddling  off  to  Europe,  and  the  reporter 
was  kind  of  running  out  of  questions.  Fay  was 
a  little  weary  of  it  all. 


"Oh,  Miss  Wray,"  suddenly  shot  the  bright 
young  fellah,  "what  do  you  think  of  the 
quintuplets?" 

"Why,  I  think,"  chirruped  the  actress 
naively,  "that  there  are  five  of  them,  don't 
you?" 

And  that's  some  youngster  Glenda  Farrell 
has.  Always  up  to  something.  Course  Glenda 
adores  him,  but  occasionally,  being  all  boy,  he 
exasperates  pretty  mama.  I  got  a  taste  of  it 
over  the  phone  the  other  day.  We  were  talking 
about  this-and-that,  mostly  about  her  interior 
decorating,  when  suddenly  she  started  to 
shriek  offside,  "Tommee'ee!  You  little 
devil,  take  your  dirty  feet  off  my  white  satin 
chaise  longue!" 

Then  she  exploded  into  the  phone,  "Heavens! 
I  give  that  imp  a  swell  room  for  himself.  I  put 
linoleum  on  the  floor  with  a  zebra  rug.  I  give 
him  a  big  armchair  all  upholstered  in  a  leopard 
skin,  and  I  hang  dandy  animal  pictures  on  the 
wall.  If  he  wallows  in  the  mud  he  still  can't 
spoil  anything  in  there,  but  he  has  to  come  into 
my  room,  with  all  my  white  silks  and  satins 
and  plunk  his  muddy  shoes  right  on  my  .  .  ." 

Suddenly  Tommy  tee-heed:  "Sing,  mother, 
sing!" 

Which  reminds  me  of  the  boylet  of  the 
Donald  Woods.  They  call  him  Splinter. 
Splinter  has  a  turned-up  nose  and  a  determined 
little  chin,  and  one  day  he'd  been  very  naughty. 
His  handsome,  acting  papa  took  him  to  task 
at  the  luncheon  table  and  gave  him  a  regal 
dressing-down.  This  ended  with  a  dignified 
"And  I  think  I  ought  to  give  you  a  spanking. 
What  do  you  have  to  say  about  it,  Splinter?  " 

Whereupon  that  one  rose  upon  his  haunches 
and  piped:  "If  it's  all  the  same  to  you,  Mr. 
Wood,  I'd  rather  you'd  whistle!" 

This  is  my  day  with  the  younger  generation 
.  .  .  three-year-olds  are  just  my  style!  Nephew 
Stephen  is  always  saying  the  darnedest  things, 
too.  Yep,  Stephen,  is  a  one.  On  a  nice  Satur- 
day morning  his  daddy,  director  Roy  Rowland, 
took  him  for  a  walk  in  the  park.  They  stopped 
at  a  lily  pool  where  some  frogs  were  disporting. 
Stevie  was  entranced.  Suddenly  a  great,  mon- 
strous hopper  leaped  on  the  edge  of  the  pool 
and  blinked  his  eyes.  "Ooh,  daddy!"  cried  the 
young  one  in  amazement.  "Look  at  the  Saint 
Bernard  frog!" 

A  ND  then,  next  day,  Stevie  was  in  the  park 
'  'with  his  nurse.  He  was  scooping  up  pebbles 
and  flinging  them  in  every  direction.  For  this 
he  was  reprimanded,  and  he  promised  to  be- 
have himself.  But  when  nana's  back  was 
turned  he  was  at  it,  whereupon  his  little  pal, 
Karen  Morley's  infant,  rushed  up,  banked 
excitedly  at  her  skirts  and  cried:  "Lady,  lady, 
he's  doing  that  business  again!" 

One  of  the  loveliest  women  in  these  here  hills 
is  Mrs.  Edgar  Selwyn,  whose  sister  is  married 
to  the  mighty  Nicholas  Schenk.  Mrs.  S.  has  a 
love  of  a  garden,  all  trimmed  up  in  marine  blue 
sunshades  and  chairs  on  one  side  of  the  swim- 
ming pool,  and  lemon  yellow  ones  on  the  other. 
In  the  pool  swims  a  coupla  mattresses  and  a 
cunning  sailboat  built  for  two — if  you  squeeze 
tight  enough!  In  the  garden  is  also  a  white 
piano,  a  teeny  one.  Last  week  Con  ("Con- 
tinental" and  other  hits)  Conrad  sat  down  and 
played  and  played  and  played!  Those  who 
sat  entranced  was  your  girl-friend;  Countess 
DeMaigret;  Alice  Nikitina,  famous  ballerina; 
Princess  Paley,  and  several  nice  gents. 


a  seccnuf day 

.  take  a  Beauty  Laxatives 


You  simply  can't  expect  to  have  sparkling 
eyes,  a  clear  youthful  complexion  and  plenty 
of  pep,  unless  you  insist  on  regular  elim- 
ination. Never  wait  a  second  day.  Take  a 
beauty  laxative. 

Olive  Tablets  gently  and  safely  help  nature 
carry  off  the  waste  and  poisonous  matter  in 
one's  system;  keep  you  looking  and  feeling 
fine  and  fit.  And  they're  non-habit-forming. 

Keep  a  box  of  these  time-tried  beauty 
laxatives  handy  for  the  times  when  nature 
skips  a  day.  Three  sires,  15>!-30i!-60(f.  All 
druggists. 


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Name Age 

Address 


City. 


Mrs.  Sehvyn  curled  herself  atop  the  piano 
and  sung  and  sung  and  sung.  The  eyes  and 
ears  were  enjoying  a  big  time  when  suddenly  a 
handsome  barytone  voice  from  somewhere 
busted  in  and  juggled  some  pretty  high  notes. 
We  all  jumped  up  and  looked.  There,  over  the 
garden  wall,  was  a  good-looking  blonde  head 
and  a  laughing  face.  "You've  got  no  right  to 
disturb  the  peace  this  way,"  he  grinned,  "so  I 
just  decided  to  be  a  good  neighbor  and  give  you 
a  little  of  the  same." 

It  was  Nelson  Eddy! 

\/OU  know  that  bracelet  of  mine?  The  white 
one  with  the  alternating  black  and  white  rings 
from  which  are  suspended  hundreds  of  black 
and  white  round  tabs?  I  take  it  off  and  amuse 
myself  by  shaking  it  like  a  tambourine  .  .  . 
remember?  Well,  my  sweet  potato,  I  shall 
never  do  that  again.  But  never.  Nope,  I 
shall  frame  it  and  show  it  to  my  babes.  All 
because  while  one  hand  was  busy  shovelling 
sustenance  into  my  cavern  while  in  the  M-G-M 
commissary  the  other  day,  Clark  Gable  hap- 
pened along  and  noted  the  other  fin  waving  the 
fan-dangley  bracelet. 

"Oh,  let  me  see  that!"  exclaimed  the  big, 
beautiful  he-man  excitedly.  "I  never  saw  a 
bracelet  like  that  before!" 

I  handed  it  over  and  Clark,  like  a  four-year- 
old,  waggled  it  and  wiggled  it  with  great  joy. 
Then,  with  a  grin  on  his  pan,  he  tried  to  shove 
it  on  his  wrist.  But  it  stuck.  It  wouldn't  go 
further,  and  it  wouldn't  go  back.  Clark  per- 
spired. Clark  perspired  some  more.  But 
there  it  was!  Finally  he  braced  himself 
against  my  chair.  "Pull,"  he  commanded, 
"pull  hard!" 

So  I  took  a  deep  breath,  pitted  my  103 
pounds  of  brawn  and  muscle  against  the  fellah's 
mighty  torso  and  yanked!  Off  it  came,  but  so 
suddenly  and  unexpectedly  that  I  went  flying 
back  on  the  chair  .  .  .  a  heap  of  confusion! 


But  dear  Clark  set  me  right,  thanked  me 
profusely,  patted  me  on  the  head  and  went  his 
way  to  the  accompaniment  of  several  dozens 
of  sighs  from  female  lookers-on. 

Ergo,  Joan,  I  frame  my  bracelet! 

And  speaking  of  handsome  heroes,  seeing  Joe 
Penner,  the  duck  fancier,  in  a  pair  of  swimming 
trunks  is  quite  a  revelation!  When  I  popped 
out  and  told  him  so,  the  lad  dipped  himself  into 
a  pot  of  rosy  red  and  stuttered  so  everyone  got 
the  giggles. 

"Speaking  of  embarrassing  moments,"  said 
he  to  me,  "reminds  me  of  the  time  in  Coney 
Island. 

"  I  took  a  ride  in  a  tiny  automobile  on  a  con- 
cession and  I  was  having  a  swell  time  racing 
myself  all  over  the  place,  when  suddenly  the 
starter  .  .  ."  he  paused  to  gulp  while  his  wife 
grinned,  "spotted  me.  He  turned  around  and 
relayed  it  to  the  barker  who  immediately  began 
to  yell  to  the  passing  crowds:  'Ladees  and 
gentlemen!  Joe  Penner  .  .  .  Penner  of 
"Wanna  Buy  a  Duck,"  is  in  here  riding  in  a 
miniature  auto.  Step  right  up,  ladees  and 
gentlemen,  step  right  up!' 

"I  immediately  signalled  the  starter  to  stop 
the  electricity  so  I  could  get  out,  but  the  guy 
pooh-hooed  the  idea  and  only  threw  it  on  the 
harder.  Meanwhile  the  crowds  jammed  the 
railing  to  look,  and  there  I  was,  looking  like  a 
monkey  riding  around  and  around  in  a  kiddie 
car! 

"I  pulled  a  five  dollar  bill  out  of  my  pocket 
and  waved  it  at  the  starter,  but  he  shook  his 
head  and  kept  the  juice  on.  Then  I  flashed  a 
ten  at  him.  He  pulled  the  switch!  I  leaped 
out  of  the  car  and  started  to  leave,  but  I  was  so 
dizzy  from  going  around  twenty-two  times 
that  I  fell  down. 

"I  was  so  blooming  mad,  and  so  embarrassed 
and  so  dizzy  I  didn't  know  who  to  fight  first." 

Whee-eee-ee!     And  Whoops-a-day! 
Did  I  step  last  Sunday  afternoon.     Wuz  I  an 


elegant!  Wuz  a  bit  of  all  right,  though!  Miss 
Lily  Pons  gave  a  party.  And  Miss  Mitzi  Cum- 
mings  went  in  her  best  white  hat  and  diamond 
joolery. 

Jeanette  MacDonald  was  there.  Irene 
Dunne  was  there.  Lawrence  Tibbett  was 
there.      Many  others  were  there. 

Lark  Pons,  petite,  vivid  and  possessing  a 
childlike  enthusiasm,  was  enchanting  in  a  long 
white  crepe  tea-gown,  princess  waist,  high, 
round  little  neck,  and  flowing  sleeves. 

So  many  people  kept  telling  her  how  much 
they'd  enjoyed  her  singing  here  and  there.  To 
every  one  Lily  would  reel  off,  like  lightning,  her 
entire  repertoire  in  Detroit,  or  New  York,  or 
Dallas,  or  wherever  it  was  the  individual  had 
heard  her  sing. 

An  amazing  memory  when  you  consider  the 
number  of  concerts  she's  given,  and  the  extent 
of  her  repertoire.  I  sat  and  gaped  at  it  all,  but 
more  I  gaped  at  the  prima  donna's  animated 
face,  because,  s-s-sh!— you  can  share  a  secret- 
some  people  had  said  I  resembled  her! 

Finally  I  told  her  so. 

"But  yes!"  she  exclaimed  excitedly,  "eet  ees 
so!    You  are  Franch?" 

"No,"  I  shook  my  noodle. 

"Spaneesh,  yes?" 

"Sorry." 

"Not  a  Latin?"  she  queried.  "Then 
Rooshun!" 

"Well  ..."  I  began,  when  suddenly  Pan 
Berman,  the  youthfully  brilliant  executive  of 
RKO  butted  in. 

"CO  MITZI,  your  eyes  are  like  Miss  Pons 
'"'And  your  coloring  is  alike  .  .  .  and  your 
mouths,  I  think.     But,"  he  flicked  his  hand 
meaningly,  "how  is  your  voice?" 

Paderewski,  queeck  .  .  .  play  me  the  Fu- 
neral March! 

Yours  with  a  whiz  and  a  bang! 

MITZI. 


Why  Virginia  Bruce  Won't  Marry  for  Five  Years 


CONTINUED  FROM  PAGE  31 


and  thrilled  and  breathless  with  her  girl  friends 
while  the  Great  Lover  flashed  his  imperious, 
pulse-stirring  way  across  the  screen  to  the 
strains  of  "The  Merry  Widow"  and  the 
dramatic  pace  of  "The  Big  Parade."  And  she 
had  never  dared  to  dream  that  she  would  ever 
speak  his  name,  touch  his  hand,  see  him  face  to 
face. 

And  I  remembered  her  telling  me,  that  first 
time  we  talked,  how  even  after  she  had  come  to 
Hollywood  and  was  signed  by  M-G-M  she  used 
to  sit  in  the  commissary  at  luncheon  watching 
Jack  come  in  and  feeling  her  hands  go  cold  and 
her  body  rigid,  unable  to  eat  because  of  the 
painful  thudding  of  her  heart  and  the  tighten- 
ing of  her  throat.  And  then  the  meeting  and 
the  part  in  his  picture  and  a  few  brief  weeks 
and  the  incredible  magic  of  the  words:  "I  want 
you  to  marry  me  ..." 

Oh,  of  all  the  fantastical,  Never-Never  Land 
things  to  happen,  surely  this  was  the  most 
Never-Never  of  them  all! 

And  now,  yesterday,  I  sat  with  the  girl 
Virginia  who  has  been  John  Gilbert's  wife  and 
the  mother  of  his  child  and  who  grew  up,  grew 
sadder  and  wiser  and  somehow  more  sculptur- 
ally beautiful  since  the  door  of  that  House  on 
the  Hill  closed  behind  her. 

I  said  to  Virginia:  "Make  believe  that  at  the 

108 


end  of  the  five  years  it  should  be  Jack  who 
would  ask  you  to  marry  him  again — would 
you?" 

And  Virginia  couldn't  answer  me,  not  in 
words. 

But  our  eyes  went,  involuntarily,  around  the 
room.  To  the  framed  picture  of  Virginia  and 
the  baby  on  one  wall,  to  the  portrait  of  Jack  on 
the  dressing  table,  Jack  happy  and  laughing 
and  gay. 

She  said  at  length:  "You  can  say  this  for  me 
—I  would  rather  have  had  Jack  for  the  father 
of  my  baby  than  any  other  man  in  the  world. 
I  would  be  really  unhappy  now  if  I  had  not  had 
Susan  Ann.  Out  of  all  the  world  he  is  the  man 
I  would  have  chosen  to  father  my  child.  And 
I  think  the  combination  of  Jack  and  me,  as 
parents,  is  perfect.  For  the  baby  has  my  sort 
of  quietness  and  calm  and  she  has,  also,  Jack's 
fire  and  artistic  temperament  and  drama.  I 
think  she  is  going  to  be  a  remarkable  person. 
She  is  growing  to  look  more  like  me  as  she 
grows  older.  She's  nearly  two,  you  know.  But 
Jack  is  there,  in  her  gestures,  in  her  quick  likes 
and  dislikes,  in  the  fire  that  animates  that 
darling  baby  face.    And  I  am  glad." 

"Why,"  I  said,  "do  you  give  yourself  five 
years?  Any  reason  for  that  special  length  of 
time?" 


"Yes,"  said  Virginia,  "there  is.  I  want 
another  baby.  I  intend  to  have  one.  And  I 
want  to  have  my  other  baby  before  I  am 
thirty.  At  the  end  of  five  years  I'll  be  twenty- 
nine.    That  is  the  major  reason. 

"The  other  is,  that  I  need  five  years  to  make 
of  myself  what  I  want  to  be.  You  see,  I've 
reversed  the  customary  tables.  I  am  beginning 
my  career,  beginning  to  work,  living  at  home 
with  my  parents,  going  out  with  boys,  having 
my  growing-up  time  after  marriage  instead  of 
before.  And  my  work  is  what  I  want  now.  I 
gave  it  up  once.  I  shall  not  give  it  up  again. 
"If  anyone  should  offer  me  today  a  final 
choice  between  a  career  and  being  married  and 
having  a  home  of  my  own  again  I'd  choose  the 
career  without  an  instant's  hesitation.  I  don't 
know  what  that  makes  of  me,  a  selfish  person, 
perhaps— but  it's  the  simple  truth.  And  I," 
laughed  Virginia,  "am  too  honest  to  be  able  to 
shade  the  truth.  It's  one  of  my  defects,  I 
guess.  I  don't  seem  to  know  how  to  be  any 
other  way.  Jack  is  honest,  too.  But  if  pos- 
sible I  am  honester.  And  that  was  one  of  our 
difficulties.  I  must  learn,  among  other  things, 
to  be  more  subtle,  have  more  finesse. 

"I  want  to  Amount  To  Something  with 
capital  letters.  I  want  to  have  all  the  contacts 
and  experiences,  all  of  the  travel  and  knowl- 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,    1935 


109 


xlge  of  myself  that  I  should  have  had  before  I 
named  Jack.  I'd  had  so  few  experiences 
before  my  marriage.  And  almost  no  emotion 
save  for  my  fan-worship  of  Jack. 

"As  a  matter  of  fact,"  Virginia  said,  "my 
chief  claim  to  fame  still  lies  in  the  fact  that  I 
once  married  John  Gilbert.  I  want  five  years 
to  stake  a  claim  for  myself. 

'  I  WANT  to  have  romances,  too,  of  course.  I 
'  wouldn't  be  honest  to  try  to  say  that  I  in- 
tend to  live  for  five  years  with  nothing  of  ten- 
derness, nothing  of  glamour  in  my  life.  But 
sometimes,"  said  Virginia  with  that  look  again 
of  one  who  sees  something  others  cannot  see, 
"sometimes  it  is  a  little  difficult  ...  it  is  very 
difficult  to  have  loved  John  Gilbert  first  .  .  . 

"And  then,  too,  I  want  to  be  free  for  the 
baby.  Romances,  just  going  out  with  boys 
and  men  is  all  right.  I  can  work  them  in  with- 
out interfering  with  the  baby.  Marriage 
would  be  another  matter.  Now,  when  I  am 
through  here  at  the  studio  I  go  home  and  have 
time  with  Susan  Ann  before  she  goes  to  bed.  I 
undress  her  and  play  with  her.  I  read  nursery 
rhymes  to  her.  I  teach  her  her  prayers.  I  can 
be  with  her  all  I  want.  There  is  no  other 
demand  upon  me.  And  then,  after  she  is  asleep, 
I  can  go  out.  Mother  does  all  the  housekeep- 
ing and  managing.  I  live  exactly  as  a  girl  lives 
at  home  before  marriage.  The  only  difference 
is  that  now  I  have  the  baby — and  memories 
instead  of  dreams. 

"My  career  and  my  baby — it  is  to  them  that 
I  dedicate  the  next  five  years  of  my  life." 

"What  kind  of  man  do  you  hope  you  will 
marry  when  the  five  years  are  over?  " 

"I  know  exactly  the  kind  of  a  man  I  would 
like  to  marry,"  Virginia  said,  gravely.  "Of 
course  you  have  to  allow  for  the  unpredictable, 
for  the  fact  that  you  are  apt  to  fall  in  love  with 
the  direct  opposite  of  your  own  ideal. 

"The  man  I  hope  to  marry  would  be  an 
older  man,  in  the  first  place.  I'd  want  him  to 
be  at  least  ten  years  older  than  I.  I  could 
never  be  content  with  a  young,  inexperienced 


man — not  now.  I  would  want  a  man  who 
would  be  interested  in  me  and  in  my  work  and 
so  he  would  have  to  be  a  professional,  con- 
nected with  pictures  in  some  capacity.  I  would 
want  him  to  have  money,  not  that  money  is  so 
essential  to  me,  but  I  would  not  want  to 
embarrass  him  by  making  myself  as  much  .or 
more  than  he  might  make. 

"I'd  want,"  Virginia  smiled  that  reminiscent 
smile  again,  "I'd  want  a  man  who  would — 
well,  fight  with  me  now  and  then !  I'd  miss  the 
tips  and  downs,  the  fierce  rebellions  and  the 
beautifulness  of  making  up  again  if  I  lived 
always  on  a  sunny  level  plane.  After  all,  peace 
is  never  so  precious  as  it  is  after  war. 

"Why,  do  you  know,"  Virginia  laughed,  a 
gentle  note  of  amusement  at  herself  in  her 
voice,  "do  you  know,  I  find  myself  deliberately 
picking  arguments  with  the  boys  and  men  I  go 
out  with  just  so  we  can  have  a  reconciliation 
scene  afterwards. 

"Storms,"  sighed  Virginia,  remembering, 
"can  be  so  beautiful. 

"THEN,  let's  see.    I  would  want  him  to  be  a 

'  man  who  would  encourage  me  and  stimulate 
me  in  my  work.  Someone  who  would  be  proud 
of  me,  who  would  believe  in  me  as  an  actress, 
as  a  woman.  I  need  that  sort  of  encourage- 
ment. I'd  want  it  to  be  a  give  and  take  mar- 
riage. 

"But  I  have  five  years  before  this  problem 
becomes  imminent.  I  may  change  in  that 
time.  I  may  not  want  then  what  I  think  I 
want  now. 

"That  is  why  I  am  giving  myself  five  years. 
That  is  what  I  want  to  find  out. 

"What  I  want. 

"What  I  am. 

"What  life  and  love  are  all  about  and  how 
best  to  handle  them. 

"I  have  taken  my  vow,"  said  Virginia,  "and 
if  I  break  it  it  will  be  because  .  .  .  because," 
she  laughed  with  a  little  twist  of  that  sensitive, 
flowery  mouth,  "I  am  a  woman  who  knows 
what  love  can  do." 


Here  is  an  ample  representation  of  the  Lloyd  family  all  ready  for  the 
customary  early  morning  dip.  Seems  as  though  the  water's  a  bit  chilly 
and  everyone  is  waiting  for  Harold  to  dive  in.  Near  him  are  Peggy  and 
Gloria,  his  daughters,  Gaylord   Lloyd,  nephew,  and  Harold  Lloyd,  Jr. 


WHO  ELSE  WANTS  TO 
FORGET  SOUR  STOMACH? 

The  way  to  eat  favorite  foods  and  avoid  heart- 
burn, sour  stomach,  gas  and  other  symptoms 
of  acid  indigestion  is  no  secret  now.  Millions 
carry  Turns.  Nothing  to  mix  up.  No  drenching 
your  stomach  with  harsh  alkalies,  which  doctors 
say  may  increase  the  tendency  toward  acid  in- 
digestion. Just  enough  of  the  antacid  in  Turns 
is  released  to  neutralize  the  stomach.  The  rest 
passes  on  inert.  Cannot  over-alkalize  the  stom- 
ach or  blood.  You  never  know  when,  so  carry 
a  roll  always.  10c  at  all  druggist's. 


TUMS 


TUMS  ARE 
ANTACID  .  . 

NOT  A  LAXATIVE 

FREE: 


FOR  THE  TUMMY 

GSSf 


NR  (the  all- vegetable  laxative) .  At  your  druggist 


T       MU 


WHEN  BUYING  SHEET  MUSIC 

ask  your  dealer  to  show  qou 

CENTURY  CERTIFIED  EDITION] 

IT  COSTS  ONLY  15    A  COPY 

Catalogue  of  5000  Selections 

FREE    ON    REQUEST 

[CENTURY  MUSIC  PUBLISHING  CO. 

245  W.40™ STREET  N.Y.C 


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tie  -atouAtcf  mottet 


25c 


PROTECT  your  lovely  hair  arrangements  more 
comfortably  with  this  new,  form-fitting  tailored 

marcel   cap,  just   introduced Insist  on 

the  original  Don-A-Cap.  Medium  or  large  sizes, 
Pastel  shades,  white,  black  or  brown. 

Model  No.  300  ties  under  the  chin.  25c 
Model  No.  200  buttons  under  the  chin 
for  an  added  beauty  treatment   .  .  .  50c 

A  special  model  at  Ten  Cent  Stores  only. 


AT  YOUR    STORE   OR    BEAUTY  SHOP 

If  not  uhtainahle.  ivrile' 

DONA  MANUFACTURING  CO.,  SAN  DIEGO,  CALIFORNIA 


Brief  Reviews  of  Current  Pictures 


[  CONTINUED  FROM  PAGE  8 


•  FARMER  TAKES  A  WIFE,  THE— Fox.— It 
takes  farmer.  Henry  Fonda,  a  long  time  to  get 
Janet  Gaynor  off  the  canal  boat  to  become  his  wife, 
but  he  eventually  succeeds  even  against  the  opposition 
of  Charles  Bickford.  The  settings  faithfully  re- 
produce the  early  Erie  Canal  days.  Good  supporting 
cast.     (Oct.) 

FLAME  WITHIN,  THE— M-G-M.—  A  triangle 
romance,  with  psychiatrist  Ann  Harding  being  forced 
to  choose  between  a  dipsomaniac  patient  she  has 
cured,  Louis  Hayward,  and  sober,  industrious  Herbert 
Marshall.  Outstanding  performance  by  Maureen 
O'Sullivan  as  a  neurotic  heiress.     (Aug.) 

•  FOUR  HOURS  TO  KILL— Paramount- 
Tense  and  compelling  screen  entertainment 
with  Richard  Barthelmess,  in  the  finest  character 
opportunity  of  his  career,  as  the  doomed  killer  hand- 
cuffed to  a  guard  in  a  theater  lobby  for  four  hours. 
Skilful  support  by  Roscoe  Karns,  Helen  Mack,  Joe 
Morrison,  Gertrude  Michael  and  others.     (June) 

FRANKIE  AND  JOHNNIE— Select-RKO  Re- 
lease.— The  American  classic  suffers  from  the  censor's 
scissors  on  the  screen,  but  you'll  enjoy  seeing  Helen 
Morgan  as  the  notorious  Frankie.  Chester  Morris 
as  the  great  lover,  and  the  late  Lilyan  Tashman  as 
Nellie  Bly.     (Aug.) 

FRONT  PAGE  WOMAN  —  Warners.  —  Crisp, 
crackling  newspaper  drama,  with  the  battle  on  be- 
tween reporter  George  Brent  and  sob  sister  Bette 
Davis.  Rapid  fire  humor  is  helped  by  Roscoe  Karns' 
comedy.     Good  entertainment.      (Sept.) 

*G  MEN — First  National. — Government  heroes 
at  work.  Lots  of  shooting  and  excellent 
acting.  Fast-moving  and  packs  a  wallop.  Jimmy 
Cagney  at  his  best.  Ann  Dvorak,  Margaret  Lindsay, 
Bob  Armstrong.     Not  for  the  kiddies.     (July) 

GEORGE  WHITE'S  1935  SCANDALS— Fox.— 

A  clean  Scandals.  Jimmy  Dunn  and  Alice  Faye  are 
the  small-time  team  who  let  success  go  to  their  heads. 
Ned  Sparks  gets  most  of  the  laughs.  And  Eleanor 
Powell  is  a  tap  dancer  so  good  you  can  hardly  believe 
it  I     (June) 

GINGER— Fox.— Jane  Withers,  as  a  little  slum 
girl  who  humanizes  a  Park  Avenue  family,  is  your 
reason  for  seeing  this  one.  Good  cast  includes  O.  P. 
Heggie,  Walter  King,  and  Jackie  Searl.     (Aug.) 

GIRL     FROM      10th     AVENUE,     THE— First 

National. — The  old  story  of  a  drunken  millionaire 
marrying  a  poor  little  shop  girl.  Bette  Davis  is  good 
as  the  girl  who  tries  to  win  her  husband's  love  while 
braving  his  snobbish  friends.  Just  so-so  entertain- 
ment. Colin  Clive,  Alison  Skipworth,  Ian  Hunter. 
(Aug.) 

r  GLASS  KEY,  THE— Paramount.— A  murder 
mystery  with  George  Raft,  as  the  loyal  Man  Friday 
of  political  boss  Edward  Arnold,  solving  things  in  a 
suave  but  exciting  manner.  Capable  cast  also  in- 
cludes Claire  Dodd,  Ray  Milland,  and  others.   (Aug.) 

•  GO  INTO  YOUR  DANCE— First  National. 
— A  grand  evening  for  those  who  like  singing 
and  dancing  with  a  plausible  story  sandwiched  in. 
Al  Jolson  better  than  ever;  Ruby  Keeler  good  as 
always;  Glenda  Farrell  in  top  support.     (June) 

GOIN'  TO  TOWN— Paramount.— Mae  West, 
pursuing  the  man  instead  of  being  pursued,  in  a  fast- 
moving,  wise-cracking  film,  that  will  keep  you  laugh- 
ing.    (May) 

GOLD  DIGGERS  OF  1935— First  National- 
Good  tunes,  talented  cast  make  this  one  enjoyable 
entertainment  for  those  who  like  big,  splashy  musicals. 
Dick  Powell,  Gloria  Stuart,  Alice  Brady,  Adolphe 
Menjou.  Glenda  Farrell.  and  others.     (July) 

GOOSE  AND  THE  GANDER,  THE— Warners. 
— One  of  those  overnight,  marital-infidelity  comedies 
in  which  Kay  Francis  and  George  Brent  make  merry 
in  a  bright,  sophisticated  and  amusing  manner. 
Genevieve  Tobin,  Ralph  Forbes.      (Oct.) 

GREAT  GOD  GOLD— Monogram.— The  story 
promises  to  be  an  exciting  expose  on  the  receivership 
racket,  but  it  becomes  stupid.  Martha  Sleeper  does 
as  well  by  her  part  as  possible.  Regis  Toomey  gets 
nowhere.      (May) 

GREAT  HOTEL  MURDER,  THE— Fox.— Old 
reliable  sure-fire  Edmund  Lowe-Victor  McLaglen 
stuff,  with  Vic  as  a  dumb  house  detective  and  Eddie 
the  guest  who  writes  mystery  stories,  both  trying 
to  discover  who  poisoned  the  victim.  Mary  Carlisle. 
C.  Henry  Gordon.      (May) 

HARD  ROCK  HARRIGAN— Fox.— A  virile, 
pleasantly  humorous  drama  with  George  O'Brien  and 
Fred  Kohler,  rock  tunnel  drillers,  shaking  fists  over 
a  job  and  a  girl,  Irene  Hervey.     (Sept.) 

HEADLINE  WOMAN,  THE— Mascot.— A  well- 
paced,  entertaining  newspaper  yarn  with  Roger 
Pryor,  Heather  Angel,  Jack  LaRue,  old-timer  Ford 
Sterling,  and  others  handling  well  the  amusing  dia- 
logue and  neat  situations.     (Aug.) 

HEALER,  THE — Monogram. — A  somewhat  la- 
bored and  obvious  film,  with  Ralph  Bellamy  as  the 
healer  who  works  miracles  with  crippled  children, 
Judith  Allen,  the  villainess  who  tries  to  lure  him  to 
tie  big  city,  and  Karen  Morley,  the  heroine,  who 
comes  to  the  rescue.     (Aug.) 


HELLDORADO— Fox—  A  hollow  story  in  a 
mining  town  setting  which  fails  to  give  Richard 
Arlen  the  kind  of  part  he  deserves.  (March) 

HERE  COMES  THE  BAND— M-G-M.— A  new 

type  of  musical  with  Ted  Healy  and  Nat  Pendleton 
as  the  ambitious,  musical-minded  taxi  drivers.  Amus- 
ing in  spite  of  the  confusing  plot.  Virginia  Bruce,  Ted 
Lewis.     (Oct.) 

HOLD  'EM  YALE— Paramount.— A  weak  but 
pleasant  little  picture  about  four  thugs  who  inherit 
a  lady.  Patricia  Ellis  is  the  lady.  Cesar  Romero, 
Larry  Crabbe,  Andy  Devine,  William  Frawley. 
George  E.  Stone.     (June) 

HONEYMOON  LIMITED  —  Monogram.  —  Neil 
Hamilton's  bright  banter  may  amuse  you,  but  other- 
wise this  adventure  story,  with  Irene  Hervey  and 
Lloyd  Hughes  helping  thicken  the  plot,  fails  to  rise 
above  ordinary  entertainment.      (Sept.) 


Leaving  the  church  after  the  nup- 
tials, Hallam  Cooley,  an  ex-actor 
who  is  now  an  agent  for  the  stars, 
is  photographed  with  his  charming 
new  bride.    She  was  Doris  McMahan 


HONGKONG  NIGHTS— Futter  Prod.— A  highly 
implausible  story  about  a  Chinese  gun-runner  and  an 
American  Secret  Service  man.  Production  and 
photography  superb,  dialogue  and  story  poor.  Tom 
Keene,  Wera  Engels.  Warren  Hymer.      (May) 

HOORAY  FOR  LOVE— RKO-Radio.— A  fuzzy 
carbon-copy  of  the  original  "42nd  Street"  formula 
for  musicals.  Ann  Sothern  and  Gene  Raymond  carry 
the  luke-warm  love  story.  Bill  Robinson  and  "Fats" 
Waller  top  the  talent  in  a  Harlem  song  and  dance. 
(Aug.) 

HOOSIER  SCHOOLMASTER,  THE— Mono- 
gram.— Norman  Foster  is  the  schoolmaster  in  the 
screen  version  of  this  old-time  favorite,  with  Charlotte 
Henry  as  the  girl  he  loves.  Fred  Kohler,  Jr.,  Wallace 
Reid,  Jr.,  Dorothy  Libaire.     (June) 

I'LL  LOVE  YOU  ALWAYS— Columbia.— An  un- 
inspired production,  with  Nancy  Carroll  and  George 
Murphy  unable  to  overcome  the  disadvantages  of 
mediocre  material  and  direction.     (July) 

•  IN  CALIENTE— First  National.— Musical 
comedy  in  a  Mexican  setting,  with  Dolores  Del 
Rio,  Eddie  Horton,  Pat  O'Brien,  Glenda  Farrell. 
Lots  of  laughs,  good  dancing.  A  bright  evening's 
entertainment.     (Aug.) 

•  THE  INFORMER  — RKO-Radio.— Motion 
picture  drama  at  its  best.  Victor  McLaglen 
gives  an  unforgettable  performance  as  the  slow-witted 
Irish  giant  who  betrays  his  pal  to  the  British  for  a 
twenty  pound  reward.  Margot  Grahame,  Heather 
Angel,  Preston  Foster,  Wallace  Ford,  Una  O'Connor, 
top  excellent  support.     Don't  miss  this  one.     (July) 


*  IN  OLD  KENTUCKY— Fox.— Will  Rogers  in 
one  of  his  best  films  to  date,  handing  out  a 
laugh  a  minute,  against  a  race-track  background. 
Dorothy  Wilson,  Louise  Henry,  Russell  Hardie  top 
support.  And  Bill  Robinson,  colored  tap-dancer, 
does  his  stuff  as  only  he  can  do  it.     (Sept.) 

•  IRISH  IN  US,  THE— Warners.— There  are 
heart  throbs  and  chuckles  in  this  simple, 
homely  story  that  once  again  proves  blood  to  be 
thicker  than  water.  Mary  Gordon,  as  the  mother  of 
James  Cagney,  Pat  O'Brien,  and  Frank  McHugh, 
steals  the  show.     (Oct.) 

IT  HAPPENED  IN  NEW  YORK— Universal.— 

You'll  be  amused  by  press-agent  Hugh  O'Connell's 
tricks  to  get  movie  star  Gertrude  Michael  into  the 
limelight,  and  the  interference  of  a  taxi  driver,  Lyle 
Talbot  and  his  sweetie,  Heather  Angel.  Lota  of 
laughs.     (May) 

IT'S  A  SMALL  WORLD— Fox.— Gay  dialogue 
in  a  wisp  of  a  story,  with  Spencer  Tracy  and  Wendy 
Barrie.     Lots  of  laughs.     (June) 

JALNA — RKO-Radio. — Mazo  de  la  Roche's  prize 
winning  novel  of  the  loves  and  hates  of  the  White- 
oakes  family  faithfully  screened  with  satisfying  sin- 
cerity. Kay  Johnson,  Ian  Hunter,  Nigel  Bruce. 
Good  supporting  cast.      (Oct.) 

JAVA  HEAD — First  Division. — Joseph  Herges- 
heimer's  famous  story  brought  to  the  screen  makes  a 
slow  moving  picture  but  Anna  May  Wong  as  the  un- 
happy princess  almost  makes  you  forget  that.  Eliza- 
beth Allan,  John  Loder.     (Oct.) 

KEEPER  OF  THE  BEES,  THE— Monogram  — 
A  satisfactory  screen  version  of  the  Gene  Stratton- 
Porter  story,  with  Neil  Hamilton  good  as  the  ex- 
soldier  who  takes  a  new  lease  on  life  among  the  bee 
hives.  Betty  Furness,  Edith  Fellowes,  Hobart  Bos- 
worth.     For  the  family.      (Sept.) 

KENTUCKYBLUESTREAK— Talisman— Some 

interesting  photography  of  a  horse  race,  done  with 
a  small  camera,  is  the  highlight  in  this  one.  Eddie 
Nugent,  Junior  Coghlan,  Patricia  Scott.      (July) 

KEYSTONE  HOTEL— Warners  Vitaphone.— A 
revival  of  the  merry  old  slapstick  comedies  with  the 
familiar  faces  of  Ford  Sterling,  Ben  Turpin,  Chester 
Conklin,  and  Marie  Prevost  taking  up  where  they 
left  off  years  and  years  ago.     (Oct.) 

KLIOU — Bennett  Pictures. — A  fresh  and  charm- 
ing travelogue  type  picture  drama,  with  the  primitive 
tribesmen  of  Indio-China  the  main  actors.  It's  the 
film  result  of  the  Marquis  de  la  Falaise's  latest  jungle 
journey.  You'll  enjoy  it.  Gorgeous  scenery  in 
Technicolor.     (Aug.) 

LADDIE— RKO-Radio.— Old  fashioned,  homey, 
but  a  grand  picture  is  this  love  story  of  Laddie  (John 
Beal)  and  Pamela  (Gloria  Stuart)  whose  romance  is 
bitterly  opposed  by  her  father  (Donald  Crisp). 
Excellent  direction  by  George  Stevens.      (May) 

LADIES  CRAVE  EXCITEMENT— Monogram. 
— Rapidly  paced,  well  acted,  this  one  gives  the  low- 
down  on  the  news-reel  cameraman.  Norman  Foster 
is  the  specific  dare-devil,  Evalyn  Knapp  the  girl. 
Never  a  dull  moment.      (Sept.) 

LADIES  LOVE  DANGER— Fox.— A  murder 
mystery  with  lots  of  fun  sandwiched  between  the 
thrills.  Gilbert  Roland,  Mona  Barrie,  Adrienne 
Ames.      (July) 

LADY  TUBBS— Universal.— Alice  Brady  excellent 
in  a  part  tailor-made  for  her,  that  of  a  railroad  camp 
cook  who  inherits  a  fortune  and  poses  as  a  lady. 
Douglass  Montgomery,  Anita  Louise,  Alan  Mowbray. 
Heartily  recommended.     (Sept.) 

•  LES  M1SERABLES— 20th  Century-United 
Artists. — A  close-knit  and  powerful  screen  re- 
countal  of  the  Victor  Hugo  classic.  Fredric  March  and 
Charles    Laughton    give    memorable    performances. 

(May) 

LET  'EM  HAVE  IT— Reliance-United  Artists.— 
All  the  thrills  of  the  old  gangster  pictures,  but  your 
sympathy  is  with  the  heroic  G-men  sleuths.  Richard 
Arlen,  Harvey  Stephens,  Eric  Linden  for  bravery, 
Virginia  Bruce  and  Alice  Brady  for  sentiment  and 
comedy.     (Aug.) 

LET'S  LIVE  TONIGHT— Columbia.— A  wabbly 
story  gives  Tullio  Carminati  and  Lilian  Harvey  an 
opportunity  to  be  romantic  in  a  gauzy,  waltzy  man- 
ner. Film  lacks  emotional  warmth,  but  cast,  includ- 
ing Hugh  Williams,  Janet  Beecher,  Tala  Birell,  is 
good.      (May) 

LIFE  BEGINS  AT  40— Fox.— You'll  enjoy  this 
film  with  Will  Rogers  in  the  human,  sympathetic 
role  of  a  small  town  editor,  Richard  Cromwell  and 
Rochelle  Hudson  for  romance;  and  Slim  Summerville 
and  Sterling  Holloway  to  keep  you  laughing  when 
Will  isn't  on  the  screen.      (May) 

LITTLE  BIG  SHOT— Warners.— Another  child 
star  is  added  to  the  film  firmament.  Sybil  Jason  is 
captivating  in  a  trite  story  of  an  orphan  adopted  by 
a  Broadway  tinhorn.  Robert  Armstrong,  Glenda 
Farrell.     (Oct.) 

LITTLE  COLONEL,  THE— Fox.— Shirley  Tem- 
ple cuter  than  ever  as  the  famous  story  book  char- 
acter. Lionel  Barrymore  is  the  testy  old  grandfather. 
Evelyn  Venable  and  John  Lodge  the  child's  parents. 
Tap  dancer  Bill  Robinson  nearly  steals  the  picture, 
(May) 


no 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


LIVING  ON  VELVET— Warners.— Every  woman 
loves  to  get  her  hands  on  a  terribly  attractive  man 
and  reform  him.  And  when  Kay  Francis  is  the  re- 
former, what  man  has  a  chance?  George  Brent 
didn't.  Warren  William,  Helen  Lowell  help  a  lot. 
Smart  dialogue,  well  done  picture.      (May) 

LOVE  IN  BLOOM — Paramount. — Catchy  songs 
admirably  sung  by  Dixie  Lee  (Mrs.  Bing  Crosby, 
you  know)  and  Joe  Morrison,  plus  the  mad  antics  of 
George  Burns  and  Gracie  Allen,  make  this  bright, 
light  entertainment.      (May) 

•  LOVE  ME  FOREVER— Columbia.— A  film 
you  won't  want  to  miss,  with  Grace  Moore 
singing  more  gloriously  than  ever,  and  Leo  Carrillo 
magnificent  as  the  gambler  who  loves  the  beautiful 
song-bird.  Excellently  directed,  photographed  and 
acted.    And  the  music  is  supurb.      (Sept.) 

LOVES  OF  A  DICTATOR— GB—  An  historical 
drama,  well  cast  and  beautifully  presented,  telling 
the  romantic  story  of  Slruensee  (Clive  Brook)  who 
was  taken  into  the  Court  of  Denmark  as  dictator 
and  fell  in  love  with  the  bride-queen  (Madeleine 
Carroll)      (June) 

MAD  LOVE  —  M-G-M.  —  Tedious  stuff,  with 
Europe's  excellent  actor,  Peter  Lorre,  wasted  in  the 
role  of  a  mad  super-surgeon  who  resorts  to  fiendish 
cunning  to  get  Frances  Drake  from  Colin  Clive.  Ted 
Healy  lightens  the  horror.    Not  for  children.     (Sept.) 

MAKE  A  MILLION — Monogram. — Preposterous 
but  amusing  is  this  film  about  a  professor  (Charles 
Starrett)  who  starts  a  million  dollar  chain  letter  plan 
to  carry  out  his  radical  economic  schemes.  Pauline 
Brooke,  George  E.  Stone.     (Sept.) 

MANHATTAN  MOON  —  Universal.  —  Ricardo 
Cortez  as  the  East  Side  boy  who  becomes  a  night 
club  owner  with  social  ambitions.  A  hackneyed 
story  introducing  Dorothy  Page,  fresh  from  radio. 
Laughs  are  supplied  bv  Hugh  O'Connell  and  Henry 
Armetta.     (Oci.) 

MAN    ON   THE   FLYING   TRAPEZE,    THE— 

Paramount. — W.  C.  Fields  is  funny  as  the  meek  man 
who  lies  himself  out  of  an  afternoon  at  the  office  to 
go  to  the  wrestling  matches,  and  gets  in  a  peck  of 
trouble.     But  there  is  no  story.     (Sept.) 

MAN  WHO  KNEW  TOO  MUCH,  THE— G.  B  — 

A  neat  and  exciting  little  melodrama  that  keeps  you 
hanging  on  your  chair  every  minute  of  the  way. 
Nova  Pilbeam  (of  "Little  Friend"  fame),  Edna 
Best,  Leslie  Banks  and  Peter  Lorre.     (May) 

MARK  OF  THE  VAMPIRE— M-G-M— A  con- 
fused and  incoherent  mystery  which  has  as  its  only 
virtue  some  fine  acting  by  Lionel  Barrymore.    (June) 

MARY  JANE'S  PA— First  National.— Just  aver- 
age. Over-sentimental  entertainment,  with  Guy 
Kibbee  as  Pa  who  deserts  his  family  but  is  eventually 
led  back,  by  a  little  child,  to  rescue  wife  Aline  Mac- 
Mahon.     (July) 

McFADDEN'S  FLATS— Paramount.— Plenty  ot 
laughs  and  maybe  a  sniffle  in  this  story  of  the  girl 
(Betty  Furness)  who  goes  away  to  school  and  comes 
back  high-hatting  her  family  and  neighbors.  Walter 
C.  Kelly  is  grand  as  the  hod-carrier  king,  Dick 
Cromwell  is  the  sweetheart.     (May) 

MEN  OF  TOMORROW— London  Films.— Film 
version  of  Anthony  Gibb's  novel,  "The  Young 
Apollo,"  with  Merle  Oberon  and  Robert  Donat.  But 
in  spite  of  cast  and  story  advantages,  this  is  a  jerky, 
incoherent  picture.     (July) 

MEN  WITHOUT  NAMES— Paramount.— Not 
the  best  of  the  G-men  films,  but  good  entertainment. 
Fred  MacMurray  sleuths,  assisted  by  Lynne  Over- 
man, Madge  Evans  and  David  Holt.  Leslie  Fenton 
heads  the  gang  of  crooks.  Good  performances. 
(Sept.) 

MILLION  DOLLAR  BABY— Monogram.— Little 
Jimmy  Fay  is  cute  as  the  youngster  whose  parents 
dress  him  in  skirts  and  a  wig  and  put  him  under  con- 
tract to  a  movie  studio  a=  a  second  Shirley  Temple. 
(March) 

MISTER  DYNAMITE— Universal.— Eddie  Lowe 
rides  to  glory  in  this  Dashiell  Hammett  yarn  as  the 
slick  detective  who  is  interested  in  justice  principally 
because  it  pays  him  fat  fees.  A  beautifully  paced 
story  that  keeps  you  baffled  and  makes  you  laugh. 
Jean  Dixon,  Esther  Ralston,  Victor  Varconi.     (June) 

MURDER  IN  THE  FLEET— M-G-M— An  un- 
believable yarn  aboard  one  of  Uncle  Sam's  battleships, 
with  Robert  Taylor,  Jean  Parker,  Una  Merkel  and 
others  wasted.  Ted  Healy,  master  comedian,  and 
Nat  Pendleton  lend  the  only  bright  spots.     (Aug.) 

MURDER  MAN,  THE— M-G-M.— A  rapidly 
moving,  entertaining  mystery  set  against  a  news- 
paper background  with  Spencer  Tracy  as  the  sleuth 
reporter  and  Virginia  Bruce  adding  charm  and 
loveliness.     (Oct.) 

MUTINY  AHEAD — Majestic. — Just  an  average 
picture,  a  hybrid  sea-and-crook  drama  with  Neil 
Hamilton's  regeneration  as  the  main  story  thread, 
and  Kathleen  Burke  and  Leon  Ames  in  fair  support. 

(May) 

MYSTERY  MAN,  THE— Monogram.— Pretty 
meaty,  and  a  good  picture  idea.  But  you  have  to 
like  newspaper  atmosphere  with  hard-drinking  re- 
porters who  can  always  solve  the  mystery.  Maxine 
Doyle  and  Robert  Armstrong.     (May) 

NIT  WITS,  THE— RKO-Radio.— Wheeler  and 
Woolsey  mixed  up  in  a  murder  case,  at  their  funniest. 
Rowdy,  hilarious,  without  a  dull  moment.  Good 
supporting  cast  includes  Betty  Grable,  Evelyn  Brent, 
Hale  Hamilton,   Fred   Keating  and  others.      (Aug.) 

•     NO    MORE    LADIES— M-G-M— A    perfect 
darb  of  a  flossy  comedy,  with  Joan  Crawford, 
Robert  Montgomery  and  Franchot  Tone  the  wise- 


cracking, sophisticated  triangle.  Charlie  Ruggles, 
Edna  May  Oliver,  Arthur  Treacher,  Reginald  Denny, 
and  the  rest  of  the  brilliant  cast,  cooperate  to  give 
you  a  laugh  a  minute.     (Aug.) 

•  OIL  FOR  THE  LAMPS  OF  CHINA— First 
National. — This  fine,  sincere  story  of  an  ideal- 
ist's unwavering  faith  in  his  job  will  remain  long  in 
your  memory.  Pat  O'Brien  is  the  American  oil  com- 
pany's employee  in  China,  Josephine  Hutchinson  his 
wife.  Arthur  Byron,  Jean  Muir.  Excellent  cast, 
A-l  direction.     (July) 

OLD  CURIOSITY  SHOP  —  B.I.P.-Alliance.  — 
Worthwhile  entertainment  as  a  faithful  screen  trans- 
lation of  Dickens'  novel.  Hay  Petrie,  of  English 
stage  fame,  gives  a  magnificent  portrayal  of  the 
villainous  Quilp.     (Sept.) 

ONE, FRIGHTENED  NIGHT— Mascot— Creepy 
music,  banging  doors  and  all  the  usual  fol-de-rol  of 
mysteries.  Charley  Grapewin's  acting  is  the  only 
attraction.     (July) 

ONE  MORE  SPRING— Fox.— A  too-sweet  screen 
adaptation  of  Robert  Nathan's  novel  about  three 
depression  victims  (Warner  Baxter,  Janet  Gaynor 
and  Walter  King)  who  live  happily  together  in  a  tool 
barn  in  Central  Park.      (May) 

ONE  NEW  YORK  NIGHT— M-G-M.— A  fast, 
entertaining  mystery-comedy-drama,  played  in  a 
breezy,  highly  enjoyable  manner  by  Franchot  Tone, 
Una  Merkel,  Conrad  Nagel  and  Steffi  Duna.     (June) 

•  OUR  LITTLE  GIRL— Fox.— Made  to  order 
for  Shirley  Temple  fans  with  Shirley  cuter  than 
ever,  and  talented  enough  to  carry  the  trite  story. 
Joel  McCrea  and  Rosemary  Ames  are  the  parents, 
Lyle  Talbot  the  other  man.  A  human,  pleasant 
picture — and  it's  all  Shirley's.     (Aug.) 

•  PAGE  MISS  GLORY— Warners.— Marion 
Davies,  at  her  best,  romps  through  half  the 
picture  as  a  homely  little  chambermaid,  then  blos- 
soms out  as  beauty  contest  winner,  Dawn  Glory, 
promoted  by  press  agent  Pat  O'Brien.  Patsy  Kelly, 
Dick  Powell,  Frank  McHugh.  Top-notch  comedy. 
{Sept.) 

PARIS  IN  SPRING— Paramount.— Tuneful  and 
colorful,  this  presents  the  lovely  voice  of  Mary  Ellis 
and  the  Latin  fretfulness  of  Tullio  Carminati,  in  a 
series  of  lovers  quarrels  and  mix-ups,  which  are 
finally  ironed  out  by  grandmother  Jessie  Ralph. 
Good  supporting  cast.     (Aug.) 

PARTY  WIRE— Columbia.— Lots  of  healthy 
laughs  in  this  little  picture  about  the  havoc  small 
town  gossips  stir  up  by  listening  in  on  party  lines. 
Jean  Arthur,  Victor  Jory,  Charley  Grapewin  head  a 
well  chosen  cast.      (July) 

PEOPLE'S     ENEMY,     THE— RKO-Radio.— An 

out-dated  melodrama  with  Preston  Foster  as  the 
gangster  sent  up  for  income  tax  evasion  and  Melvyn 
Douglas,  the  attorney,  whom  he  suspects  of  double- 
crossing.      (July) 

PEOPLE     WILL    TALK— Paramount.— One    of 

of  the  most  charming  of  the  Charlie  Ruggles-Mary 
Boland  comedies.  Leila  Hyams,  Dean  Jagger.  It's 
deft,  human  comedy  for  the  whole  family.     (June) 

PHANTOM  FIEND,  THE— Twickenham.— A 
real  horror  thriller  based  on  England's  famous  "Jack 
the  Ripper"  crimes.  Ivor  Novello  and  Elizabeth 
Allan      Not  for  the  children.     (July) 

PRINCESS  O'HARA— Universal.— Nice  enter- 
tainment, with  Jean  Parker  as  the  girl  who  becomes  a 
hack  driver  after  her  father  is  killed,  and  Chester 
Morris  the  racketeer  boy-friend.     (June) 

•  PRIVATE  WORLDS— Walter  Wanger- Par- 
amount.— A  triumph  in  adult  entertainment, 
this  film  radiates  skill  and  understanding.  Claudette 
Colbert  and  Charles  Boyer  give  superb  performances 
as  two  psychiatrists  in  a  hospital  for  mental  cases 
who  suddenly  discover  their  own  lives  tangled  and 
warped.  Excellent  performances,  too  by  Joan 
Bennett  and  Joel  McCrea.     (June) 

•  PUBLIC  HERO  No.  1— M-G-M.— Another 
G-men  picture  with  a  well  knit  story,  lots  of 
grand  humor  and  plenty  happening.  Chester  Morris 
and  Jean  Arthur  are  excellent  in  the  leads.  Joseph 
Calleia,  Lionel  Barrymore,  Lewis  Stone  and  Paul 
Kelly  top  A-l  support.     (Aug.) 

PURSUIT— M-G-M.— Chester  Morris  and  Sally 
Eilers  in  an  exciting  attempt  to  smuggle  Scotty 
Beckett,  a  wealthy  child,  across  the  Mexican  border 
to  his  mother.  Henry  Travers,  Dorothv  Peterson. 
(Oct.) 

RAVEN,  THE  —  Universal.  —  Absurd  melange 
tacked  onto  the  name  of  Edgar  Allan  Poe's  great 
poem.  Beta  Lugosi,  Boris  Karloff  supply  plenty  of 
horror,  but  cannot  do  much  with  this  plot.     (Sept.) 

RECKLESS— M-G-M.— The  clever  talents  of 
Jean  Harlow,  William  Powell  and  Franchot  Tone, 
pooled  for  the  story  of  a  show  girl  who  marries  a 
millionaire  and  comes  to  grief  when  his  suicide  leaves 
her  with  a  ruined  reputation  and  a  baby  to  take  care 
of.     (June) 

RETURN  OF  PETER  GRIMM,  THE— RKO- 
Radio. — The  old  favorite  brought  to  the  screen  with 
Lionel  Barrymore  giving  an  intelligent  interpretation 
of  the  old  man  whose  spirit  struggles  to  repair  theun- 
happiness  caused  by  a  blind,  dying  wish.  Helen 
Mack,  Edward  Ellis.     (Oct.) 

RIGHT  TO  LIVE,  THE— Warners.— Colin  Clive. 
Josephine  Hutchinson  and  George  Brent  capably 
present  Somerset  Maugham's  drama  of  a  crippled 
husband  whose  wife  falls  in  love  with  his  brother. 
A-l    direction   by   William    Keighley.      (May) 


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ROBERTA— RKO-Radio.— A  film  treat  you 
shouldn't  miss,  with  Fred  Astaire  really  coming  into 
his  own  as  a  top-notch  entertainer.  An  excellent 
cast,  including  Ginger  Rogers,  Irene  Dunne,  Randy 
Scott,  combined  with  gorgeous  gowns,  excellent 
direction  and  grand  settings,  make  this  one  of  the 
most  delightful  experiences  you've  ever  had  in  a 
theater.     (May) 

SANDERS  OF  THE  RIVER— London  Films- 
United  Artists. — Paul  Robeson's  singing,  Leslie 
Banks'  acting,  and  the  true  portrayal  of  cannibalistic 
tribes  of  the  African  interior,  make  this  an  interesting 
film.     Lots  of  excitement.    (Sept.) 

•  THE  SCOUNDREL  —  Hecht  -  MacArthur  - 
Paramount.— Noel  Coward  in  the  cold  role  of 
a  heartless,  philandering  publisher  gives  one  of  the 
greatest  performances  ever  recorded  in  this  mag- 
nificently executed  character  study.  Julie  Haydon, 
Hope  Williams,  Alexander  Woollcott,  Stanley  Ridges. 
Martha  Sleeper.     (July) 

SHANGHAI  —  Walter  Wanger-Paramount .  —  A 
creditable  attempt  to  conceal  the  age  old  plot  of 
East  is  East  and  West  is  West — ,  with  Loretta 
Young  and  Charles  Boyer  taking  sides  in  the  tragic 
romance.     Warner  Oland.      (Oct.) 

•  SHE — RKO-Radio. — Helen  Gahagan  makes 
her  film  debut  as  the  magnificent  immortal 
ruler  of  the  mythical  kingdom  of  Kor.  Randy  Scott, 
Nigel  Bruce  and  Helen  Mack  find  her  when  they 
travel  beyond  the  Arctic  searching  for  "the  flame  of 
life."  Mystical,  eerie,  but  interesting,  and  well  acted. 
(Sept.) 

SHE  GETS  HER  MAN— Universal.— ZaSu  Pitts 
becomes  the  tiger  woman  of  the  hour  when  she 
accidentally  falls  and  thwarts  a  bank  robbery. 
Helen  Twelvetrees,  Lucien  Littlefield.     (Oct.) 

SPRING  TONIC— Fox.— Spotty  entertainment, 
with  Claire  Trevor  running  away  from  Lew  Ayres  on 
their  wedding  eve,  and  getting  mixed  up  with  animal 
trainers  and  bootleggers  in  the  persons  of  Walter 
King,  Tala  Birell,  ZaSu  Pitts  and  others.  Good  cast 
is  whipped  by  unconvincing  situations.     (July) 

•  STAR  OF  MIDNIGHT— RKO-Radio.— Wil- 
liam Powell  and  Ginger  Rogers  banter  through 
out  this  sparkling,  guaranteed-to-baffle  mystery. 
Irresistible  wit  eases  the  tension  of  the'  drama;  win- 
ning performances  by  all  concerned.      (June) 

•  STEAMBOAT  ROUND  THE  BEND— Fox. 
— Beloved  Will  Rogers  in  a  dramatic,  laugh- 
laden  love  story  of  a  travelling  medicine  show 
doctor  who  disentangles  his  nephew  from  serious 
legal  complications.  Anne  Shirley  gives  a  splendid 
performance.    John  McGuire.      (Oct.) 

STOLEN  HARMONY  —  Paramount.  —  George 
Raft  and  Ben  Bernie  (with  the  boys)  pool  their 
talents  happily  to  make  this  a  thoroughly  enjoyable 
film.  Breezy  dialogue,  catchy  songs,  snappy  dances. 
Watch  for  newcomer  Lloyd  Nolan.  Grace  Bradley, 
Goodee  Montgomery.   Charles  Arnt.      (June) 

STRAIGHT  FROM  THE  HEART— Universal.— 
Baby  Jane  Quigley,  Roger  Pryor  and  Mary  Astor 
in  a  trite  and  obvious  story  concerning  a  young 
politician  who  discovers  love  means  more  to  him 
than  being  mayor.      (May) 

STRANDED — Warners.— You're  partly  bored, 
partly  amused,  by  the  struggle  which  ensues  when 
social  service  worker  Kay  Francis  refuses  to  marry 
he-man  engineer  George  Brent  because  he  is  an- 
tagonistic to  her  work  and  its  ideals.  Direction  good, 
but  story  is  unconvincing.     (Sept.) 

STRANGERS  ALL— RKO-Radio.— A  pip  of  a 
simple  little  family  picture.  May  Robson  is  the  mother 
who  has  four  children,  all  as  different  as  the  seasons. 
Preston  Foster,  James  Bush,  William  Bakewell, 
Florine  McKinney.  Bakewell's  performance  is  aces 
high.     (June) 

STRUGGLE  FOR  LIFE,  THE— Foy  Prod— A 
spotty  film  with  a  cast  of  native  African  tribesmen 
acting  out  their  struggle  for  existence.  Some  good 
photography.      (Sept.) 


SWELL-HEAD— Columbia.— Okay  for  baseball 
fans.  But  aside  from  the  diamond  stuff,  this  is 
pretty  hackneyed.  Wallace  Ford,  Barbara  Kent, 
and  old-timers  Sammy  Cohen,  the  late  Mike  Donlin 
and  Bryant  Washburn.     (July) 

SWEET  MUSIC — Warners.— Disregard  the  story 
and  enjoy  Rudy  Vallee,  debunked,  and  Ann  Dvorak 
who  is  sensationally  good  at  dancing,  singing  and 
acting.  Helen  Morgan,  Alice  White,  Ned  Sparks. 
(May) 

SYMPHONY  OF  LIVING— Invincible.— Certain 
emotional  power  and  good  music  relieve  the  tedium 
and  pathos  of  this  story  of  a  thwarted  genius  who 
finds  triumph  in  the  glories  of  his  prodigy.  Al  Shean, 
Charles  Judels,  Lester  Lee.  Evelyn  Brent.  John 
Darrow.      (May) 


Arlene  Judge  is  the  wistful  little 
lady  in  the  picture.  But  you  can't 
blame  her.  You'd  be  wistful  too  if 
that  sign  was  outside  of  your  door 


$10  RAISE — Fox. — The  saga  of  the  routine  clerk 
who  can't  get  married  without  a  ten  dollar  raise  is  a 
delightful  story  in  the  capable  hands  of  Edward 
Everett  Horton.  Karen  Morley  is  his  romance; 
Alan  Dinehart  the  villain.     (June) 

*39  STEPS,  THE — GB.— Exciting  entertain- 
ment when  Robert  Donat,  falsely  accused  of 
murder,  must  uncover  a  treacherous  spy  ring  in  order 
to  save  himself  and,  by  coincidence,  Madeleine 
Carroll  is  forced  to  accompany  him  on  the  perilous 
adventure.  Grand  acting,  good  comedy,  suspense. 
You'll  like  it.     (Sept.) 

TIMES  SQUARE  LADY— M-G-M.— Virginia 
Bruce  moves  another  notch  toward  stardom  as  the 
Iowa  girl  who  goes  to  Broadway  to  manage  some 
shady  enterprises  she's  inherited.  Newcomer  Robert 
Taylor  and  Pinky  Tomlin  are  grand!     (May) 


TRANSIENT  LADY— Universal.— A  murder 
and  a  lynching  for  excitement.  Gene  Raymond  for 
romance,  June  Clay  worth  and  Henry  Hull  for  acting, 
but  this  story  lacks  the  necessary  direction  to  make 
it  the  really  powerful  stuff  it  might  have  been.  (May) 

TRAVELING  SALESLADY— First  National.— 
A  light,  airy  little  comedy  at  which  you  can  just 
relax  and  look  and  laugh.  Joan  Blondell,  Glenda 
Farrell,  Hugh  Herbert,  William  Gargan  and  Ruth 
Donnelly.     (June) 

UNDER  THE  PAMPAS  MOON— Fox.— A  fast 
romantic  comedy  with  Warner  Baxter  in  Gaucho 
garb  searching  for  a  stolen  race  horse  and  finding 
lovely  Ketti  Gallian  instead.  Jack  LaRue,  John 
Miljan,  Rita  Cansino.  Armida.     (Aug.) 

UNWELCOME  STRANGER,  THE— Columbia. 
— Little  Jackie  Searl  is  the  crippled  child  around  a 
race-track  on  whom  Jack  Holt  blames  a  streak  of 
bad  racing  luck.  Just  so-so  entertainment,  but 
Jackie,  Holt,  and  Mona  Barrie  are  good.     (July) 

•  VAGABOND  LADY— Hal  Roach-M-G-M  — 
A  spirited,  delightf  uly  mad,  and  most  enjoyable 
comedy  with  Robert  Young  really  coming  into  his 
own  as  the  captivating  scape-grace  son  of  a  too,  too 
dignified  family.  Evelyn  Venable  is  the  romantic 
prize.  Good  performances,  too.  by  Reginald  Denny, 
Frank  Craven.      (June) 

VANESSA— HER    LOVE    STORY— M-G-M.— 

Helen  Hayes  is  excellent  as  Walpole's  lovely  heroine, 
but  the  film  as  a  whole  leaves  something  to  be  de- 
sired. Good  portrayals  by  May  Robson  and  Otto 
Kruger.  Robert  Montgomery  is  inadequate  as 
Benjie.     (May) 

VILLAGE  TALE— RKO-Radio.— A  somewhat 
sordid  drama  of  rural  hates,  jealousies  and  thwarted 
loves,  with  Randolph  Scott,  Robert  Barrat.  Kay 
Johnson,  and  a  good  supporting  cast.     (July) 

WELCOME  HOME— Fox.— Jimmy  Dunn  is  the 
romantic  grafter  who  feels  the  call  of  home,  and  pro- 
tects the  old  home  town  from  the  hoaxes  of  his  gilt- 
edged  partners.  Arline  Judge  is  romantic  prize. 
Whimsical,  sentimental  and  rather  meager  entertain- 
ment.     (Sept.) 

WE'RE  IN  THE  MONEY  —  Warners.  —  Joan 
Blondell  and  Glenda  Farrell  as  sexy,  blonde  process 
servers  who  mix  Cupid  and  court  summonses  and 
with  the  aid  of  Hugh  Herbert  provoke  much  hearty 
laughter.     Ross  Alexander.     (Oct.) 

WEREWOLF  OF  LONDON.  THE— Universal. 
— If  you  like  blood-curdling  excitement,  chills  and 
creeps,  you'll  enjoy  shivering  to  this  shocker  with 
Henry  Hull  as  the  werewolf  who  becomes  bestial 
when  the  moon  is  full.  Warner  Oland,  Valerie  Hob- 
son,  Spring  Byington.  Leave  the  children  at  home. 
(July) 

WEST  POINT  OF  THE  AIR— M-G-M.— A 
father-son  story,  with  Wallace  Beery  as  an  old  Army 
sergeant  and  Robert  Young  his  son  who  returns  from 
West  Point,  his  father's  superior  officer.  In  addition 
to  an  appealing  story,  there  are  some  of  the  most 
thrilling  flight  sequences  you've  ever  seen.  Maureen 
O'Sullivan  is  romantic  prize.      (May) 

WESTWARD  HO!— Republic— A  thrilling  red- 
blooded  Western  concerning  a  group  of  pioneers  (the 
Vigilantes)  who  aim  to  rid  the  West  of  its  notorious 
badmen.     John  Wayne.  Sheila  Mannors.     (Oct.) 

WHILE  THE  PATIENT  SLEPT— First  National 
— Just  another  murder  mystery,  thin  in  spots.  Aline 
MacMahon  and  Guy  Kibbee  are  in  top  form;  Allen 
Jenkins,  Robert  Barrat,  Lyle  Talbot  and  Patricia 
Ellis  hold  up  support.      But  the  story  sags.      (June^ 

WOMAN  IN  RED,  THE— First  National.— 
Sparkling  dialogue  freshens  up  this  old  story  of  the 
poor  girl  married  into  society.  Good  performances 
by  Barbara  Stanwyck,  Gene  Raymond  and  Genevieve 
Tobin.      (May) 

•  WOMAN  WANTED  —  M-G-M.  —  A  swell 
melodrama  packed  with  action,  thrills  and  mys- 
tery and  which  affords  Maureen  O'Sullivan  and  Joel 
McCrea  an  opportunity  to  display  their  comedy 
talents  as  well  as  some  good  emotional  dramatics. 
Lewis  Stone,  Robert  Greig.     (Oct.) 


Photoplays     Reviewed     in     the     Shadow     Stage    This     Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out  your  evening's  entertainment.   Ma\e  this  your  reference  list. 


Page 

Alice  Adams — RKO-Radio 66 

Annapolis  Farewell — Paramount 69 

Bonnie  Scotland— M-G-M 69 

Cappy   Ricks  Returns — Republic ....  117 
Charlie  Chan  in  Shanghai — 20th  Cen- 
tury-Fox    69 

Dark     Angel,     The — Sam     Goldwyn- 

United  Artists 67 

Forbidden  Heaven — Republic 68 

Gay  Deception,The — 20th  Century- Fox  66 


Pao'e 

Girl  Friend,  The— Columbia 117 

Harmony  Lane — Mascot 68 

Here  Comes  Cookie — Paramount 68 

Here's  to  Romance — 20th  Century-Fox  67 
Hop- Along  Cassidy — Paramount  117 

Hot  Tip— RKO-Radio 68 

La  Maternelle — Metropolis  Pictures. .  .  117 
Lost  City,  The — Super-Serial  Prod. . .  .117 
Morals  of  Marcus,  The— GB 69 


Page 
Powder  Smoke  Range— RKO-Radio. . .  117 

She  Married  Her  Boss — Columbia 67 

Special  Agent — Warners-Cosmopolitan .  68 

Streamline  Express — Mascot 117 

This  Is  the  Life— 20th  Century- Fox. . .  68 

Top  Hat— RKO-Radio 66 

Tumbling  Tumbleweeds — Republic ...     69 

Two  for  Tonight — Paramount 69 

Without  Regret — Paramount 117 


112 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER.   1935 

The  Facts  of  Hollywood  Life 

WEDDING  MARCH 

For  Mme.  Mario  Jeritza,  Viennese  song-star,  and  Winfield  Sheehan,  late  Fox  boss, 
at  romantic  Santa  Barbara  Mission. 

For  Bob  Steele,  two-gun  Western  screen  hero,  and  Alice  Petty,  school  day  sweet- 
heart, after  air-elopement  to  Reno. 

For  Arthur  Rankin,  Barrymore  relative  actor,  and  Marion  Mansfield,  radiotress. 

For  Barbara  Davis,  sister  of  Bette  Davis,  and  Robert  Pelgrom,  Manhattan  aviation- 
eer,  at  Tijuana,  Mexico. 

For  Lanny  Ross  and  Olive  White,  his  manager,  who  kept  it  a  secret  two  weeks. 

For  Jayne  Shadduck,  actress  and  ex-spouse  of  Jack  Kirkland,  playwright  of 
"Tobacco  Road,"  and  Henry  J.  Topping,  Jr.,  rich  boy,  by  J.  of  P.  Julius  Raven. 

For  Mrs.  Mattie  Teasdale,  mother  of  Verrec  Teasdale,  and  Joshua  M.  Didricksen. 
Son-in-law  Adolphe  Menjou  was  best  man. 

And  for  Fred  Wallace,  20th  Century-Fox  actor,  and  Terry  Ray,  Mid-West  actress. 

SHATTERED  SHACKLES 

Mrs.  Clyde  Richardson  Collins,  mother  of  Cora  Sue  Collins,  legally  severed  from 
Young  C.  Collins. 

Mrs.  Juliette  Novis  discarded  Donald  Novis,  by  order  of  the  court. 

Pauline  Haley,  film  "double"  and  stand-in  for  Joan  Bennett,  dropped  Hugh  W. 
Haley  legally. 

Mar  got  Graha  me,  from  British  actor  husband  Francis  Lister  in  a  "friendly  separation." 

Claudetlc  Colbert  was  granted  a  Mexican  divorce  from  Norman  Foster. 

ON  THE  DOCKET 

Francis  Lederer  defended  himself  in  a  plagiarism  suit  brought  by  Jack  Quartaro 
over  plot  of  "Romance  in  Manhattan." 

Billic  Burke  in  a  suit  for  $648  brought  by  Hollywood  Bath  and  Tennis  Club. 
Claimed  Billie  never  paid  her  dues. 

Evelyn  Vcnablc  and  agents,  Ad  Schulberg-Kcnncth  Feldman,  Inc.,  settled  differences 
and  marked  their  contract  release  suit  off  the  calendar. 

Reginald  Denny,  petition  for  voluntary  bankruptcy. 

Elissa  Landi  sued  by  photographer  for  Si 28.50.  Photographer  said  Flissa  would 
pay  up. 

HELLO,  NURSE 

•    Stepin  Fctchil  failed  to  duck.     A  pool  ball  caromed  off  his  head.     Stitches. 

June  Collyer  weathered  a  major  operation  necessitated  by  June  Dorothea's  birth. 
.   \Alicc  Brady  sang  herself  sick,  went  to  bed  with  a  badly  strained  throat. 

Frank  Mayo,  old  time  screen  idol,  put  a  crimp  in  his  comeback  when  a  girder  from 
a  Universal  serial  set  fell  and  fractured  his  skull. 

Mrs.  Wallace  Beery  entered  Johns  Hopkins  Hospital  for  observation  and  treat- 
ment, when  she  arrived  home  from  London. 


113 


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Why  Million  Dollar  Pictures  Are  Coming  Back 


CONTINUED  FROM  PAGE  35 


you  to  Cecil  B.  De  Mille  for  one  answer  to 
that. 

De  Mille  always  spends  prodigious  sums, 
and  his  spectacles,  Biblical  or  otherwise, 
invariably  pay  out.  His  "Ten  Command- 
ments" grossed  five  million;  his  "King  of 
Kings,"  four  million.  "Sign  of  the  Cross" 
cost  better  than  a  million  dollars  to  make,  and 
it  grossed  well  over  three  million.  De  Mille 
always  spends  in  a  lavish  way,  and  always  the 
box-office  returns  repay  him.  He  figures,  too, 
that  in  making  films  of  "universal  appeal  and 
wide  sweeping  background,"  he  can  get 
foreign  business,   which  less  important  films 


If  you  will  think  back,  these  and  "The 
Sign  of  the  Cross,"  which  antedated  them, 
were  the  first  really  big  pictures  since  the 
advent  of  sound.  Some  of  the  musicals,  such 
as  "The  Gold  Diggers,"  cost  a  lot  of  money, 
yes,  but  nowhere  near  as  much  as  the  old 
silent  spectacles.  I  think  a  little  history  of 
the  fall  and  rise  of  spectacles  might  be  in- 
teresting. 

When  sound  came  in,  we  were  in  an  era  of 
spectacles.  We  had  things  like  "The  Big 
Trail,"  "The  Trail  of  '98,"  "Old  Ironsides," 
"The  Covered  Wagon,"  and  Howard  Hughes 
was  working  on  his  tremendous  airplane  film. 


Vincente  Escudero,  internationally  famous  Spanish  gypsy  dancer, 
shown  here  with  his  partner,  Carmita,  is  making  his  screen  debut  in 
"Here's  to  Romance."  Jesse  L.  Lasky,  who  is  producing  the  film,  takes 
time    off    to    be    photographed    with    this    widely    celebrated    dancer 


miss.  His  foreign  intake  has  amounted  to 
twice  his  domestic,  but  that  is  a  trade  detail. 

I  also  give  you  the  example  of  all  times, 
"Ben  Hur,"  the  epic  of  silent  days,  the  most 
costly  picture  ever  produced.  The  expense 
sheet  on  it  was  estimated  at  $3,500,000,  but 
at  last  reports  "Ben  Hur,"  in  the  years  since 
it  first  saw  light,  had  grossed  well  over  ten 
million  dollars.  (Of  course,  "Ben  Hur"  cost 
far  too  much  because  of  a  series  of  mistakes, 
two  sets  of  directors,  two  casts,  and  its  ill- 
fated  trip  to  Italy,  but  that  is  beside  the  point. 
It  finally  paid  out.) 

I  also  point  out — and  what  are  tremen- 
dously important  for  their  effect  on  the  industry 
as  a  whole — the  more  recent  examples  of  good, 
well-made,  expensive  pictures  which  paid 
their  way — "David  Copperfield"  and  "Rob- 
erta"— one  based  on  a  literary  classic  of  all 
time  and  the  other  a  fine  musical  show.  Both 
were  in  the  million  dollar  class,  and  both  were 
inspirations  for  the  present  producers'  rush 
toward   large  expenditures  on  good  films. 


"Hell's  Angels,"  with  Jean  Harlow,  and  which 
picture  eventually  had  to  be  remade  into  a 
talking  film. 

All  of  these,  even  as  "The  Birth  of  a  Nation" 
and  "  Ben  Hur"  of  days  previous,  were  money 
makers.  The  producers,  by  giving  Mr.  and 
Mrs.  John  Public  sweep  and  pageantry  and 
action  and  movement  and  masses  of  people, 
were  doing  right  well  financially. 

THEN  sound  brought  mechanical  limitations. 
'  There  developed  the  intimate  Drawing  Room 
Drama.  We  went  into  an  era  of  intimate 
talking  pictures,  talkie  things  with  little  or  no 
movement  but  so-called  bright  dialogue. 
And  then  came  the  Depression.  Producers 
hysterially  began  an  economy  wave.  Between 
the  two  D's,  the  Drawing  Room  Drama  and 
Depression,  spectacles  suddenly  faded  out  of 
sight.  Pictures  became  more  limited  in  appeal. 
The  producer  began  to  spend  less  and  less, 
until  films  became  worse  and  worse.  The 
Double  Bill  Menace  arose.    Mr.  and  Mrs.  John 


Public,  who  are  pretty  wise,  began  to  shop  for 
their  pictures.  If  they  couldn't  have  quality, 
they  would  have  quantity. 

In  a  frantic  effort  to  get  box-office  customers, 
the  sex  drama  reached  its  ultimate.  Films 
became  more  and  more  daring  as  producers 
vied  with  each  other. 

Censorship  stuck  up  its  forthright,  threaten- 
ing head! 

Pictures  a  year  ago  were  in  an  awful  fix. 
Something  had  to  be  done.    But  what? 

The  immediate  problem  was  censorship,  and 
oddly  enough,  in  coping  with  that,  producers 
found  their  way  out  of  the  maelstrom  into 
which  they  had  plunged  themselves.  They 
turned  to  literature  and  history  for  great 
stories  which  could  be  put  upon  the  screen. 
They  began  to  look  for  musicals  which  really 
had  music  and  appeal.  Out  of  the  past,  they 
plucked  Charles  Dickens'  "David  Copper- 
field."  From  Broadway  they  brought  "Rob- 
erta." 

Now,  obviously,  if  they  were  going  to  make 
"Copperfield,"  they  had  to  make  it  well. 
No  inexpensive  production,  no  cheap,  shoddy 
imitation  of  this  famous  and  beloved  novel 
of  Dickens  would  satisfy  moviegoers.  So 
M-G-M  loosened  the  purse  strings,  and  David 
Selznick  started  out  to  give  us  the  "David 
Copperfield"  he  could.  It  cost  around  a 
million  dollars.  There  were  sixty-four  speak- 
ing parts  and  a  fine  cast.  Much  time  and  large 
sums  of  money  were  spent  in  delving  into  the 
past  so  that  every  historical  detail  might  be 
correct 

/^"^NE  of  the  most  expensive  items  of  Radio's 
^-^"  Roberta"  was  found  under  the  heading, 
"  Clothes,  $100,000."  There  was  a  style  parade 
in  this  which  took  your  breath  away  because 
of  the  lovely  things  shown.  The  dancing,  the 
music,  the  original  cost  of  the  show,  plus  the 
cast,  all  contributed  heavily  to  the  total. 

But — these  two  pictures  made  money,  big 
money,  and  other  producers  began  to  sit  up 
and  take  notice.  And — almost  before  Holly- 
wood knew  it,  the  million  dollar  picture  era 
had  started  again.  Now  we  are  right  in  the 
midst  of  it. 

Undoubtedly  the  picture  of  the  biggest 
spectacle  value  this  year  will  be  "A  Tale  of 
Two  Cities,"  being  produced  at  M-G-M.  Its 
cost  will  be  tremendous,  well  toward  a  million 
and  a  half  dollars,  if  not  more.  It  is,  incident- 
ally, if  you  are  interested  in  how  producers  can 
spend  such  a  chunk  of  money  on  one  film,  a 
good  illustration  of  why  pictures  reach  the 
million  dollar  mark  or  more.  In  the  sequence 
of  the  fall  of  the  Bastille,  five  thousand  people 
milled  around  on  a  huge  six-acre  set  one  day. 
Take  five  thousand  extras  at  five  dollars  daily, 
and  it  totals  twenty-five  thousand  dollars 
right  there.  This,  plus  the  staggering  salaries 
paid  the  star  cast,  headed  by  Ronald  Colman, 
including  Elizabeth  Allan,  Edna  May  Oliver, 
Blanche  Yurka,  Reginald  Owen,  Basil  Rath- 
bone,  and  others.  On  another  big  set  in  the 
guillotining  of  Marie  Antoinette  in  the  Place 
de  la  Concorde,  twenty-seven  hundred  people 
were  used,  and  on  a  third,  in  the  revolutionary 
tribunal  where  the  aristocrats  were  tried, 
eleven  hundred  extras  reported.  At  this 
writing,  the  picture  is  in  its  sixteenth  week  of 
production,  and  it  is  estimated  that  it  will 
go  nearly  five  months. 


I  14 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


15 


Why  "Midsummer  Night's  Dream"  cost 
one  million,  two  hundred  thousand  dollars  is 
easy  to  figure  out  when  you  consider  not  only 
its  stellar  cast  and  the  length  of  time  it  took 
to  shoot  it  (it  was  actually  in  production 
three  months),  but  its  difficult  and  delicate 
camera  work  and  the  beautiful  forest  scene 
set  designed  by  Anton  Grot.  This  is  one  of 
the  loveliest  things  you  have  ever  seen  in  a 
motion  picture  studio.  Not  to  forget,  of 
course,  Max  Reinhardt's  salary  and  the  costly 
infinite  details  upon  which  he  insisted. 

I  am  told  by  those  who  have  seen  the  secret 
rushes  of  "Mutiny  on  the  Bounty"  that  this 
picture  is  tremendous.  It  has  power,  sweep, 
and  beauty  on  a  magnificent  scale.  Certainly 
supreme  effort  on  the  part  of  everybody  at 
M-G-M  has  gone  into  its  making,  and  it  is 
authentic  from  beginning  to  end.  For  weeks 
they  sailed  a  replica  of  the  old  H.  M.  S. 
Bounty  off  the  Isthmus  of  Catalina  while 
camera  and  star  crews  labored  on  scenes.  A 
whole  city  was  built  up  on  the  Isthmus  for  the 
period  of  shooting.  In  addition,  another 
crew  sailed  to  Tahiti  and  still  another  shot  off 
the  Santa  Barbara  coast — where  a  camera- 
man lost  his  life  and  forty  thousand  dollars  in 
equipment  went  down  in  the  ocean — so  that 
the  picture  would  have  authenticity. 

IN  "Captain  Blood,"  there  are  three  huge 
'ship  sets,  two  great  galleons  being  erected  on 
the  Warners'  Burbank  lot  and  the  third  on 
the  old  Vitagraph  site,  where  also  a  complete 
Cuban  waterfront  has  been  built.  In  addi- 
tion, parts  of  two  ships  have  been  constructed 
at  the  Isthmus  of  Catalina.  The  picture  will 
be  from  twelve  to  fourteen  weeks  in  shooting. 

"China  Seas"  belongs  in  the  million  dollar 
class.  It  was  planned  on  a  lower  cost  basis, 
but  before  the  studio  finished,  it  had  moved 
up  into  the  big  money  category. 

But  the  money  spent  on  "China  Seas"  was 
well  worth  it.  The  returns  at  the  box-office 
show  that  it  grossed  fifty  thousand  dollars 
the  opening  week  in  New  York. 

In  Radio's  "Last  Days  of  Pompeii,"  with 
Preston  Foster  and  Dorothy  Wilson,  a  whole 


city  will  be  buried  by  a  volcano.  Four  stages 
have  been  put  together  for  this.  Radio's 
"The  Three  Musketeers,"  based  on  the 
Alexander  Dumas  novel,  has  a  spectacular 
tournament  where  the  knights  of  old  combat. 
An  expensive  picture,  although  it  will  not 
reach  the  million  dollar  mark,  will  be  Radio's 
"Annie  Oakley,"  based  on  the  famous  femi- 
nine rifle  shot  of  the  Buffalo  Bill  shows. 
(Barbara  Stanwyck  is  in  the  title  role.) 

Universal  promises  to  throw  its  hat  into  the 
ring  this  year  with  "  Sutter's  Gold,"  a  drama 
of  the  mother  lode  country  in  California, 
and  also  with  "The  Hunchback  of  Notre 
Dame." 

"So  Red  the  Rose,"  a  saga  of  the  South, 
a  sweeping  picture  of  the  Civil  War  days,  has 
already  been  several  months  in  the  shooting 
at  Paramount  and  has  employed  thousands  of 
people  as  extras.  King  Vidor  directs,  and 
Vidor  never  gets  out  for  less  than  a  good-sized 
sum!  Margaret  Sulla  van  and  Randolph 
Scott  have  the  important  roles.  Also  on  the 
Paramount  schedule  is  "Rose  of  the  Rancho," 
a  story  of  early  days  in  California,  with 
Gladys   Swarthout   and   John   Boles. 

There  is  no  doubt  that  "Anthony  Adverse," 
which  Warners  are  producing  and  for  which 
they  have  borrowed  Fredric  March  at  a 
salary  something  like  one  hundred  and  twenty- 
five  thousand  dollars,  will  be  pushed  up  into 
the  million  dollar  class. 

Darryl  Zanuck,  who  is  often  regarded  as  the 
Barnum  of  Hollywood,  because  he  has  such 
sure-fire  instinct  as  a  showman,  will  begin  to 
toss  out  aspirants  to  the  million  dollar  class 
with  "Metropolitan,"  the  Lawrence  Tibbett 
picture,  and  also  with  "  Shark  Island,"  which 
covers  the  reconstruction  period  following 
Lincoln's  assassination. 

The  new  Charlie  Chaplin  effort,  called  at 
this  writing,  "Charlie  Chaplin  in  Modern 
Times,"  will  cost  plenty  by  the  time  it  is  com- 
pleted. The  story  is  that  it  will  be  done 
pretty  soon,  but  one  never  knows  with 
Charlie.  He  need  not  worry,  however,  about 
how  much  it  costs,  for  his  last,  "  City  Lights," 
grossed  a  total  of  six  million. 


The  Trocadero  still  holds  forth  as  the  foremost  gathering  spot  of  the 
Hollywood  stars.  Spencer  Tracy  was  lucky  to  corner  Bob  Taylor  at 
just  the  right  moment.  It  appears  as  if  Spencer  and  Bob  have  similar 
preferences    in    cigarettes    they    smoke,    but    Bob     is    not    annoyed 


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Casts  of  Current  Photoplays 

COMPLETE     FOR     EVERY     PICTURE     REVIEWED     IN     THIS     ISSUE 


"ALICE  ADAMS"  —  RKO-Radio.  —  From  the 
novel  by  Booth  Tarkington.  Screen  play  by  Dorothy 
Yost,  Mortimer  Offner  and  Jane  Murf.  Directed  by 
George  Stevens.  The  cast:  Alice  Adams,  Katharine 
Hepburn;  Arthur  Russell,  Fred  MacMurray;  Mr. 
Adams,  Fred  Stone;  Mildred  Palmer,  Evelyn  Venable; 
Waller  Adams,  Frank  Albertson;  Mrs.  Adams,  Ann 
Shoemaker;  Mr.  Lamb,  Charles  Grapewin;  Frank 
bowling,  Grady  Sutton;  Mrs.  Palmer,  Hedda  Hopper; 
Mr.  Palmer,  Jonathan  Hale;  Henrietta  Lamb,  Janet 
McLeod;  Mrs.  Dowling,  Virginia  Howell;  Mrs.  Dres- 
ser, Zeffie  Tilbury;  Ella  Dowling,  Ella  McKenzie; 
Malena,  Hattie  McDaniels. 

"ANNAPOLIS  FAREWELL"  —  Paramount.  — 
From  the  story  by  Stephen  Avery.  Screen  play  by 
Dale  Van  Every  and  Frank  Craven.  Directed  by 
Alexander  Hall.  The  cast:  Commander  Fitzhugh,  Sir 
Guy  Standing;  Morton  "Click"  Haley,  Tom  Brown; 
Boyce  Avery,  Richard  Cromwell;  Madeline  Demmg, 
Rosalind  Keith;  Duncan  Haley,  John  Howard;  Zim- 
mer,  Benny  Baker;  Miranda,  Louise  Beavers;  Dr. 
Bryant,  Samuel  S.  Hinds;  Jim  Stockton,  Richard 
Brodus;  Porter,  John  Darrow;  Adams,  Ben  Alexan- 
der; Commodore  Briggs,  Minor  Watson;  Clayton 
Beale,  Oscar  Rudolph;  Inspection  Officer,  Frank  Lo- 
see;  Bumboat  Charlie,  William  Collier.  Sr.;  1st  Upper 
Classman,]oYm  Morley ;Chaperone,  Dorothy  Vaughan; 
Admiral,  Guy  Usher;  While  House  Policeman, 
Brady  Kline;  Lieutenant,  David  Newell. 

"BONNIE  SCOTLAND"— M-G-M.— From  the 
story  by  Frank  Butler  and  Jeff  Moffitt.  Directed  by 
James  W.  Home.  The  cast:  Stanley  McLaurel,  Stan 
Laurel;  Oliver  Hardy,  Himself;  Lorna  McLaurel,  June 
Lang;  Alan  Douglas,  William  Janney;  Lady  Violet 
Orrnsby,  Anne  Grey;  Colonel  McGregor,  D.S.O.  Vernon 
Steel;  Sergeant  Major,  James  Finlayson;  Mr.  Miggs, 
David  Torrence;  Mir  Julra,  Maurice  Black;  Mille, 
Daphne  Pollard;  Mrs.  Bicker  dike,  Mary  Gordon; 
Blacksmith,  Lionel  Belmore.     ■ 

"CAPPY  RICKS  RETURNS" —  Republic.  — 
From  the  story  by  Peter  B.  Kyne.  Adaptation  and 
screen  play  by  George  Waggner.  Directed  by  Mack 
Wright.  The  cast:  Cappy  Ricks,  Robert  McWade; 
Bill  Peck,  Ray  Walker;  Barbara,  Florine  McKinney; 
Skinner,  Lucien  Littlefield;  Winton,  Bradley  Page; 
Florry,  Lois  Wilson;  Blake,  Oscar  Apfel;  Peasley, 
Kenneth  Harlan;  Ahaf,  Man  Mountain  Dean. 

"CHARLIE  CHAN  IN  SHANGHAI"  —  20th 
Century-Fox. — From  the  original  story  and  screen 
play  by  Edward  T.  Lowe  and  Gerard  Fairlie.  Di- 
rected by  James  Tinling.  The  cast:  Charlie  Chan, 
Warner  Oland;  Diana  Woodland,  Irene  Hervey;  Philip 
Nash,  Charles  Locher;  James  Andrews,  Russell  Hicks; 
Lee  Chan,  Keye  Luke;  Chief  of  Police,  Halliwell 
Hobbes;  Burke,  Frederik  Vogeding;  Dakin,  Neil  Fitz- 
gerald; Taxi  Driver,  Max  Wagner. 

"DARK  ANGEL,  THE"— Samuel  Goldwyn- 
United  Artists. — From  the  play  by  Guy  Bolton. 
Screen  play  by  Lillian  Hellman  and  Mordaunt  Shairp. 
Directed  by  Sidney  Franklin.  The  cast:  Alan  Trent, 
Fredric  March;  Kilty  Vane,  Merle  Oberon;  Gerald 
Shannon,  Herbert  Marshall;  Mrs.  Shannon,  Janet 
Beecher;  Sir  George  Barton,  John  Halliday;  Granny 
Vane,  Henrietta  Crosman;  Ann  West,  Frieda  Ines- 
cort;  Lawrence  Bidley,  Claude  Allister;  Joe,  George 
Breakston;  Belly,  Fay  Chaldecott;  Ginger,  Denis 
Chaldecott;  Roulslon,  Douglas  Walton;  Mrs.  Bidley, 
Sarah  Edwards;  Mr.  Vane,  John  Miltern;  Mills,  Olaf 
Hytton;  Mr.  Tanner,  Lawrence  Grant;  Hannah, 
Helena  Bryne-Grant;  Mrs.  Gallop,  Ann  Fiedler;  Mr. 
Shannon,  David  Torrence;  Kitty  (as  a  child),  Cora 
Sue  Collins;  Gerald  (as  a  child),  Jimmy  Butler;  Alan 
(as  a  child),  Jimmy  Baxter;  Lawrence  (as  a  child), 
Randolph  Connolly. 

"FORBIDDEN  HEAVEN"— Republic— From 
the  story  by  Christine  Jope-Slade.  Adaptation  and 
screen  play  by  Sada  Cowan.  Directed  by  Reginald 
Barker.  The  cast:  Nibs,  Charles  Farrell;  Ann,  Char- 
lotte Henry;  Agnes,  Beryl  Mercer;  Fluffy,  Fred  Wal- 
ton; Sybil,  Phyllis  Barry;  Radford,  Eric  Wilton;  Allen, 
Barry  Winton;  Speaker,  Eric  Snowden. 

"GAY  DECEPTION,  THE"— 20th  Century- 
Fox. — From  the  original  screen  play  by  Stephen 
Avery  and  Don  Hartman.  Directed  by  William  Wy- 
ler.  The  cast:  Sandro,  Francis  Lederer;  Mirabel, 
Frances  Dee;  Miss  Channing,  Benita  Hume;  Lord 
Clewe,  Alan  Mowbray;  Consul-General,  Lennox  Pawle; 
Lucille,  Adele  St.  Maur;  Mr.  Squires,  Ferdinand 
Gottschalk;  Mr.  Spilzer,  Richard  Carle;  Peg  DeFor- 
resl,  Lanita  Lane;  Joan  Dennison,  Barbara  Fritchie; 
Bell  Captain,  Paul  Hurst;  AdolPh,  Robert  Greig; 
Ernest,  Luis  Alberni;  Getlel,  Lionel  Stander;  Spellek, 
Aldm  Tamiroff. 

"GIRL  FRIEND,  THE"— Columbia— From  the 
story  by  Gene  Towne  and  Graham  Baker.  Screen 
play  by  Gertrude  Purcell  and  Benny  Rubin.  Directed 
by  Edward  N.  Buzzell.  The  cast:  Linda,  Ann  Sothern; 
Henry,  Jack  Haley;  George,  Roger  Pryor;  Harmon, 
Thurston  Hall;  Sunshine,  Victor  Kilian;  Doc,  Ray 
Walker;  Hilds,  Inez  Courtney;  Grandma,  Margaret 
Seddon. 

"HARMONY  LANE"  —  Mascot.  —  From  the 
screen  play  by  Joseph  Santley  and  Elizabeth  Meehan. 


Directed  by  Joseph  Santley.  The  cast:  Stephen  Fos- 
ter, Douglass  Montgomery;  Susan  Pen/land,  Evelyn 
Venable;  Jane  McDowell,  Adrienne  Ames;  Kleber, 
Joseph  Cawthorn;  Christy,  William  Frawley;  Old  Joe, 
Clarence  Muse;  Mr.  Foster,  Gilbert  Emery;  Mrs. 
Foster,  Florence  Roberts;  Morrison  Foster,  James 
Bush;  Mr.  Penlland,  David  Torrence;  William  Foster, 
Jr.,  Victor  DeCamp;  Henrietta  Foster,  Edith  Craig; 
Marion,  Cora  Sue  Collins;  Andrew  Robinson,  Lloyd 
Hughes;  Mr.  Pond,  Ferdinand  Munier;  Delia,  Mil- 
dred Gover;  Proprietor,  James  B.  Carson;  Mr.  Wade, 
Rodney  Hildebrand;  Mrs.  Wade,  Mary  McLaren; 
Tambo,  Al  Herman;  Bones,  Earl  Hodgins;  Singer, 
Wynne  Davis;  Liza,  Hattie  McDaniels.  Also  the 
Shaw  Choir  of  two  hundred  voices. 

"HERE  COMES  COOKIE"  —  Paramount.  — 
From  the  original  story  by  Sam  Mintz  and  Don 
Hartman.  Screen  play  by  Don  Hartman.  Directed 
by  Norman  McLeod.  The  cast:  George  Burns,  George 
Burns;  Grade  Allen,  Gracie  Allen;  Harrison  Allen, 
George  Barbier;  Phyllis  Allen,  Betty  Furness;  Bolts, 
Andrew  Tombes;  Jack,  Jack  Powell;  Ramon  del  Ra- 
mos, Rafael  Storm;  Broken-Nose  Reilly,  James  Burke; 
Mr.  Dingledorp,  Lee  Kohlmar;  Mrs.  Dingledorp,  Milla 
Davenport;  Stuffy,  Harry  Holman;  Clyde,  Frank 
Darien;  Wilbur,  Jack  Duffy;  Lloyd,  Del  Henderson; 
Milkman,  Duke  York;  1st  Drunk,  Arthur  Housman; 
2nd  Drunk,  Jack  Henderson;  Policeman,  Edward 
Gargan;  Taxi  Driver,  Eddie  Dunn;  Sam,  Richard 
Carle. 

Vaudeville  Acts:  Cal  Norris  and  Monkey;  Jester 
and  Mole — Bicycle  Act;  Jack  Cavanaugh  and  Part- 
ner— Knife  Throwing  Act;  Six  Olympics —  Acrobatic 
tumblers;  Seymour  and  Corncob — Rube  comedy  act 
and  Musicians;  Moro  and  Yaconelli — Comedy  Italian 
act  and  Musicians;  Johnson  and  Dove — Comedy  In- 
dian Club  Jugglers;  Big  Boy  Williams — One  Man 
Band;  Pascale  Perry  and  Partner — Shooting  Act; 
Six  Candreve  Brothers — Trumpeteer  Act;  The  Buc- 
caneers, Eight  Singers. 

"HERE'S  TO  ROMANCE"— 20th  Century- 
Fox. — From  the  original  story  by  Ernest  Pascal  and 
Sonya  Levien.  Screen  play  by  Ernest  Pascal  and 
Arthur  Richman.  Directed  by  Alfred  E.  Green.  The 
cast:  Nino  Donelli,  Nino  Martini;  Kathleen  Gerard, 
Genevieve  Tobin;  Lydia  Lubov,  Anita  Louise;  Rosa, 
Maria  Gambarelli;  Mme.  Schumann-Heink,  Mme. 
Ernestine  Schumann-Heink;  Emery  Gerard,  Reginald 
Denny;  Spanish  Gypsy  Dancer,  Vincente  Escudero; 
Sandoval,  Mathilde  Comont;  Enid,  Elsa  Buchanan; 
Bert,  Miles  Mander;  Saito,  Keye  Luke;  Fred,  Pat 
Somerset;  Lefevre,  Albert  Conti;  Descartes,  Egon 
Brecher;  Carslairs,  Orrin  Burke;  Andriot,  Armand 
Kaliz. 

"HOT  TIP  "—RKO-Radio.— Screen  play  by  Hugh 
Cummings,  Olive  Cooper  and  Louise  Stevens.  Di- 
rected by  Ray  McCarey  and  James  Gleason.  The 
cast:  Jimmy  McGill,  James  Gleason;  Belle  McGill, 
ZaSu  Pitts;  Jane  McGill,  Margaret  Callahan;  Ben 
Johnson,  Russell  Gleason;  Harvey  Hooper,  Arthur 
Stone;  Henry  Crumm,  Rollo  Lloyd;  Kid  Tyler,  Ray 
Mayer;  Spider  Dorgan,  Donald  Kerr;  Oscar  Clausen, 
Del  Henderson;  Matt  McHugh,  J.  M.  Kerrigan; 
Apollo,  Willie  Best;  Queenie,  Kitty  McHugh. 

"HOP-ALONG  CASSIDY"  —  Paramount.  — 
From  the  story  by  Clarence  E.  Mtrl-ford.  Screen  play 
and  adaptation  by  Doris  Schroeder.  Directed  by 
Howard  Bretherton.  The  cast:  Hop-Along  Cassidy, 
William  Boyd;  Johnny  Nelson,-  Jimmy  Ellison;  Mary 
Meeker,  Paula  Stone;  Buck  Peepers,  Charles  Middle- 
ton;  Jack  Anthony,  Kenneth  Thomson;  Jim  Meeker, 
Robert  Warwick;  Red  Connors,  Frank  McGlynn,  Jr.; 
Uncle  Ben,  George  Hays;  Tom  Shaw,  Jim  Mason; 
Hall.  Ted  Adams;  Salem,  Willie  Fung;  Riley,  Frank- 
lyn  Farnum;  Frisco,  Frank  Campeau. 

"LA  MATERNELLE"— Metropolis  Pictures. 
— From  the  Concourt  prize  novel  by  Leon  Frapie. 
Adapted  and  directed  by  Jean  Benoit-Levy  and  Marie 
Epstein.  The  cast:  Rose,  Madeleine  Renaud;  The 
Superintendent,  Alice  Tissot;  Marie,  Paulette  Elam- 
bert;  Marie's  mother,  Sylvette  Fillacier;  Mme.  Paulin, 
Mady  Berri;  Dr.  Libois,  Henri  Debain;  The  Professor, 
Alex  Bernard;  Father  Panlin,  Edward  van  Deele; 
The  Inspector,  Severin;  The  Teacher,  Mariane;  The 
Singer,  Delille  (Opera  Comique);  M.  Antoine,  Aman 
Maistre. 

"LOST  CITY,  THE"— Super-Serial  Prod.— 
From  the  original  story  by  Zelma  Carroll,  George  W. 
Merrick  and  Robert  Dillon.  Screen  play  by  Parley 
Poore  Sheehan,  Eddie  Graneman,  and  Leon  d'Usseau. 
Directed  by  Harry  Revier.  The  cast:  Zolok,  William 
Boyd;  Bruce  Gordon,  Kane  Richmond;  Natcha,  Clau- 
dia Dell;  Manyus,  Josef  Swickard;  Bullerfield,  George 
F.  Hayes;  Raynolds,  Ralph  Lewis;  Gorzo,  William 
Bletcher;  Jerry,  Eddie  Fetherston;  Andrews,  Milburn 
Moranti;  Queen  Rama,  Margot  D'Use;  Appolyn, 
Jerry  Frank;  Collon,  William  Millman;  Ben  AH,  Ginlo 
Carrado;  Hugo,  Sam  Baker. 

"MORALS  OF  MARCUS,  THE"— GB.— Adapt- 
ed from  W.  J.  Locke's  famous  play.  Directed  by 
Miles  Mander.  The  cast:  Carlolla,  Lupe  Velez;  Sir 
Marcus  Ordeyne,  Ian  Hunter;  Judith,  Adrianne  Allen; 
Tony  Pasquale,  Noel  Madison.  Also  includes  J.  H. 
Roberts,  H.  F.  Maltby.  Arnold  Lucy,  Frank  Atkin- 
son, D.  J.  Williams,  James  Raglan.  Agnes  Imlay  and 
Johnny  Nitt. 


"POWDER  SMOKE  RANGE"— RKO-Radio.— 
From  the  novel  by  William  Colt  MacDonald.  Screen 
play  by  Adele  BurBngton.  Directed  by  Wallace  Fox. 
The  cast:  Tucson  Smith,  Harry  Carey;  Stony  Brooke, 
Hoot  Gibson;  Lullaby  Joslin,  Guinn  "Big  Boy" 
Williams;  Jeff  Ferguson,  Bob  Steele;  Sundown  Saun- 
ders, Tom  Tyler;  Caroline  Sibley,  Boots  Mallory; 
Big  Steve  Ogden,  Sam  Hardy;  Sourdough  Jenkins, 
Francis  Ford;  Brose  Glascow,  Adrian  Morris;  Jim 
Reece,  Franklyn  Farnum;  Habpy  Hopkins,  Bill  Des- 
mond; Bud  Taggerl,  Wally  Wales;  Rub  Phelps,  Art 
Mix;  Tex  Malcolm,  Buffalo  Bill.  Jr.;  Bat  Wing,  Buzz 
Barton;  Jake  Elliott,  Eddie  Dunn;  Chap  Bell,  Ray 
Mayer;  Dan  Orcham,  William  Farnum. 

"SHE  MARRIED  HER  BOSS"— Columbia  — 
From  the  story  by  Thyra  Samter  Winslow.  Screen 
play  by  Sidney  Buchman.  Directed  by  Gregory  La 
Cava.  The  cast:  Julia  Scott,  Claudette  Colbert; 
Richard  Barclay,  Melvyn  Douglas;  Leonard  Rogers. 
Michael  Bartlett;  Franklyn,  Raymond  Walburn;  Mar- 
tha Pryor,  Jean  Dixon;  Gertrude  Barclay,  Katharine 
Alexander;  Annabel  Barclay,  Edith  Fellows;  Parsons, 
Clara  Kimball  Young;  Agnes  Mayo,  Grace  Hale; 
Victor  Jessup,  Charles  E.  Arnt;  Chauffeur,  Schuyler 
Shaw. 

"SPECIAL  AGENT"  —  Warners  —  Cosmopol- 
itan.— From  the  story  idea  by  Martin  Mooney. 
Screen  play  by  Laird  Doyle  and  Abem  Finkel.  Di- 
rected by  William  Keighley.  The  cast:  Julie  Gar 
dener,  Bette  Davis;  Bill  Bradford,  George  Brent;  Car- 
ston,  Ricardo  Cortez;  Andrews,  Jack  LaRue;  District 
Attorney,  Henry  O'Neill;  Armilage,  Robert  Strange; 
Chief  of  Police,  Joseph  Crehan;  Durell,  J.  Carrol 
Naish;  Rich,  Joseph  Sauers;  Young,  William  David- 
son; Head  of  the  Internal  Rev.  Depl.,  Robert  Barrat; 
Secretary  lo  District  Attorney,  Paul  Guilfoyle;  Wilson, 
Joseph  King;  U.  S.  District  Attorney,  Irving  Pichel. 

"STREAMLINE  EXPRESS  "—Mascot.— From 
the  story  by  Wellyn  Totman.  Screen  play  by  Leon- 
ard Fields,  Dave  Silverstein  and  Olive  Cooper.  Di- 
rected by  Leonard  Fields.  The  cast:  Elaine  Zinson, 
Esther  Ralston;  Gilbert  Landpn,  Sidney  Blackmer; 
Patricia  Wallis,  Evelyn  Venable;  Fred  Arnold,  Ralph 
Forbes;  Mrs.  Forbes,  Erin  O'Brien-Moore:  Jimmy 
Hail,  Victor  Jory;  Jones,  Vince  Barnett;  Wilbur, 
Tommy  Bupp;  John  Forbes,  Clay  Clement;  Gerald 
Wilson,  Bobby  Watson;  Larry  Houston,  Lee  Moran; 
Purser,  Edward  Hearn;  Conductor,  Allan  Cavan; 
Steward,  Sid  Saylor;  Fawn,  Libby  Taylor;  Steve, 
Harry  Tyler;  Bartender,  Morgan  Brown;  Baggage 
Galeman,  Wage  Boteler;  1st  Baggage  Man,  Jock  Ray- 
mond; Physician.  Montague  Shaw;  Radio  Operator. 
Lynton  Brent. 

"THIS  IS  THE  LIFE"— 20th  Century-Fox  — 
From  the  story  by  Gene  Towne  and  Graham  Baker. 
Screen  play  by  Lamar  Trotti  and  Arthur  Hor- 
man.  Directed  by  Marshall  Neilan.  The  cast: 
Geraldine  Revier,  Jane  Withers;  Michael  Grant,  John 
McGuire;  Helen  Davis,  Sally  Blane;  Professor  Breck- 
enridge,  Sidney  Toler;  Diane  Revier,  Gloria  Roy;  Ed 
Revier,  Gordon  Westcott;  Sticky,  Francis  Ford;  Mrs 
Davis,  Emma  Dunn. 

"TOP  HAT"— RKO-Radio.— From  the  screen 
play  by  Dwight  Taylor  and  Allan  Scott.  From  the 
adaptation  by  Karl  Noti.  Directed  by  Mark  Sand- 
rich.  The  cast:  Jerry  Travers,  Fred  Astaire;  Dale 
Fremont,  Ginger  Rogers;  Horace  Hardwick,  Edward 
Everett  Horton;  Madge,  Helen  Broderick;  Alberto. 
Erik  Rhodes;  Bates,  Eric  Blore. 

"TUMBLING  TUMBLEWEEDS"— Republic. 
— From  the  story  by  Alan  Ludwig.  Screen  play  by 
Ford  Beebe.  Directed  by  Joseph  Kane.  The  cast: 
Gene,  Gene  Autry;  Smiley,  Smiley  Burnette;  Jerry, 
Lucile  Browne;  Janet,  Norma  Taylor;  Dr.  Parker, 
George  Hayes;  Craven,  Edward  Hearn;  McWade, 
Jack  Rockwell;  Shorty,  Frankie  Marvin;  Connors, 
George  Cheseboro;  Eighlball,  Eugene  Jackson;  Blaze, 
Charles  King;  Higgins,  Charles  Whitaker;  Sheriff, 
George  Burton;  Sykes,  Tom  London;  Harry  Brooks, 
Cornelius  Keefe;  1st  Henchman,  Tommy  Coates;  2nd 
Henchman,  Cliff  Lyons;  3rd  Henchman.  Bud  Pope, 
4th  Henchman,  Tracy  Layne. 

"TWO  FOR  TONIGHT"— Paramount.— From 
a  play  by  Max  Lief  and  J.  O.  Lief.  Screen  play  by 
George  Marion,  Jr.  and  Jane  Storm.  Directed  by 
Frank  Tuttle.  The  cast:  Gilbert  Gordon,  Bing  Crosby; 
Bobbie  Lockwood,  Joan  Bennett;  Mrs.  J.  S.  K.  Smythe, 
Mary  Boland;  Harry  Kling,  Lynne  Overman;  Lilly 
Bianca,  Thelma  Todd;  Buster  Da  Costa,  James  Blake- 
ley;  Pooch  Donahue,  Douglas  Fowley;  Homps,  Ernest 
Cossart;  Alexander  Myers,  Maurice  Cass;  Author, 
Charles  L.  Lane;  Jailer,  A.  S.  "Pop"  Byron;  Prisoner. 
John  Gough;  Benny  the  Goof,  Charles  E.  Arnt. 

"WITHOUT  REGRET"— Paramount. — Adapt- 
ed from  a  play  by  Roland  Pertwee  and  Harold  Dear- 
den.  Screen  ptay  by  Doris  Anderson  and  Charles 
Brackett.  Directed  by  Harold  Young.  The  cast: 
Jennifer  Gage,  Elissa  Landi;  Sir  Robert  Godfrey,  Paul 
Cavanagh;  Mona  Gould,  Frances  Drake;  Steven  Para- 
dine,  Kent  Taylor;  Bill  Gage,  David  Niven;  Gwen. 
Viva  Tattersall;  Jessup,  Joseph  North:  Godfrey  Baoy, 
Betty  Holt;  Inspector  Hayes,  Gilbert  Emery;  Drunu, 
Stuart  Hall;  Cleaver,  Colin  Tapley;  Reporter,  Reginald 
Sheffield:  Doctor.  Forrester  Harvey. 


116 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


117 


The  Shadow  Stage 


|  CONTINUED  FROM  PAGE  69 


POWDERSMOKE  RANGE—  RKO-Radio 

HARD  riding,  straight  shooting  and  tender 
loving  keep  excitement  at  a  high  pitch  in 
this  tried-and-true  Western.  As  usual  it's  a 
hard  fought  battle  between  heroic  cattlemen 
and  crooks  but  the  story  has  several  neat  and 
unexpected  touches.  Guinn  Williams,  Harry 
Carey,  Hoot  Gibson  and  Bob  Steele  head  a 
great  Western  name  cast.    Swell  for  the  kids. 

LA  MATERNELLE— Metropolis 

BRILLIANT  performances  abound  in  this 
story  of  love-hungry  children  in  a  Paris 
Latin  Quarter  day-nursery,  reminiscent  in  plot 
in  some  respects  of  "Maedchen  in  Uniform." 
Woven  through  the  story's  pattern,  is  the 
theme  thread  of  Marie,  deserted  by  her  demi- 
mondaine  mother,  and  her  tragic  devotion  to  a 
maid.  Done  in  French  with  English  subtitles, 
the  picture  will  appeal  to  the  discriminating. 

WITHOUT  REGRET— Paramount 

KENT  TAYLOR  and  Elissa  Landi  make  a 
pleasant  bit  of  entertainment  of  this  semi- 
murder  mystery  of  a  young  man  who  has  but  a 
short  time  to  live  and  settles  up  a  nasty  bit  of 
blackmailing  in  that  time.  Miss  Landi  un- 
freezes considerably  in  this  one,  yet  manages 
to  avoid  the  super-vitality  that  almost  ruined 
her  career.  Admirable  support  is  given  by 
Paul  Cavanagh  and  Frances  Drake. 

STREAMLINE  EXPRESS— Mascot 

P^RAMATIC  incidents  in  the  lives  of  various 
^persons  including  a  playwright-producer 
(Victor  Jory),  his  temperamental  star  (Evelyn 
Venable),  a  crook  and  his  ex-sweetie  (Sidney 
Blackmer  and  Esther  Ralston),  a  husband  and 
the  wife  he  is  deserting,  and  a  race  against  the 
stork  are  climaxed  on  a  cross-country  record 
run  of  a  streamline  train.    Fair  film  fare. 


THE  GIRL  FRIEND— Columbia 

K  MOSTLY  a  musical  burlesque  skit  about 
'  v  'Napoleon,  but  hardly  professional  stuff. 
Roger  Pryor,  a  broke  actor,  poses  as  a  big  pro- 
ducer in  a  hick  town,  rashly  promises  to  pro- 
duce bumpkin  Jack  Haley's  play,  then  falls  in 
love  with  his  sister,  Ann  Sothern,  and  has  to 
come  through.  Hence  the  amateur  musical. 
Good  song  or  two — but  don't  cry  if  you  miss  it. 

THE  LOST  CITY— Super-Serial 

/^HUCK  logic  and  common  sense  overboard 
^-"and  you  might  have  some  fun  laughing  at 
this  wild  story  of  an  engineer  (Kane  Richmond) 
and  his  expedition  to  a  fantastic  city  in  Africa. 
There's  an  incredulous  scientific  set-up,  a  mad 
master  of  it  all  (William  Boyd)  and  his  hench- 
man (Josef  Swickard)  to  do  the  dirty  work. 
Also  a  beautiful  girl  whom  Boyd  rescues. 

CAPPY   RICKS   RETURNS— Republic 

HETER  B.  KYNE'S  beloved  character, 
'  Cappy  Ricks  (Robert  McWade)  emerges 
from  retirement  again  to  best  his  arch  business 
enemy,  Blake  (Oscar  Apfel)  in  a  crooked  deal 
involving  legislative  discrimination  against 
Cappy's  redwood  shingles.  Photography, 
direction,  dialogue  and  performances  are  well 
up  to  par  in  this  amusing  picture.  Ray 
Walker,  McWade,  Bradley  Page,  the  villain, 
and  Florine  McKinney,  the  girl,  carry  the  plot. 

HOP-ALONG  CASSIDY— Paramount 

DILL  BOYD  and  the  rest  of  the  competent 
'-xast  should  ride  along  to  new  film  favor  in 
this  first  picturization  of  the  famous  Clarence 
E.  Mulford  "Hop-Along  Cassidy"  stories.  The 
role  of  the  hard-riding,  square  dealing  young 
ranch  hand  fits  Boyd  like  a  glove  and  the 
action  is  fast  from  start  to  finish.  Paula  Stone 
is  the  girl  and  Jimmy  Ellison  is  Boyd's  pal. 


All  Hollywood  Plays  This  New  Game 

Hollywood  calls  it:  "RADIO,"  but  it  might  have  been  called:  "Hot  and  Cold."  It's  a  new 
version  of  "Blind  Man's  Buff"  without  the  bandage  over  the  eyes.    Here's  the  way  it's  played: 

Send  one  person  from  the  room  and  then  you,  the  group,  decides  what  he  shall  do  and  say 
when  he  returns.  For  instance,  you  might  want  him  to  do  this:  remove  the  ring  from  a  certain 
girl's  hand  and  place  it  on  the  finger  of  another  person  in  the  room.  Or  pick  up  a  glass  of  water 
from  a  table  and  walk  to  a  particular  spot  in  the  room,  face  the  group  and  propose  a  toast. 
Have  the  "it"  do  anything,  the  crazier  the  better. 

When  the  person  returns  to  the  room,  here's  what  happens: 

He  starts  around  the  room  slowly,  with  arms  outstretched,  and  waves  his  hands  over  every 
person  and  object  he  approaches,  lamps,  pictures,  furniture  or  people.  While  he  is  doing  this, 
one  of  the  gang  sits  at  the  controls  of  the  radio  (or  plays  the  piano).  Very  softly  comes  the  music 
until  the  person  comes  near  the  first  object.  The  radio  is  tuned  up  in  volume  to  let  the  person 
know  he  is  getting  warm.  When  he  gets  very  close,  the  volume  is  even  louder  to  warn  him  that 
he  is  hot. 

In  the  ring  exchange:  the  radio  would  play  softly  until  the  person  waved  his  hand  near  the 
right  girl.  When  he  waves  over  the  correct  hand,  tune  louder  and  when  he  touches  the  ring  play 
even  louder  until  he  actually  takes  it  off.  Then  tune  the  radio  down  while  he  walks  around  the 
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And  So  You  Think  He's  Funny! 


[  CONTINUED  FROM  PAGE  33 


storm  came  up,  and  the  steerage  passengers 
had  to  be  locked  below  because  of  danger  of 
heavy  seas  washing  them  overboard.  For 
several  days  they  had  nothing  to  eat  but  dry 
bread  and  moldy  cheese.  When  they  arrived 
at  Ellis  Island,  they  were  detained  again, 
locked  up  while  their  fellow  passengers  went  on. 
But  finally  everything  was  straightened  out, 
and  they  were  released  to  look  at  the  tall  city. 
Joe  left  his  name  tag  behind  at  Ellis  Island,  but 
he  carried  under  his  arm  a  huge  map  on  which 
was  marked  the  route  they  were  to  follow  to 
Detroit.  On  the  crowded  streets  he  continually 
bumped  people  with  the  ends  of  the  map,  surly 
individuals  who  shouted  Ride,  untranslatable 
words  at  the  funny  looking  little  boy  and  the 
two  old  people.  To  this  day,  Joe  hates  to  carry 
packages ! 

W/HEN  he  met  his  mother  at  the  Detroit 
^*  station,  he  only  felt  more  strange.  He 
didn't  believe  it  was  she.  He  hadn't  seen  her 
for  seven  years,  and  it  was  a  great  shock  to  hear 
this  pretty,  modishly  dressed  American  woman 
call  him  son  and  shower  him  with  kisses.  Joe 
told  me:  "I  get  out  at  the  station.  I  am  lug- 
ging this  big  map,  and  all  of  a  sudden,  a  woman 
starts  kissing  me.  I  don't  know  what  to  do, 
and  then  my  grandparents  say:  'This  is  your 
mother.'  I  feel  very  silly.  I  keep  looking  at 
this  nice  woman  in  the  big  hat,  all  pretty  and 
corseted,  like  I  had  never  seen  a  woman,  and  I 
don't  know  what  to  do." 

And  so  life  began  in  America.  Father 
Pinter's  wages  were  none  too  large,  and  there 
were  times  when  the  five  Pinters  knew  what 
hunger  was.  Joe,  himself,  always  sensitive  to 
"nice  things  and  nice  clothes,"  realized  he 
wasn't  as  well  dressed  as  the  other  boys  and 
girls  with  whom  he  was  thrust  into  public 
school.  Also,  to  his  great  distress,  because  he 
couldn't  speak  English,  he  was  pushed  into  the 
primary  class.  And  because  children  are  cruel, 
when  they  discovered  his  sensitiveness,  they 
laughed  at  the  funny  little  Hungarian  lad,  and 
he  drew  within  himself.  Nine  years  old,  at 
that  most  impressionable  age,  he  felt  a  humilia- 
tion which  seared  him  deeply  and  which  still 
can  make  shivers  run  up  his  back. 

As  he  grew  older,  even  though  he  quickly 
made  up  the  lost  grades,  he  became  more  and 
more  self-conscious.  He  didn't  have  girls  be- 
cause he  didn't  have  any  clothes,  but  he 
started  getting  jobs.  First,  he  sold  papers  on 
the  street  long  before  he  could  pronounce 
English  names,  standing  on  the  corner  yelling 
"Droy  Free  Prass"  (Detroit  Free  Press) — 
probably  as  intelligible  an  interpretation  of 
the  name  as  lots  of  American  boys  give  it 
today! — but  Joe  didn't  know  that.  And  then 
— I  think  this  is  swell — he  got  himself  a  job  as 
a  Western  Union  lad  because  he  thought  it 
would  be  so  nice  to  dress  up  in  that  uniform. 
He  even  joined  the  Episcopal  choir — and  his 
family  were  not  Episcopalians — in  order  to 
wear  a  choir  robe  and  also  to  take  advantage  of 
the  training  in  singing.  Eventually  he  became 
a  bell  boy  in  a  Turkish  bath  because  here  he 
made  the  most  money. 

Last  year  when  Joe  and  his  wife  were  making 
their  way  into  a  St.  Louis  hotel,  the  bell  boy 
carrying  their  bags  kept  giving  Joe  funny  looks. 
Finally,  he  banged  down  the  luggage  and  said: 
"I'll  be  damned  if  I'll  carry  your  bags.  We 
used  to  sit  on  a  bell  together."    Joe  laughed 


and  said:  "Well,  I  guess  we  did."  The  bell  boy 
said:  "Well,  what  do  you  know  about  that!" 
and  shook  him  heartily  by  the  hand. 

He  joined  a  crew  of  boys  "working  their  way 
through  college"  by  selling  magazines.  He 
went  around  signing  people  up  for  violin  lessons 
and  giving  them  a  violin  free.  At  one  time  he 
was  well  launched  on  a  straight  business  career 
at  the  Ford  factory,  working  himself  up  from 
messenger  boy  at  SI 8  a  week  to  a  purchasing 
clerk  station  at  $250  a  month.  He  can  still  tell 
you  about  the  lovely  glass-enclosed  office 
which  Edsel  Ford  occupied  and  the  great  oak 
room  on  the  second  floor  where  Henry  sat.  He 
loved  his  job;  it  meant  money  and  respecta- 
bility and  "nice  things"  for  his  mother. 

But  here  Fate  intervened  to  sock  him  on  the 
jaw  again — the  Joe  Pinter  who,  he  thought, 
was  at  last  actually  getting  a  foothold  in  the 
country  where  he  had  started  so  poorly.  The 
Ford  place  cut  down,  and  a  ruling  went  out 
that  two  members  of  one  family  could  not 
hold  jobs.  Joe,  of  course,  gave  up  his  job  in 
favor  of  his  father.  "I  was  making  more 
money,  but  my  father  loved  his  job.  He  had 
had  it  so  many  years." 

Then  Joe  tried  to  learn  a  trade  as  a  painter, 
and  all  he  did  was  lug  heavy  ladders  around  for 
an  ignorant  boss.  He  made  little  money,  but 
what  he  could,  he  invested  in  his  clothes,  "to 
look  nice."  Sometimes  he  had  to  hock  these 
clothes,  and  once,  when  he  was  selling  hand- 
painted  photographs,  of  all  things,  he  went 
without  an  overcoat  and  food  for  three  days 

"You  know,"  he  said  to  me,  "those  scenes  in 
movies  where  you  see  a  hungry  guy  standing 
outside  a  bakery  shop  and  looking  longingly  at 
the  bread  and  pies  within?  You  think  that's 
all  baloney?  I  tell  you  differently  I  know  the 
feeling  in  the  pit  of  the  stomach,  and  I  know  a 
shop  in  Toledo  where  I  stood  one  Winter  after- 
noon, almost  starved.  Finally,  I  went  in,  and  a 
nice  benevolent  woman  behind  the  counter 
gave  me  some  rolls  and  coffee  after  I  had  cried 
out  my  tale.  That  was  the  longest  stretch  I've 
gone  without  food,  but  I  was  hungry  often." 

A  JOB  as  prop  man  with  the  Rex  Mind 
'  Reading  Act  launched  him  in  the  show 
business.  Of  course,  he  had  always  loved 
shows.  x\s  a  kid,  when  he  carried  his  lunch  to 
school,  he  used  to  amuse  the  other  lunch-box 
kids  during  the  noon  hour  by  reciting,  first, 
"Cohen  on  the  Telephone"  and  then  "The 
Sign  of  the  Rose,"  first  getting  the  kids  laugh- 
ing at  Cohen  and  then  pulling  the  tears  with 
"Sign  of  the  Rose."  "I  would  really  give  it  my 
all,"  he  told  me.  "I'd  get  awfully  dramatic 
and  cry." 

On  amateur  nights,  he  told  jokes  that  seldom 
won  the  prize  because  he  wasn't  a  cute,  hand- 
some kid. 

Recently,  he  saw  this  same  old,  heart-break- 
ing experience  of  his  youth  on  a  Joe  Penner 
amateur  night.  A  cute  little  tad  who  wasn't 
funny  for  sour  beans  was  applauded  by  the 
audience  the  most  and  won  the  prize.  After- 
ward, Joe  went  and  found  the  boy  who  didn't 
win  and  slipped  him  a  bill.  "You  were  good, 
son,"  he  said.  "You  should  have  won.  I've 
been  in  your  shoes  many  times." 

The  evolution  of  Joe  from  a  prop  man  into  a 
low  comic  eventually  occurred,  and  Joe  was 
happy.  Soon  he  had  courage  enough  to  answer 
an  ad  in  Billboard  which  announced  Desmond's 


New  York  Roof  Garden  Review  wanted  a 
comedian.  When  the  answer  was  favorable, 
Joe  hocked  his  clothes  and  violin  for  a  ticket  to 
New  York,  and  when  he  got  there,  the  manager 
didn't  want  to  hire  him  because  he  had  no 
costumes.  "So  help  me,"  said  Joe,  "I've  come 
all  the  way  from  Michigan  for  this  job,  and  I'll 
be  just  as  funny  without  costumes,  I  promise 
you." 

Well,  they  gave  him  a  tryout.  They  traveled 
all  day  Sunday,  and  on  Monday  night  Joe  went 
on,  sick  to  his  stomach  with  lack  of  food,  and 
knees  shaking  for  fear  he  wouldn't  make  good. 
To  add  to  his  troubles,  he  found  himself,  a 
comic,  following  that  teary  D.  W.  Griffith 
movie,  "Hearts  of  the  World,"  on  the  bill.  It 
was  a  tough  spot  for  any  comic  and  particularly 
a  hungry,  nervous  one.  But  Joe  made  them 
laugh.  When  he  came  back,  the  manager 
slapped  him  on  the  back  and  said:  "You  were 
great."  Joe's  knees  gave  way,  and  he  sat  down 
suddenly.  "If  you  think  I'm  all  right,  could  I 
please  have  a  dollar  in  advance  to  get  some 
food?" 

TROM  Desmond's  New  York  Roof  Garden 
'  Review  (I  love  the  sound  of  that  name),  Joe 
went  in  other  shows.  He  was  the  fall  comedian, 
the  guy  that  took  the  big  tumbles,  and  other 
comics  took  a  malevolent  pleasure  in  kicking 
this  sensitive,  self-conscious  kid  all  around  the 
place.  They  tore  off  his  clothes,  they  bounced 
him  on  his  face,  and  all  for  laughs.  But  Joe 
stood  up  under  the  beating.  Although  he  made 
no  friends  and  stayed  by  himself,  he  kept  re- 
assuring himself  that  some  day  he  would  know 
nice  people  and  get  nice  clothes.  He  lived  up  to 
every  nickel  he  made. 

They  made  so  much  fun  of  Joe  Penner  during 
those  low  comic  days  that  to  this  day  he  can't 
kid  with  anybody.  He  can  take  it  but  he 
thinks  kidding,  unless  you  have  an  awfully 
tough  skin,  is  a  cruel  form  of  humor.  In  his 
youth  it  was  simply  a  way  of  being  made  fun  of. 

There  was  one  individual  he  knew  loved  him 
and  still  thought  he  was  aces.  That  was  his 
mother.  And  his  first  visit  home  to  her  after  he 
was  "in  the  money"  was  really  something.  He 
decked  himself  up  in  sartorial  splendor  with 
spats,  cane,  derby  and  tucked  a  $50  bill  in  his 
vest  pocket.  Getting  off  the  train  in  Detroit, 
he  hailed  a  taxi  (he  had  never  ridden  in  one  be- 
fore!) and  rolled  up  to  his  mother's  door  in 
style. 

"I  told  the  driver  to  toot  the  horn  because  I 
wanted  Ma  to  see  me  arrive,"  he  said.  "He 
tooted  and  tooted,  but  nothing  happened.  So 
finally,  I  jumped  out,  ran  up,  and  punched  the 
door  bell  and  then  went  back  into  the  taxi.  I 
wanted  her  to  know  I  was  really  successful 
when  I  could  ride  a  cab.  Well,  there  was  a  big 
meeting.  I'm  crying,  and  she's  crying,  and 
she's  saying,  'Oh,  my  boy,'  and  I'm  saying, 
"Oh,  my  mother,'  and  we're  in  each  other's 
arms,  and  the  top  to  it  all  is  that,  just  before  I 
get  out  this  $50  bill  for  her,  she  runs  in  the  back 
room  and  comes  out  with  $50  to  give  me,  which 
she'd  saved  out  of  the  two  and  one  buck  bills 
I've  sent  her!" 

I'll  skip  the  details  of  Joe's  rise  to  fame. 
Suffice  to  say,  he  went  on  being  a  good  comic, 
getting  better  and  better  jobs,  was  in  several 
Broadway  shows,  and  finally  found  himself 
with  a  radio  contract.  Then  he  really  became 
famous,  and  Hollywood  beckoned. 


PHOTOPLAY  MAGAZINE  FOR  NOVEMBER,   1935 


119 


Addresses  of  the  Stars 


HOLLYWOOD,  CALIF. 


CULVER  CITY,  CALIF. 


Paramount 


Benny  Baker 
George  Barbier 
Wendy  Barrie 
Mary  Boland 
Grace  Bradley 
Carl  Brisson 
Kathleen  Burke 
Burns  and  Allen 
Kitty  Carlisle 
Dolores  Casey 
Claudette  Colbert 
Gary  Cooper 
Jack  Cox 
BinR  Crosby 
Katherine  DeMille 
Marlene  Dietrich 
Frances  Drake 
Mary  Ellis 
Glenn  Erikson 
W.  C.  Fields 
William  Frawley 
Trixie  Friganza 
Cary  Grant 
Julie  Haydon 
Samuel  Hinds 
David  Holt 
John  Howard 
Marsha  Hunt 
Dean  Jagger 
Helen  Jepson 
Roscoe  Karns 
Rosalind  Keith 
Walter  C.  Kelly 
Jan  Kiepura 
Billy  Lee 


Studios 
Baby  LeRoy 
Carole  Lombard 
Ida  Lupino 
Fred  MacMurray 
Marian  Mansfield 
Herbert  Marshall 
Gertrude  Michael 
Raymond  Milland 
Joe  Morrison 
Grete  Natzler 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Elizabeth  Patterson 
Joe  Penner 
George  Raft 
Jane  Rhodes 
Lyda  Roberti 
Charlie  Ruggles 
Marina  Schubert 
Randolph  Scott 
Sylvia  Sidney 
Alison  Skipworth 
Sir  Guy  Standing 
Fred  Stone 
Gladys  Swarthout 
Akim  Tamiroff 
Colin  Tapley 
Kent  Taylor 
Lee  Tracy 
Virginia  Weidler 
Mae  West 
Henry  Wilcoxon 
Toby  Wing 


20th  Century-Fox  Studios, 
Ave. 


1401    N.  Western 


Astrid  Allwyn 
George  Arliss 
Mona  Barrie 
Warner  Baxter 
Thomas  Beck 
William  Benedict 
Barbara  Blane 
John  Boles 
Rita  Cansino 
Ronald  Colman 
Jane  Darwell 
Alan  Dinehart 
James  Dunn 
jack  Durant 
Alice  Faye 
Stepin  Fetchit 
Ketti  Gallian 
Janet  Gaynor 
Pietro  Gentili 
Frances  Grant 
Harry  Green 
Jack  Haley 

Edward  Everett  Horton 
Rochelle  Hudson 
Arline  Judge 


Paul  Kelly 
Rosina  Lawrence 
Edmund  Lowe 
Fredric  March 
Nino  Martini 
John  J.  McGuire 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Warner  Oland 
Pat  Paterson 
Regina  Rambeau 
Bill  Robinson 
Will  Rogers 
Gilbert  Roland 
Tutta  Rolf 
Simone 

Slim  Summerville 
Shirley  Temple 
Andrew  Tombes 
Claire  Trevor 
Edward  Trevor 
Henry  B.  Walthall 
Jane  Withers 
Loretta  Young 


RKO-Radio   Pictures,   780  Gower  St. 


Walter  Abel 
Fred  Astaire 
Lucille  Ball 
James  Barton 
John  Beal 
Willie  Best 
Eric  Blore 
Helen  Broderick 
Margaret  Callahan 
Dave  Chasen 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Preston  Foster 
Helen  Gahagan 
Wynne  Gibson 
James  Gleason 
Betty  Grable 
Margot  Grahame 
Alan  Hale 
Jane  Hamilton 
Margaret  Hamilton 
Ann  Harding 

United  Artists  Studios, 
Eddie  Cantor 
Charles  Chaplin 
Douglas  Fairbanks 


Katharine  Hepburn 
Maxine  Jennings 
Molly  Lamont 
Helen  Mack 
Ray  Mayer 
Raymond  Middleton 
Helen  Parrish 
Evelyn  Poe 
Lily  Pons 
Gene  Raymond 
Virginia  Reid 
Erik  Rhodes 
Buddy  Rogers 
Ginger  Rogers 
Anne  Shirley 
Lionel  Stander 
Barbara  Stanwyck 
Kay  Sutton 
Frank  Thomas,  Jr. 
Helen  Westley 
Bert  Wheeler 
John  Wood 
Robert  Woolsey 


1041    N.  Formosa  Ave. 

Miriam  Hopkins 
Joel  McCrea 
Mary  Pickford 


Columbia  Studios,    1438  Gower  St. 


Robert  Allen 
Jean  Arthur 
Michael  Bartlett 
Wyrley  Birch 
Tala  Birell 
Nana  Bryant 
Leo  Carrillo 
Nancy  Carroll 
Andy  Clyde 
Walter  Connolly 
Douglas  Dumbrille 
Leon  Errol 
fl'hurston  Hall 
Arthur  Hohl 
Victor  Jory 


Fred  Keating 
Arthur  Killian 
Peter  Lorre 
Marian  Marsh 
Ken  Maynard 
George  McKay 
Robert  Middlemass 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Lloyd  Nolan 
Arthur  Rankin 
Florence  Rice 
Ann  Sothern 
Raymond  Walburn 


Hal   Roa 

Don  Barclay 
Billy  Bletcher 
Charley  Chase 
Billy  Gilbert 
Oliver  Hardy 

Metro-Goldwy 
Brian  Aherne 
Elizabeth  Allan 
Lionel  Barrymore 
Granville  Bates 
Wallace  Beery 
Robert  Benchley 
Constance  Bennett 
Virginia  Bruce 
John  Buckler 
Ralph  Bushman 
Charles  Butterworth 
Bruce  Cabot 
Mary  Carlisle 
Constance  Collier 
Cicely  Courtneidge 
Joan  Crawford 
Live  de  Maigret 
Dudley  Digges 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Louise  Fazenda 
Betty  Furness 
Clark  Gable 
Greta  Garbo 
Gladys  George 
Igor  Gorin 
Jean  Harlow 
Frank  Hayes 
Helen  Hayes 
Louis  Hayward 
Ted  Healy 
Louise  Henry 
William  Henry 
Jean  Hersholt 
Irene  Hervey 
Gyles  Isham 
Allan  Jones 
June  Knight 
Otto  Kruger 
Frances  Langford 


ch   Studios 
Patsy  Kelly 
Stan  Laurel 
Billy  Nelson 
Our  Gang 
Douglas  Wakefield 

n-Mayer  Studios 

Myrna  Loy 
Paul  Lukas 
Jeanette  MacDonald 
Mala 

Marx  Brothers 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Chester  Morris 
Edna  May  Oliver 
Maureen  O'Sullivan 
Reginald  Owens 
Cecilia  Parker 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
Eleanor  Powell 
William  Powell 
Luise  Rainer 
May  Robson 
Mickey  Rooney 
Shirley  Ross 
Rosalind  Russell 
Norma  Shearer 
Frank  Shields 
Harvey  Stephen 
Henry  Stephenson 
Harry  Stockwell 
Lewis  Stone 
Gloria  Swanson 
William  Tannen 
Robert  Taylor 
Franchot  Tone 
Spencer  Tracy 
Charles  Trowbridge 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


UNIVERSAL  CITY,  CALIF. 


Universal 


Baby  Jane 
Binnie  Barnes 
Willy  Castello 
June  Clayworth 
Andy  Devine 
Jean  Dixon 
Irene  Dunne 
Marta  Eggerth 
Sally  Eilers 
Valerie  Hobson 
Jack  Holt 
Buck  Jones 
Boris  KarlofT 
John  King 


Studios 

Frank  Lawton 
Edmund  Lowe 
Bela  Lugosi 
Henry  Mollinson 
Hugh  OConnell 
Dorothy  Page 
Marina  Passerowa 
ZaSu  Pitts 
Jean  Rogers 
Cesar  Romero 
Gloria  Stuart 
Margaret  Sullavan 
Clark  Williams 
Jane  Wyatt 


BURBANK,  CALIF. 


Warners-First 
Eddie  Acuff 
Ross  Alexander 
John  Arledge 
Mary  Astor 
Robert  Barrat 
Joan  Blondell 
George  Brent 
Joe  E.  Brown 
James  Cagney 
Hpbart  Cavanaugh 
Colin  Clive 
Ricardo  Cortez 
Joseph  Crehan 
Marion  Davies 
Bette  Davis 
Olivia  de  Haviland 
Paul  de  Ricou 
Dolores  Del  Rio 
Claire  Dodd 
Robert  Donat 
Maxine  Doyle 
Ann  Dvorak 
John  Eldredge 
Gordon  Elliott 
Patricia  Ellis 
Helen  Ericson 
Florence  Fair 
Glenda  Farrell 
Errol  Flynn 
Kay  Francis 
William  Gargan 
Virginia  Grey 
Hugh  Herbert 
Leslie  Howard 
Warren  Hull 
Ian  Hunter 
Josephine  Hutchinson 


National  Studios 
Sybil  Jason 
Allen  Jenkins 
Al  Jolson 
Ruby  Keeler 
Anita  Kerry 
Guy  Kibbee 
Joseph  King 
Margaret  Lindsay 
Anita  Louise 
Helen  Lowell 
Barton  MacLane 
Everett  Marshall 
Frank  McHugh 
James  Melton 
Martha  Merrill 
Jean  Muir 
Paul  Muni 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed 
Philip  Regan 
Edward  G.  Robinson 
Mary  Russell 
Joseph  Sauers 
Louise  Seidel 
Winifred  Shaw 
Eddie  Shubert 
Lyle  Talbot 
Verree  Teasdale 
Martha  Tibbetts 
Genevieve  Tobin 
June  Travis 
Mary  Treen 
Rudy  Vallee 
Warren  William 
Donald  Woods 


Lloyd  Hughes,  616  Taft  Bldg.,  Hollywood,  Calif. 

Harold  Lloyd,  6640  Santa  Monica  Blvd.,  Hollywood, 

Calif. 

Neil  Hamilton,  351  N.  Crescent  Dr.,  Beverly  Hills, 

Calif. 

Ned  Sparks,  1765  No.  Sycamore  Ave.,  Hollywood. 


BURNING 
AND  TIRED? 


Dust  —  wind  —  sun  glare  —  reading  — 
tire  your  eyes.  For  relief,  cleanse  them 
daily  with  Murine.  Soothing.  Refresh- 
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REMEDY  IS  MADE  AT  HOME 

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little  cost.  Apply  to  the  hair  twice 
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A-B-C  Shorthand 

IN  TWELVE  easy  LESSONS 

High  school,  college  or  technical  stu- 
dents who  have  at  their  command  a  prac- 
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down  lecture  notes  have  a  marked  advan- 
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notes  in  longhand.  Not  only  do  you  get 
far  more  from  the  lecture  when  it  is  de- 
livered but  when  examination  time  comes 
a  review  of  a  word  for.  word  transcript  of 
each  lecture  is  the  finest  kind  of  prepara- 
tion for  successful  passing. 

Whereas  it  takes  about  two  years  to 
learn  conventional  shorthand  methods, 
A.  B.  C.  Shorthand  can  be  mastered  in 
from  twelve  to  fifteen  hours'  study.  Con- 
vince yourself  of  this  fact  by  examining  a 
copy  of  A.  B.  C.  Shorthand  now  selling 
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Send  your  order  today  with  $1.00 
Money  back  if  not  satisfactory 

ECONOMY  EDUCATIONAL  LEAGUE 

Dept.  P-11 
1925  Broadway,  New  York,  N.  Y. 


Cal  York's  Gossip  of  Hollywood 


CONTINUED  FROM   PAGE  43 


(^JEORGE  S.  KAUFMAN  wrote  the  insani- 
^— Hies  for  the  Marx  Brothers'  latest  opus,  "A 
Night  at  the  Opera." 

Reading  Mr.  Kaufman's  script  is  an  unusual 
experience. 

For  instance,  we  ran  across  this  bit  of  in- 
struction: 

"Chico  plays  'Pagliacci'  with  his  right  hand 
and  '  Stars  and  Stripes  Forever'  with  his  left" — 
and  then  in  brackets — ("let  the  so-and-so  try 
litis  one!"). 


P)OWNRIGHT  genius,  that's  what  it  was 
^Richard  Boleslawski,  20th  Century-Fox 
director,  exhibited  when  dealing  with  one  dress 
problem. 

Gowns  were  ordered  for  Alice  Brady.  They 
were  too  small  at  the  first  fitting,  and  were 
ordered  altered.  Came  the  second  fitting  and 
they  were  too  big.  Miss  Brady,  in  the  few 
days,  had  shrunk  considerable  pounds. 

So  Boleslawski  ordered  Alice  to  eat  until  she 
did  fit  them. 


Bobby  Breen,  eight-year-old  lyric  tenor,  no  less,  is  the  latest  child 
discovery  of  Sol  Lesser,  pioneer  independent  producer  who  has  been 
identified  with  the  success  of  Jackie  Coogan,  Baby  Peggy,  and  other 
juvenile   stars.      Bobby's   voice   has  had   high   praise  from  top   singers 


EVERY  bit  as  exciting  as  one  of  those  mad 
'—movie  chases  was  Mary  Boland's  recent  exit 
from  Hollywood. 

Faced  with  a  $150,000  suit,  Mary,  dodging 
process  servers,  hid  out  at  the  William  Gargans 
the  eve  before  she  was  supposed  to  take  the 
train  for  New  York  and  a  part  in  "Jubilee." 
The  process  servers  immediately  besieged  the 
Gargan  castle,  stayed  there  all  night  until,  in 
the  wee  small  hours,  Bil-1  and  his  wife  and  Mary 
mustered  all  the  cars  available  and  roared  out 
of  the  drive  in  different  directions. 

They  met  at  the  airport,  where  Paul  Mantz, 
the  "Honeymoon  Pilot,"  hustled  Mary  Boland 
and  Mary  Gargan  aboard  his  ship  and  hopped 
off.  Bill  stayed  behind  to  punch  the  time  clock 
on  "The  Milky  Way." 


THE  most  disillusioned  girl  in  Hollywood  at 
'  the  moment  is  Kitty  Carlisle. 

Kitty  expected  mayhem  at  least  when  she 
was  assigned  to  do  "A  Night  at  the  Opera" 
with  the  mad  Marx  Brothers.  She  was  sure 
they'd  boot  her  about  like  a  football. 

But  imagine  her  surprise  and  disappointment 
to  find  that  the  fun-loving  Marxes  had  re-, 
formed  or  something.  Groucho,  instead  of 
pouring  catsup  down  her  neck,  sat  and  dis- 
cussed the  more  serious  side  of  literature  with 
her;  Harpo,  instead  of  hanging  his  thigh  on  her 
elbow,  analyzed  economic  Russia  and  Chico 
played  the  piano  soulfully  in  between  scenes. 

She  finds  herself  now  through  with  the  pic- 
ture and  not  a  scratch  or  a  black  and  blue  mark 
to  show  for  it! 


K  I  EVER  in  the  history  of  Hollywood  have 
'  uhe  armies  of  autograph  hunters  been  more 
swollen,  persistent  and  downright  ghastly  as 
they've  been  this  past  Summer. 

Every  opening,  major  or  minor,  has  been  en- 
gulfed by  swarms  of  pencil  wavers.  Not  long 
ago  Joan  Crawford  found  a  human  skull 
popped  in  front  of  her  to  sign.  She  had  to 
shudder  and  decline  the  honor.  The  other  day 
a  touring  car  ran  over  one  of  Kay  Johnson's 
turkeys  out  in  Hidden  Valley.  Immediately 
the  driver  popped  out  and  asked  for  the  de- 
ceased fowl  as  a  souvenir! 

The  whole  thing  seems  to  have  become  a 
morbid  national  sport.  You  can't  blame  the 
stars  if  they  take  to  head  shaking  when  at- 
tacked by  the  ruthless,  bad-mannered  hordes 
of  curiosity  seekers. 

l/'ERILY,  out  of  the  mouths  of 

*    babes. 

Sonny,  an  11-year-old  beau  of 
Wendy  Barrie,  doing  nicely  in  "A 
Feather  in  Her  Hat"  for  Colum- 
bia, was  watching  Wendy  in  a 
fast  game  at  the  Bath  and  Tennis 
Club.  It  was  a  hot  afternoon 
and  Wendy  was  a  bit  the  worse 
for  wear.  Nonetheless,  Sonny 
gallantly  continued  his  expound- 
ing and  extolling  of  her  charms 
and  virtues. 

"Of  course,"  he  added  hon- 
estly, "she  screens  much  better 
than  she  looks." 

TEN  years  ago  last  August  Garbo  came  to 
'  Hollywood.  On  her  anniversary  she  was 
away  again — back  home  in  Sweden.  But  how 
different  after  those  ten  years! 

Then  she  cashed  a  weekly  paycheck  of  $300. 
Today,  every  time  she  makes  a  picture,  she 
multiplies  that  $300  by  $1000.  Any  one  of  a 
dozen  sponsors  would  fight  to  pay  her  up  to 
$50,000  for  a  few  minutes  on  the  air  any  given 
night.  If  she  chose  to  endorse  anything,  she 
could  name  her  own  terms. 

Her  pictures  are  not  great  hits.  She  is  the 
object  of  constant  criticism— but  she's  the 
greatest  living  legend.  She's  more  than  an 
actress,  more  than  a  personality,  more  than  a 
star. 

She's  Garbo — she's  magic! 

Can  you  explain  it? 

DOTUND  and  genial  Walter  Connolly  spent 
^a  recent  Sunday  showing  some  out-of-town 
friends  the  "sights"  of  Hollywood.  The  party 
ended  up  at  the  polo  matches. 

"What  was  the  score?"  Mrs.  Connolly  asked. 

"Fourteen  screen  stars,  six  directors  and 
Peter  the  Hermit,"  Connolly  counted. 

IT'S  a  funny  thing  about  humor.  You  never 
can  tell. 

For  instance,  popping  in  on  Harold  Lloyd's 
picture,  "The  Milky  Way,"  Cal  was  informed 
about  the  care  with  which  Harold  Lloyd  is 
shooting.  One  scene  a  day  or  thereabouts. 
Gags  and  laugh  formulas  filmed  to  perfection. 

"So  that  at  the  end  of  the  day,"  confided 
Bill  Gargan,  "we've  been  doing  the  same  thing 
all  day  long  and  it  isn't  by  any  chance  funny  to 
any  of  us.  Yet  the  last  take  is  the  one  they'll 
print — and  when  we  see  it  the  next  morning  in 
the  rushes  we  all  laugh  our  heads  off!" 

Maybe  a  good  night's  rest  does  it. 


120 


PHOfliORLAY 


DECEMBER 
25    CENTS 


- 

m/A 


LORETTA 
YOUNG 


THE 

PRIVATE 

LIFE    OF 

FRED 


THAT  GUIDES  HOLLYWOOE 


RICHARD   HUDNUT 
PRESENTS    TO  AMERICA 


caAatAea 


emey 


Paris  adores  it.  "Ravissant,  le  parfum  Gemey!''  exclaims  the  smart  Pari- 
sienne.  London  loves  it . . .  the  gay  young  fragrance  of  Gemey  perfume  is 
"quite  the  top!"  And  in  Barcelona,  Buenos  Aires ...  in  75  nations  the  world 
around . .  .where  women  are  glamorous, where  men  are  gallant,  there,  too,  is 
the  fragrance  Gemey.  Young,  fresh,  joyous,  Gemey  has  captured  the 
feminine  hearts  of  five  continents.  And  now  in  America,  Richard  Hudnut, 
parfumeur  international,  presents  this  secret  of  continental  charm.  Wear 
it . . .  feel  your  spirits  soar.  Wear  it ...  expect  magic  moments.  Wear 
it... for  the  man  you  like  hest...the  world-preferred  fragrance  Gemey! 


V^t  5  Jr '  jY  PHOTOPLAY  MAGAZINE  FOR  DECEMBER.   1935  I 

(Strike  that  GOLD  at  the  source 

before  it  gets  serious! 

\jargle  Listerine 

to  attack  cold  germs  in 
mouth  and  throat 

AFTER  any  long  exposure  to  cold  or 
■*■  *-  wet  weather,  gargle  Listerine  when 
you  get  home.  Medical  records  show 
that  late-season  football  games,  particu- 
larly, take  their  toll  in  health.  Heavy 
chest  colds  often  follow  a  day  in  the 
open.  The  prompt  use  of  Listerine  as  a 
gargle  when  you  reach  home  is  a  pre- 
cautionary measure  which  may  spare  you 
such  a  serious  complication. 

Listerine,  by  killing  millions  of  dis- 
ease germs  in  the  mouth  and  throat, 
keeps  them  under  control  at  a  time  when 
they  should  be  controlled — when  resist- 
ance is  low. 

Careful  tests  made  in  1931,  '32  and  '34 
have  shown  Listerine's  amazing  power 
against  the  common  cold  and  sore  throat. 

Year  in,  year  out,  those  who  used 
Listerine  twice  a  day  or  oftener,  caught 
about  half  as  many  colds  and  sore  throats 
as  non-users.  Moreover,  when  Listerine 
users  did  contract  colds,  they  were  ex- 
tremely mild,  while  non-users  reported 
more  severe  developments. 

At  the  first  symptom  of  a  cold  or  sore 
throat,  gargle  full  strength  Listerine.  If 
no  improvement  is  shown,  repeat  the 
gargle  in  two  hours.  While  an  ordinary 
sore  throat  may  yield  quickly,  a  cold 
calls  for  more  frequent  gargling. 

Keep  a  bottle  of  Listerine  handy  at 
home  and  in  the  office  and  use  it  system- 
atically. Lambert  Pharmacal  Company, 
St.  Louis,  Mo. 

LISTERINE 

for  Colds  and  Sore  Throat 


LISTERINE  COUGH   DROPS 

A  new,  finer  cough  drop,  medicated 
for  quick  relief  of  throat  tickle, 
coughs,  irritations. 


io 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


SIXTEEN  MEN. 

From  the  blood-drenched  decks  of  a  man  o*  war 
to  the  ecstasy  of  a  sun-baked  paradise  isle . . .  from 
the  tyrannical  grasp  of  a  brutal  captain  to  the 
arms  of  native  beauties  who  brought  them  love 
and  forgetfulness  .  .  .  came  sixteen  men  from  the 
"Bounty".  Now  their  romantic  story  lives  on  the 
screens  of  the  world  ...  in  one  of  the  greatest 
entertainments  since  the  birth  of  motion  pictures! . 


-^»— "rtwe*?*?.*?*^' 


* 


•  pt°   1&ayet»ta^f  dollars. 
Xdm^tV-  pictur- 


CHARLES        CLARK 

LAUGHTON  GABLE 

In    Metro  -  Goldwyn  -  Mayer's    greatest   production 

MUTINYonthe  BOUNTY 


On    C^°f\*T^ 
ir>8    >n    l 


,    25  ooo.ooo  h^^by 

^e     TNordhoff  »«£0^  you 


with 


FRANCHOT   TONE 

Herbert  Mundin    .     Eddie  Quillan    •    Dudley  Digges    .    Donald  Crisp 


A  FRANK  LLOYD  Production 


Albert  Lewin,  Associate  Producer 


VOL.  XL VIII.     No.  7 


DECEMBER,  1935 


THE    ARISTOCRAT    OF     MOTION     PICTURE     MAGAZINES 

RUTH    WATERBURY,    EDITOR 

ERNEST    V.     HEYN,     EASTERN    EDITOR 
WALLACE    HAMILTON    CAMPBELL,    ART    EDITOR 


HIGH-LIGHTS       OF       THIS       ISSUE 

The  Voice  from  the  Grave  That  Guides  Hollywood 
Shirley  Wants  the  Quintuplets  for  Christmas 
The  Private  Life  of  Fred  Astaire  (Opening  Installment) 
We  Cover  the  Studios     ... 


.    Frederick  L.  Collins  14 

Adela  Rogers  St.  Johns  22 

Frederick  Lewis  26 

Michael  Jackson  30 

Face  Down  (Hollywood  Murder  Mystery — Third  Installment)     Charles  J.  Kenny  34 

A  New  Career  at  62 Kirtley  Baskette  37 

For  the  First  and  Last  Time  Dietrich  Talks Chet  Green  42 

Jean  Arthur  Charms  Men                                        Don  Ryan  44 

Photoplay's  Memory  Album                  .        .        .         Edited  by  Frederick  L.  Collins  45 

Divorce  Taught  Them  How  Truly  They  Were  Married                     George  Stevens  50 

Photoplay's  Gold  Medal  Award  for  1934   .        .  65 

The  Glorifying  of  Eleanor  Powell Mary  Watkins  Reeves  70 

The  Chester  Morris  Plan Anthony  McAllister  74 

NEWS,       VIEWS       AND       REVIEWS 

Brief  Reviews  of  Current  Pictures 6 

Boos  and  Bouquets 8 

Close  Ups  and  Long  Shots Ruth  Waterbury  11 

On  the  Spot  News            21 

Photoplay's  Cartoon  of  the  Month 29 

On  the  Set —  Crime  and  Punishment" 32 

Cal  York's  Gossip  of  Hollywood 38 

Confidentially  Yours, Mitzi  49 

Photoplay's  Own  Fashions 53 

The  Shadow  Stage                    66 

Jean  Harlow's  Christmas  Dinner  Table 72 

Photoplay's  Hollywood  Beauty  Shop Carolyn  Van  Wyck  76 

Ask  the  Answer  Man  .80 

The  Facts  of  Hollywood  Life. 107 

Addresses  of  the  Stars              .  ' 116 

All  Hollywood's  Playing  This  Game 120 

On  the  Cover — Loretla  Young 

IVAN  ST.  JOHNS,  WESTERN  REPRESENTATIVE 

Published  Monthly  by  Macfadden  Publications,  Inc.     •     Bernarr  Macfadden,  President     •      Irene  T.  Kennedy,  Treasurer    •     Wesley  F.  Pape,  Secretary 

Publishing   Office,  333  N.    Michigan    Ave.,  Chicago,  111.   •    Editorial   and    Advertising   Offices,  Chanin   Building,  122   East   42nd  St.,    New   York,  N.    Y. 

•  General  Business  Offices,  1926  Broadway,  New  York,  N.  Y.  •  London  Agents,  Macfadden  Magazines,  Ltd.,  30  Bouverie  St.,  London,  E  C.  4  •  Trade 
Distributors,  Atlas  Publishing  Company,  18,  Bride  Lane,  London,  E.  C.  4  •  Curtis  Harrison,  Advertising  Manager,  Graybar  Bldg  ,  420  Lexington  Ave., 
New  York,  N.  Y.  •  Charles  H.  Shattuck,  Manager,  Chicago  Office  •  Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico,  Cuba 
and  Pan-American  Countries,  $3.00  in  Canada,   $3.50  for  Foreign  Countries.      Remittances  should  be  made  by  check,  or  postal  or  exoress  money  order 

r  Caution — Do  not  subscribe  through  persons  unknown  to  you  •  Entered  as  second-class  matter  April  24,  1912,  at  the  postoffice  at  Chicago,  111.,  under 
the  act  of  March  3,  1879  •    Copyright,  1935,  by  Macfadden  Publications,  Inc.,  New  York,  N.  Y. 

3 


Bill  Henry  and  Cecelia 
Parker  are  the  big  ro- 
mance of  the  month  in 
Hollywood.  And  where's 
poor     Eric     Linden? 


The  bride  and  groom  of  the  month,  above, 
Sylvia  Sidney  and  husband  Bennett  Cerf. 
publisher,  veddy  happy.     At  the  Vendome 


Joan    Blondell    and    George    Barnes 
separated,  Joan  and  Dick  Powell  'are  one 
most-frequently-together     couples 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


S| 


/our  Dreams  Of  Romance 
Set  To  Music! 

Dreams  of  say,  mad,  exciting  love!  Dreams 
of  glamorous  beauty  . .  brought  to  life  by 
the  charm  of  the  screen's  loveliest  sing= 
ing  star. . .  and  poured  forth  in  an  inspir= 
tng  rhapsody  of  Jerome  Kern's  music  by 
the  glorious  voice  that  thrilled  the  world ! 

LILY  PONS 

in 

I  DREAM  TOO  MUCH " 

an    Kr\0  =  I\aaio    I  icture  with 

HENRY  FONDA 

OsSood  PERKINS  •  Eric  BLORE 

Directed  by  John  Cromwell 
A  Pandro  S  Berman  Production 


Music  by  JEROME  KERN 

composer     of     "ROBERTA' 


Fourteen  reasons  why  "Broadway  Melody  of  1936"  is  the   hit  it  is:  June  Knight.  Robert  Taylor  and  "Melody  Maidens" 


ALIBI  IKE — Warners. — Ring  Lardner  s  famous 
baseball  story  is  brought  to  the  screen  by  Joe  E. 
Brown  in  a  film  full  of  fun  and  good  humor.  Olivia 
de  Havilland,  Roscoe  Karns.     (Oct.) 

•  ACCENT  ON  YOUTH— Paramount.— A  most 
delightful  comedy-romance,  with  Herbert  Mar- 
shall the  playwright  in  his  forties  devotedly  but  un- 
knowingly loved  by  his  young  secretary,  Sylvia 
Sidney.  Phillip  Reed  is  the  other  man.  Excellently 
acted.      (.Sept.) 

AGE    OF    INDISCRETION— M-G-M.— The    old 

divorce  question  all  over  again,  with  David  Jack  Holt 
stealing  the  picture  as  the  child  victim.  Paul  Lukas, 
Madge  Evans.  Helen  Vinson,  May  Robson.     (Aug.) 

ALIAS  MARY  DOW— Universal.— A  clean  and 
amusing  little  picture  with  Sally  Eilersat  her  best  as  a 
tough  babe  suddenly  dropped  into  the  midst  of  riches 
when  she  impersonates  a  kidnapped  daughter.  Ray 
Milland      (.Aug.) 

•  ALICE  ADAMS— RKO- Radio.— A  perfect 
screen  version  of  Booth  Tarkington's  story  of 
the  small  town  girl  who  lacks  money,  background  and 
sex  appeal,  with  Katherine  Hepburn  giving  the  finest 
performance  of  her  career.  Fred  MacMurray,  Fred 
Stone,  Anne  Shoemaker.     (A'on.) 

ANNA  KARENINA— M-G-M.— The  persuasive 
genius  of  Greta  Garbo  raises  this  rather  weak  picture 
into  the  class  of  art.  Fredric  March  is  unconvincing 
as  the  lover  for  whom  Greta  sacrifices  everything. 
Freddie  Bartholomew  delightful  as  her  young  son. 
is,  pi.) 

ANNAPOLIS  FAREWELL  —  Paramount.  —  A 
tearful,  sentimental  record  of  the  time-honored  tradi- 
tions of  Annapolis  and  the  rigid  discipline  of  its  mid- 
shipmen. Sir  Guy  Standing.  Tom  Brown,  Richard 
Cromwell.      (Nov.) 

ARIZONIAN,    THE— RKO-Radio—  A    perfectly 

swell  Western,  with  all  the  trimmings  and  Richard 
Dix  a  real  villain-scaring  he-man.  Margot  Grahame 
is  lovely  as  the  leading  lady.  Preston  Foster,  Louis 
Calhern.     (Aug.) 


BABY     FACE     HARRINGTON— M-G-M— An 

amusing  enough  little  picture  with  Charles  Butter- 
worth  as  the  timid  soul  mistaken  for  a  big-shot 
gangster.  Una  Merkel,  Nat  Pendleton,  Donald 
Meek.   (June) 

•  BECKY  SHARP— Pioneer-RKO  Release.— In 
this  gorgeous  symphony  of  color  an  excellent 
comedy  drama  has  been  drawn  from  Thackeray's  lead- 
ing character  in  "Vanity  Fair,"  and  Miriam  Hopkins 
gives  a  sparkling  performance  as  the  conniving  flirt. 
Excellent  cast.      (Sept.) 

•  BLACK  FURY— First  National— A  saga  of 
the  coal  mines  presenting  with  intense  realism 
and  power  the  elemental  problems  of  the  miners. 
Paul  Muni  gives  a  memorable  performance,  and 
Karen   Morley   lends  excellent   support.      (June) 

BLACK  ROOM,  THE— Columbia.— Boris  Karloff 
in  a  costume  picture  with  foreign  settings  and  family 
traditions,  portraying  a  dual  role.  Katherine  De 
Mille.      (Oct.) 

BLACK  SHEEP— Fox.— A  cleverly  concocted 
story,  with  Edmund  Lowe  in  top  form  as  a  shipboard 
card-sharp  who  tries  to  save  his  son,  Tom  Brown, 
from  the  foils  of  lady  thief  Adrienne  Ames  and  loses 
his  own*  heart  to  Claire  Trevor.  Nice  direction  by 
Allan  Dwan.     (Aug.) 

BONNIE  SCOTLAND  —  Roach-MGM.  —  Stan 
Laurel  and  Oliver  Hardy  romp  through  their  custom- 
ary antics  and  nonsensical  -lip-iu  k  using  Scotland  as 
their  locale.  Grand  fun  when  the  team  is  in  focus,  but 
otherwise  dull.     (Nov.) 

BORN  FOR  GLORY  —  Gaumont-British.  —  A 
thrilling  naval  picture  that  will  move  you  deeply. 
John  Mills,  assisted  by  Betty  Balfour  and  Barry 
Mackay,  does  a  commendable  piece  of  acting.     (Oct.) 

BREWSTER'S  MILLIONS— United  Artists.— 
Jack  Buchanan  and  Lili  Damita  in  a  fairly  entertain- 
ing musical  comedy  version  of  the  familiar  story  of 
a  young  man  who  must  spend  millions  in  order  to 
inherit  a  still  greater  fortune       (July) 


•  BREAK  OF  HEARTS— RKO-Radio— Per- 
formances of  sterling  merit  by  Katharine  Hep- 
burn and  Charles  Boyer  place  this  on  the  "Don't 
miss  it  "  list  in  spite  of  a  rather  thin  modern-Cinder- 
ella love  story.  Excellent  support  by  John  Beal,  Jean 
Hersholt  and  others.  (  Aug.) 

BRIDE  OF  FRANKENSTEIN,  THE— Universal. 

— Boris  Karloff  rises  from  the  flames  again  to  seek 
a  mate  and  one  is  created  for  him.  Lots  of  chills,  and 
a  new  high  in  fantastic  horror      Good  cast.     (July) 

BRIGHT  LIGHTS  —  First  National.  —  Joe  E. 
Brown,  in  a  lively  drama  of  a  vaudeville  comedian 
who  is  almost  ruined  by  too  much  success,  surpasses 
all  of  his  previous  attempts.  Ann  Dvorak.  Patricia 
Ellis,  William  Gargan.     (Oct.) 

BROADWAY  GONDOLIER  —  Warners.  — 
Laughter  and  sweet  music,  with  Dick  Powell  a  cabbie 
who  gondolas  his  way  to  radio  fame,  and  Joan 
Blondell,  Louise  Fazenda,  Adolphe  Menjou  and 
Grant  Mitchell  to  help  him.      (Sept.) 

•  CALL  OF  THE  WILD  —  20th  Century 
United  Artists. — A  vigorous,  red-blooded  screen 
version  of  Jack  London's  novel  that  you  are  sure  to 
enjoy.  Clark  Gable,  Loretta  Young,  Ja^K  Oakie 
Reginald  Owen,  and  the  great  dog.   Buck.     (July) 

CALM  YOURSELF— M-G-M.— A  good  cast  in  a 
weak  story,  with  Robert  Young  the  enterprising  ad- 
man who  gets  mixed  up  in  a  lot  of  grief,  and  Madge 
Evans,  Betty  Furness,  Nat  Pendleton  and  Others 
struggling  through  the  melodramatic  situations  with 
him.      (Sept.) 

CAPPY  RICKS  RETURNS— Republic— Peter 
B.  Kyne's  lovable  character  once  more  provides  the 
audience  with  plenty  of  laughs  and  exciting  entertain- 
ment when  he  bests  his  business  rivals.  Robert 
McWade,  Ray  Walker,  Florine  McKinney.      (Nov.) 

•     CARDINAL     RICHELIEU— 20th     Century- 
United  Artists.    —  A  beautiful  historical  drama 
with  George  Arliss  as  the  great  Cardinal  of  France. 
Maureen  O'Sullivan.  Edward  Arnold       (June) 
[  PLEASE  TURN  TO  PAGE  88  ] 


PHOTOPLAY   MAGAZINE   FOR   DECEMBER.    1935 


oming 

to  special   theatres  in  leading  cities  .  .  .  following  its 

remarkable  reception  in  NewYorh  ana  other  worm  capitals  .  .  . 

tne  spectacle  connoisseurs  consider  "  the  most  important 

production  ever  done  in  talking  pictures." 

WARNER    BROS.    PRESENT 

MAX    REINHARDT'S 

FIRST  MOTION  PICTURE  PRODUCTION 

"A  MIDSUMMER 
NIGHT'S  DREAM 

By    WILLIAM     SHAKESPEARE 

Music  by    FELIX     MENDELSSOHN 


9? 


^J/ie  J/ layers 


Joe  E.  Brown. 

Olivia  de  Havilland 

Frank  McHugk 

Ian  Hunter 

Hobart  Cavanaugn 


Dick  Powell 

Jean  Muir 

Ross  Alexander 

Victor  Jory 
Grant  Mitckell 


And  nearly  one  thousand  Dancers  and  Supernumeraries 


Owing  to  tne  production  8  exceptional  nature  and  extraordinary  length, 

it  'will  be  presented  only  twice  daily,  with  all  seats  reserved. 

To  insure  your  early  enjoyment  of  this  picture 

t  is  advisable  that  you 

^yurc/iase  < ' icfcets  in  i^sCLai 


% 


Photoplay  Magazine  believes  good 
opinions  are  valuable.  See  below 
for  announcement  of  prize  letters 


*.\,  i,mtf§* 


Who  said  opera  stars  are  never  lovely  to  behold?     Gladys  Swarthout.  Metropolitan  opera  and 
Paramount   star.      For   a   little    less   revealing   but    just   as   nice   glimpse   of   her   see    page    53 


Beginning  with  this  issue-,  PHOTOPLAY  Magazine  awards  a 
total  of  $35  for  the  best  eight  letters  of  the  month.  The  $  J5  is 
distributed  in  this  manner:  $15  first  prize,  $10  second  prize,  $5 
third  prize,  and  five  $1  prizes.  There  are  no  specific  rules — any 
and  all  opinions  on  pictures  and  players,  pro  and  con.  PHOTO- 
PLAY Magazine  reserves  the  right  to  use  letters  submitted  in 
whole  or  in  part. 

FIRST  PRIZE— $15 

PRAISES  TODAY'S  FILMS 

THE  views  of  your  correspondents  often  make  one  want  to 
compare  notes  with  them  further.  I  agree  with  the  lady 
who  wrote  that  we've  never  seen  any  pictures  so  well 
worth-while  as  those  of  today.  Only,  I  should  modify  it  by 
"the  best  of  today."  I  do  not  know  much  about  the  majority 
of  pictures,  but  the  variety  and  fine  performance  of  those  that  I 
have  seen  have  been  a  rich  treat.  One  would  never  forget 
"David  Copperfield,"  "Black  Fury,"  or  "Les  Miserables," — 
to  mention  only  recent  pleasures.  I  want  to  see  every  Hep- 
burn picture,  and  I've  enjoyed  Myrna  Loy  and  Jean  Parker 
and  others,  but  I  wonder  why  there  seems  to  be  none  who  im- 
presses one  with  the  greatness  of  personality  of  a  Minnie  Mad- 
dern  Fiske,  and  Ada  Rehan,  or  a  Julia  Marlow?  Isn't  it  a  mis- 
take to  make  youth  so  important?  The  great  actors  in  the 
movies  seem  to  outnumber  the  great  actresses — at  least  one  can 
mention  a  half  dozen  who  are  doing  remarkable  work. 

Mrs.  Wm.  H.,  Middletown,  O. 

SECOND  PRIZE— $10 

NEED  FOR  BOTH 

It  would  be  umpardonable  to  compare  the  golden  voices  of 
Grace  Moore  and  Jeanette  MacDonald,  but,  as  the  saying  is, 
a  cat  may  look  at  a  queen.  So,  without  an  attempt  to  hurt 
anyone's  feelings;  I  like  to  see  the  MacDonald  pictures  again 


and  again,  but,  so  far,  one  delightful  evening  with  Miss  Moore 
has  been  sufficient. 

You  see,  I  can  understand  the  words  of  Miss  MacDonald's 
songs,  but  I  can  only  guess  at  Miss  Moore's.  And  yet  we  have 
need  for  both  of  these  golden-voiced  young  women. 

At  least  I  think  so. 

Irma  Thompson  Ireland,  New  Orleans,  La. 

THIRD  PRIZE— $5 

ASTAIRE  MAKES  A  LIFE 

Fred  Astaire — he  did  it!  He  has  made  my  life  one  dance 
after  another! 

If  it  weren't  for  him  I'd  most  certainly  be  training  for  an- 
other vocation. 

When  the  period  of  musical  pictures  presented  itself,  people 
went  to  see  them  because  they  were  something  new — but  not 
until  Fred  Astaire's  "dancing  feet"  made  their  appearance,  did 
American  audiences  become  "dance  conscious." 

Fred  Astaire  has  made  me  want  to  follow  in  his  footsteps.  My 
friends  think  I'm  wasting  my  time  on  dancing,  but,  someday, 
I'll  show  them. 

John  Grese,  Irvington,  N.  J. 

$1  PRIZE 

DUCK.  MR.  GABLE 

Why  is  it  every  girl  goes  crazy  over  Clark  Gable?  Or  am  I 
crazy? 

Maybe  you  think  so,  but  I  would  like  to  see  the  day  when 
he  could  slap  me  down  and   make  me  like  it! 

Now  I  hope  I  don't  have  all  the  girls  to  whip  just  for  say- 
ing what  I  think. 

How  about  it,  girls? 

Christine  Hight,  Hanford,  Calif. 


8 


$1  PRIZE 

CAN  CRAWFORD  ACT? 

Isn't  it  about  time  for  Joan  Crawford  to  break  down  and 
act?  I  remember  the  days  when  she  used  to — and  you  can't 
tell  me  that  any  one  with  a  life  like  hers  can't  act  ...  or  re- 
enact.  In  short,  I  want  to  see  Joan  doing  something  that  de- 
mands no  lavish  clothes,  with  a  plot  not  sprinkled  with  catchy 
lines,  and  in  a  part  which  calls  for  some  of  the  power,  the  in- 
tense energy,  the  fight  and  bitterness  of  life  she  has  known 
perhaps  too  well.  Come  down  to  the  sordid  life,  Joan,  and  be 
a  human! 

R.  Carol  Le  Grande,  Floral  Park,  N.  Y. 

$1  PRIZE 

WHY  NOT  BEHAVE? 

Without  any  disposition  to  criticize  anyone,  one  wonders  why 
so  many  of  the  leading  artists  at  Hollywood  ruin  their  careers 
by  an  utter  disregard  of  the  generally  accepted  principles  of 
good  conduct!  The  first  domestic  scandal  usually  marks  the 
beginning  of  their  failure.  Apparently  the  public  is  rather 
weary  of  the  cheapness  of  many  of  the  movie  people  and  loses 
interest  in  those  involved,  refusing  to  spend  their  good,  hard- 
earned  money  in  support  of  them.     Am  I  right? 

Kathryne  M.  Lynch,  Schenevus,  N.  Y. 

$1  PRIZE 

WELCOME  BACK.  NORMA 

Our  Norma  Shearer  will  soon  return  to  the  screen  and  I  am 
rejoicing.  I  have  followed  the  career  of  this  truly  gifted 
actress  almost  from  the  first  appearance  in  the  movies.  To 
me  she  has  ever  been  an  inspiration;  not  only  in  her  profession 
but  as  a  young  woman  of  fine  discrimination.  Although  the 
characters  she  has  portrayed  on  the  screen  may  not  have 
always  been  of  the  highest  type,  nevertheless  this  actress 
has  not  glorified  them  nor  tried  to  canonize  them.  There  is 
always  a  delicate  finesse  in  her  characterization. 

Evelyn  S.  Hill,  Cleveland,  Ohio. 

$1  PRIZE 

BETTER  ROLE  FOR  "HE-MAN" 

Why  doesn't  a  "he-man" 
like  Randolph  Scott  get  a 
better  chance  in  the 
movies?  That  is  a  question 
that  is  asked  by  women 
everywhere  and,  as  they  are 
the  most  ardent  movie  fans, 
I  believe  they  should  have 
a  voice  in  the  matter.  Men, 
too,  need  no  special  in- 
vitation or  coaxing  to  go  to 


movies  if  real  he-men  are  seen  in  the  leading  roles.  Give 
Randolph  Scott  leading  ladies  like  Claudette  Colbert,  Joan 
Crawford,  Connie  Bennett,  Rosalind  Russell  or  some  other 
striking  actress  and  I  warrant  he  will  go  places. 

C.  F.,  Merrill,  Wis. 

AWARD  FOR  GARBO 

Somebody  wrote  that  "Anna  Karenina"  will  re-establish 
Garbo.  Garbo  does  not  need  to  be  re-established.  She  goes 
steadily  forward,  even  when  miscast,  as  in  "Mata  Hari." 
"Grand  Hotel"  was  a  great  success,  as  for  the  magnificent 
"Queen  Christina,"  I  have  seen  it  ten  times  and  I  would  see 
it  again.  It  has  had  a  great  success  in  Europe,  even  in  Garbo's 
native  Stockholm  where  it  was  at  first  opposed  because  it  was 
not  accurate  historically.  Also,  it  seems  it  should  be  Garbo's 
turn  to  receive  the  annual  Motion  Picture  Academy  Award. 
Ann  Taesslova,  Richmond,  Va 

AGAINST  CRITICISM 

I  wish  to  criticize  the  things  people  from  all  over  the  world 
send  in  to  you,  such  as  a  criticism  of  the  astounding  Bing 
Crosby's  crooning.  I  think  he  and  young  Nelson  Eddy  are 
two  of  the  best  singers  in  the  world.  Also  about  that  little 
darling  of  the  screen,  Shirley  Temple,  saying  she  was  too  bold. 
I  think  it  is  the  worst  thing  anyone  could  say  about  anyone 
who  works  his  or  her  head  off  to  please  us.  And  please,  for  the 
fan's  sake,  don't  make  Mr.  Eddy  [  please  turn  to  page  96  ] 


How  are  you  at  fig- 
ures? And  we  don't 
mean  mathematics, 
not  even  when  we 
say  Gertrude 
Michael's  curves 
speak  for  them- 
selves— rather,  they 
speak      lor      herself 


10 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


They^^Kf/thrill  in  sound . 

THE  MIGHTY  VOICE 
OFTIBBETT! 


He  stirs  you  as  never  before  in  this  great  picture, 
revealing  the  glamour  and  glory  .  .  .  comedy  and 
caprice  .  .  .  rivalries  and  loves  .  .  .  behind  the  cur- 
tain of  the  world's  most  spectacular  opera  house! 


VIRGINIA   BRUCE 
ALICE   BRADY 

CESAR   ROMERO 
THURSTON    HALL 

A 

DARRYL  F.  ZANUCK 

20th  CENTURY  PRODUCTION 
Presented  by  Joseph  M.  Schenck 

Directed  by  Richard  Boleslawski 

• 

HEAR  THE  GREAT  TIBBETT  SING: 

Pagliacci   .    The  Road  to  Mandalay 

The  Toreador  Song  from  Carmen 

The  Barber  of  Seville  .  Faust 


1*EX  years  ago,  almost  to  the  day,  I  came  on  the  staff 
*  of  Photoplay.  Up  until  then  I  had  just  been  a  cub 
reporter  on  a  New  York  City  newspaper.  I  still  don't 
know  how  Jim  Quirk  had  ever  heard  of  me.  But  there 
followed  five  years  of  working  side  by  side  witli  that 
man  who  was  one  of  the  greatest  editors  who  ever  lived. 

Today  Jim  is  dead  and  I  find  myself  editor  of  the 
magazine  he  created.  I  know  I  shall  never  be  able  to 
equal  his  work  but  I  shall  try  as  much  as  I  can  to  tag 
along  in  his  footsteps. 

Jim  Quirk  had  the  most  amazing  vision  about  people. 
He  could  spot  talent  in  any  line.  He  recognized,  at  a 
glance,  people  who  were  coming  along,  who  someday 
were  to  be  important   writers,   illustrators,   actors. 

There  was  a  girl  writing  for  the  San  Francisco  papers 
some  dozen  years  ago.  Her  chief  claim  to  fame  then 
was  her  amazing  father,  and  her  own  exciting  young 
face    and    skeptical    mind. 

As  Adela  Rogers  St.  Johns  she  came  on  the  staff  of 
Photoplay  and  today  is  its  most  distinguished  graduate. 
With  novels,  short  stories,  movies  she  conquered  the 
literary  world.  So  I  hope  you  understand  how  happy  I 
am  to  point  to  page  twenty-three  of  this  issue  and  show 
you  Adela  Rogers  St.  Johns'  name  once  again  in  this 
magazine  and  to  promise  you  that  she  will  be  here 
monthly,  which  is  a  guarantee  of  twelve  fine  stories 
yearly.  And  how  I  do  wish  I  could  call  across  the 
distance  and  say,  "Look,  Jim,  Adela's  back." 


We  were  having  tea  together  one  afternoon — yes, 
that  kind  of  tea — and  wondering  about  destiny  and 
such  things  when  suddenly  I  asked, 

"Weren't  you  Evangeline  Adams'  literary  executor?" 

"Yes,  I  was,"  said  Mr.  Collins. 

"Could  you  get  at  her  horoscopes?'' 

"Easily." 

"Let's  see  what  she  prophesied  years  ago  for  movie 
people  today,"  I  suggested.  So  Mr.  Collins  looked  it 
up,  but  we  never  dreamed  we  would  find  the  amazing 
story  you'll  discover. 

HPHE  reason  I  am  doing  all  this  horn-tooting  is  because 
*  Jim  Quirk  way  back  there  ten  years  ago  taught  me 
to  believe  that  a  magazine  on  motion  pictures  could  be 
just  as  well  written  as  the  best  class  of  magazine.  He 
didn't  believe  in  tripe  or  cheapness,  and  he  taught  me 
not  to.  So  I  do  want  you  to  believe  that  hereafter  in 
these  pages  you  are  going  to  find  stories  written  by 
talented  people  for  readers  of  intelligence  and  taste. 

THERE  has  been,  as  we  both  know,  the  most  un- 
mitigated tripe  written  about  Hollywood  the  last 
few  years  and  it  is  still  being  written.  The  sex  ballyhoo 
has  been  going  full  blast  and  I'll  wager  the  thirty-seven 
fifty  I  made  on  the  Baer-Louis  fight  that  a  lot  of  you  are 
as  bored  with  it  as  I  am. 


TV  XOTHER  great  writer  you  are  going  to  read 
■"monthly  in  these  pages  from  now  on  is  Frederick  L. 
Collins.  The  way  we  both  discovered  the  story  which 
you  can  read- beginning  on  page  fourteen  of  this  issue 
is  one  of  those  accidents  that  make  editing  exciting. 


PERSONALLY  I  am  sickened  with  the  vulgarity  that 
surrounded  Joan  Crawford's  recent  marriage  to 
Franchot  Tone.  For  almost  two  years  now,  Joan  has 
been  most  coy  on  the  subject  of  marriage  and  Mr.  Tone 
Just  before  her  latest  trip  East  quite  positive  word  was 


given  out  that  the  marriage  would  be  performed.  It 
would  have  been  very  simple  for  Joan  to  have  played 
square  with  the  entire  press.  Instead,  her  studio 
executives,  both  East  and  West,  issued  for  her  a  positive 
denial  of  an  impending  marriage.  When  reporters,  noting 
that  she  and  Franehot  had  traveled  across  the  continent 
together  and  had  registered  together  at  the  same  hotel, 
asked  matrimonial  questions,  Joan  wept  and  said  how 
terribly  they  were  treating  her.  Crawford  is  a  great 
personality  and  a  good  actress.  Her  private  life  is  most 
certainly  her  own.  But  she  can't  expect  to  kiss  in 
the  spotlight  and  then  ask  the  world  to  pretend  it  hasn't 
noticed.     That  is  in  rotten  bad  taste. 

TA7HEN  Claudette  Colbert  got  her  divorce,  a  few 
"  *  months  ago,  she  arranged  a  time  and  a  place  for 
the  reporters  to  come  and  get  all  the  answers  to  any 
questions  they  were  puzzled  over.  And  even  more 
recently  when  the  completely  unfounded  rumor  was 
printed  that  Frances  Dee  and  Joel  McCrea  were  sepa- 
rating, I  wired  those  two  most-in-love  people.  They 
wired  back  instantly,  "If  it  were  true,  darling,  you'd  be 
the  first  to  know."  (I  was  so  relieved  to  get  that 
answer,  that  I  promise  not  to  hold  them  to  that.)  The 
facts  were,  as  later  disclosed,  that  an  over-ambitious 
reporter  had  seen  Dorothy  Lee  who  actually  was  in  Reno 
getting  a  divorce  from  Marshall  Duffield.  The  eager 
young  man  misunderstood  her  name  and  without  check- 
ing further  sent  in  the  story  as  concerning  Miss  Dee- 
Which  proves  him  not  only  a  bad  reporter  but  a  terrible 
movie  fan  if  he  couldn't  tell  at  a  glance  the  difference  be- 
tween the  flapper  Dorothy  Lee  and  the  exquisite  beauty 
of  Frances  McCrea.  But  in  the  cases  of  Claudette  and 
the  McCreas  in  so  quickly  replying  to  logical  queries,  the 
stars  were  acting  with  intelligence  and  courtesy. 

HPHIS  much  is  certain.  More  intelligence  and  taste  are 
™  coming  into  the  movie  world  every  day  of  its  busy 
life.  Interestingly  enough  that  is  due  to  two  very  differ- 
ent elements.  One  is  the  new  music  crowd.  The  other  is 
the  threat  of  English  pictures. 

The  music  stars,  debonair,  lovely  people,  recreate  that 
brand  of  glamour  that  Barbara  La  Marr  and  Negri  and 
Swanson  had  in  the  old  days.  Grace  Moore,  Gladys 
Swarthout,  Nino  Martini,  who  is  handsomer  than  he 
screens,  and  who  has  the  same  sincere  ingenuousness  that 
was  Valentino's,  Lily  Pons,  all  are  bringing  a  splash  of 
color,  a  Continental  charm  to  the  gardens  of  Beverly 
Hills. 

They  are  worldly  idealists,  these  musicians.  And 
simply  because  they  are,  with  the  exception  of  Grace 
Moore,  so  new  to  pictures,  such  babes  in  Hollywood  that 
they  provide  their  own  merriment. 

They  have  fun.  That  is  their  great  distinction  and  it 
is  also  the  thing  that  distinguishes  English  pictures.  The 
actors  have  fun  making  them. 

I  remember  an  anecdote  I  heard  Leslie  Howard  tell 
concerning  how  he  learned  about  living  through  making 
"The  Scarlet  Pimpernel"  in  England  for  Alexander 
Korda. 

He  said  that  all  his  adult  life,  while  he  had  tried  both 


on  the  stage  and  in  pictures  to  do  the  artistic  thing,  he 
had  been,  primarily,  concerned  with  making  money. 

He  had  a  position  to  maintain,  a  wife  and  two  growing 
children  to  support,  and  he  was  everlastingly  haunted  by 
the  fear  that  dogs  all  actors  that  one  day  his  popularity 
might  just  disappear  and  he  would,  henceforth,  have  no 
further  earning  capacity.  He  therefore  made  pictures  as 
fast  and  frequently  as  he  could,  only  indulging  himself 
once  in  a  while  to  do  a  stage  play,  or  make  "Secrets" 
with  Mary  Pickford,  because  he  felt  Mary  represented  a 
tradition  in  movies  with  which  he  liked  to  be  identified. 
But  as  he  faced  the  forties  rushing  toward  him,  he  put  by 
as  platinum  a  nest  egg  as  he  could.  It  was  in  this  mood 
that  he  went  to  England  to  make  "The  Scarlet  Pim- 
pernel." 


V  TOW  Alexander  Korda  wasn't  much  of  a  success  in 
*  ^Hollywood  when  he  directed  here.  It  was  before  the 
days  of  sound,  and  his  major  claim  to  fame  in  Hollywood 
was  that  he  was  the  Hungarian  husband  of  Maria  Korda, 
as  beautiful  a  woman  as  the  screen  has  ever  reflected. 

But  Leslie  Howard  met  in  London  the  Korda  who  had 
made  "Henry  the  VIII,"  a  man  with  a  fine  eye  for 
feminine  beauty,  and  something  even  more  important, 
Korda  has  a  sense  of  leisure,  of  having  pleasure.  Time 
and  again,  Leslie  discovered  production  being  stopped 
for  the,  in  movie  cirlces,  unbelievable  reason  that  it  was 
such  a  beautiful  day  that  Korda  thought  the  cast  would 
have  much  more  fun  going  on  a  picnic  than  shooting- 
scenes.  Of  course,  it  held  up  production,  but  they  all  did 
have  a  wonderful  time.  They  turned  out  a  fine  picture 
and  Leslie  discovered  that  while  it  had  taken  him  longer 
than  usual  to  make  a  certain  sum,  he  had,  meanwhile, 
been  living  through  some  of  the  most  delightful  days  of 
his  existence. 


CURRENTLY  Hollywood  is  hueing  and  crying  over  the 
possibility  of  losing  many  of  its  players,  both  English 
and  American,  to  English  pictures,  due  to  the  taxes  on 
picture  salaries.  Many  English  stars  like  Howard,  Her- 
bert Marshall,  Brian  Aherne,  Arliss,  Ronnie  Colman,  have 
to  pay  a  triple  tax,  to  England,  the  United  States  and  to 
the  state  of  California.  They  can  either  go  back  to 
England  and  avoid  some  of  it,  or  make  fewer  pictures. 

I  can  see  why,  as  a  Hollywood  producer,  this  can  be 
regarded  as  a  danger.  But  merely  as  a  movie-goer,  I 
regard  it  as  all  to  the  good. 

A  star  making  two  pictures  a  year  is  very  apt  to  give 
those  pictures  more  thought  and  devotion  than  if  making 
six  a  year.  Producers  will  have  to  discover  new  person- 
alities. Productions  simply  can  not  become  so  standard- 
ized under  these  arrangements  and  we,  the  public,  will 
see  some  different  pictures. 


AND,  incidentally,  speaking  of  the  pleasures  of  life,  I 
don't  mean  to  gossip  or  anything,  having  explained 
a  few  paragraphs  back  how  I  feel  about  that,  but  that 
second  McCrea  baby  will  be  here  about  the  time  you  are 
reading  this. 


12 


GLADYS    SWARTHOUT 


Lovely  to  look  at,  delightful  to  see — is  Gladys  Swarthout, 
who  will  make  you  revise  the  notion  that  all  operatic 
stars  are  fair,  fat  and  forty.  A  piquant  personality  ...  a 
charm  and  grace  all  her  own  ...  a  voice  of  molten  gold 
.  .  .  audiences  will  take  Miss  Swarthout  to  their  hearts 
when  they  see  her  in  Paramount's  colorful  "Rose  of  the 
Rancho"     in    which     she     is    co-starred    with    John    Boles. 


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13 


The  VOICE  from 

the  GRAVE  that 

These  uncannily  accurate  prophecies  and  warnings  link 
Hollywood's  great  with  a  great  woman  three  years  dead! 

By  Frederick  L.  Collins 


EVANGELINE  ADAMS  is  dead  It  is  three  years  now  since 
she  ceased  those  mysterious  earthly  activities  which  linked 
her  so  closely  with  the  supernatural.  But  she  still  lives  in 
the  careers  of  Hollywood  celebrities  who  followed  her  astrolog- 
ical advice — and  in  our  memories  of  those  who  didn't. 

"  Will  Rogers  has  a  very  fortunate  horoscope."  I  remem 
ber  her  saying,  as  we  sat  together  in  that  famous  studio  in 
Carnegie  Hall  where  the  world's  great,  from  John  Burroughs  to 
J.  Pierpont  Morgan  the  elder,  had  come  so  often  for  advice. 
"There  is  no  reason  why  he  shouldn't  live  to  a  very  great  age, 
if  he  takes  care  of  himself." 

"What  do  you  mean,  take  care  of 
himself?"  I  asked.  "I  know  Will, 
and  if  ever  a  man  lived  an  exem- 
plary—  " 

"Oh,  I  don't  mean  that,"  replied 
the  great  astrologer.  "The  kind  of 
care  Will  Rogers  must  take  of  him- 
self is  not  to  run  unnecessary  risks 
when  he  is  under  what  we  astrologers 
call  'accidental  conditions'." 

I  did  not  need  to  ask  the  inevitable 
question.  "When?" 

Already,  her  fine  eyes,  which  had 
been  gazing  out  on  the  huddled  roof- 
tops of  Midtown  Manhattan,  had 
dropped  to  the  clock-like  chart  on 
the  desk  between  us.  The  great  as- 
trologer was  busy  with  those  enig- 
matic scribblings  by  which  she  ar- 
rived at  her  inexplicable  conclusions. 
Presently,  she  began  rattling  off  a 
series  of  dates — I  have  my  own  writ- 
ten record  of  them  in  front  of  me  as 
I  write — when  the  beloved  philoso- 
pher would  be  most  in  danger  of  los- 
ing his  life. 

"But  by  far  the  worst  time,"  she 
concluded,  "is  the  summer  of  1935. 
That's  when  he'll  be  tempted  to  take 
unnecessary  chances  with  some  kind 

of  a- machine — an  automobile  or  a  train  or  an  airplane — and  if 
he  does,  it  will  wreck  him." 

She  bent  low  over  her  figures.  I  could  see  that  she  was  check- 
ing and  double-checking  her  cold,  mathematical  calculations 

"Yes,"  she  said  solemnly,  "it  will  wreck  him." 

She  told  me  the  same  thing  about  Wally  Beery — only  the 
date  she  set,  when  Wally  would  have  to  exercise  the  greatest 
care  to  avoid  disaster,  was  1940.  I  remember  the  Beery  pre- 
diction distinctly,  and  so  would  you  if  you  had  been  in  my 
place: 

"All  people  born  at  just  the  time  Wallace  Beery  was  born — 
and  that  includes  you,  Fred  Collins — must  be  careful  not  to 
travel  by  air  or  water  in  January  or  February,  1940." 

14 


Out  of  the  past 
came  a  command 
to  Joan  Crawford 
to  avoid  marriage 
this  year!  Wow 


If  Wally  Beery 
is  ruled  by  the 
"warning  voice" 
he  must  not  travel 
early    in    1940 


Naturally,  although  I  was  at  that  time  the  veriest  unbeliever, 
and  can't  even  now  see  why  the  things  she  foresaw  came  so 
amazingly  and  inescapably  true — well,  naturally,  I  wrote  down 
the  date,  and  I  hope  that  my  good  friend  Wally  Beery,  if  he 
reads  these  lines,  will  do  the  same. 

And  while  I  am  in  the  business  of  saving  Hollywood  lives,  1 

might  as  well  tell  Ruth  Chatterton  to  be  careful,  and,  as  the 

lamented  Mr.  Chevalier  used  to  say,  be  careful  right  now — for 

Evangeline  once  said  that  Ruth  was  in  grave  danger  of  dis 

aster  during  1935  and  1936.     The  fact  that  Miss  Chatterton, 

who  used  to  work  herself  into  a  lather  of  worry  every  time 

George  Brent  insisted  on  going  up  in 

his  plane,  suddenly  took  up  aviation 

on  her  own  account  in  1935  may  not 

mean  anything — I  sincerely  hope  it 

doesn't    mean   anything   for    1936 — 

but  she  had  better  be  careful    iust 

the  same. 

For,  understand  it  or  not,  believe 
it  or  not,  a  voice  from  the  grave  still 
rules  Hollywood! 

"Oh,  yeah?"  you  say,  you  skep- 
tics— and  in  my  saner  moments  I  am 
inclined  to  "Oh,  yeah?"  with  you  — 
but  how  are  you  going  to  explain 
away  the  fact  that  this  strangely 
gifted  woman  could  foresee  death  by 
airplane  some  fifteen  years  ago  for 
the  great  Will  Rogers,  who  at  that 
time  had  never  left  the  earth  in  any 
thing  giddier  than  an  elevator? 

I  should  explain,  perhaps,  that  1 
know  Evangeline  Adams  more  inti- 
mately than  any  one  else  who  touched 
her  busy  life,  except  of  course  her 
immediate  family,  and  that  it  was 
our  custom,  because  of  our  common 
interest  in  things  theatrical,  to  dis- 
cuss the  horoscope  of  each  new  star 
of  stage  or  screen  the  moment  it,  or  he 
or  she,  rose  above  the  theatrical  hori- 
zon. Sometimes,  the  individual  discussed  would  be  a  client  of 
Miss  Adams'  with  whose  chart  she  was  already  familiar.  For 
example,  I  remember  seeing  on  her  desk  one  day  a  telegram 
which  began: 

"DEAR  EVANGELINE  ADAMS  PLEASE  WIRE  IF 
IT  WILL  BE  SAFE  FOR  DOUGLAS  TO  FLY  FROM 
HOLLYWOOD  TO  NEW  YORK  ON  SATURDAY     .  ." 
The  telegram  was  signed,  as  you  have  probably  guessed — 
since  it  was  dated  back  in  the  good  old  days  of  Pickfair  happi- 
ness—"MARY  PICKFORD." 

Yes,  Miss  Adams  had  a  big  theatrical  clientele  but  some- 
times the  horoscopes  she  discussed  with  me  were  of  people 
whom  she  had  never  seen — and  sometimes  of  people  whose 


lywood 


Those  mysterious  supernat- 
ural activities  of  Evangeline 
Adams  let  her  foresee  in  1932 
Will  Rogers'  dire  fate  in  1935 


ILLUSTRATION    BY 
JAMES  MONTGOMERY  FLAGG 


15 


names  she  didn't  know.  I  remember  handing  her  Jean  Har- 
low's date  when  that  gorgeous  lady  first  flashed  in  Howard 
Hughes'  "Hell's  Angels."  Evangeline  didn't  even  know  wheth- 
er the  owner  of  the  birth  date  was  a  man  or  a  woman. 

"This  person,"  she  ex- 
claimed, with  that  stark, 
scared  look,  which  so  often 
came  into  her  eyes  when  she 
saw  something  alarming  in 
a  chart,  "should  never  mar- 


ry!' 


It  was  Evangeline 
Adams  who  foresaw 
the  striking  come- 
back of  Grace  Moore 


You'll  be  amazed  at 
what  was  foretold 
about  Garbo's  pri- 
vate     romantic      life! 


What  was  foreseen 
for  Bing  Crosby  was 
the  happiest  augury 
of    all    the    forecasts! 


This  was  long  before  the 
platinum  one  had  married 
the  ill-starred  Paul  Bern,  or 
the  bed-reading  Hal  Rosson 
— years  before  the  rumors 
of  her  impending  marriage 
to  thin-man  Bill  Powell. 

She  said  the  same  thing, 
by  the  way,  about  Gloria 
Swanson,  but  the  statement 
in  Gloria's  case,  was  not  so 
surprising,  since  la  Swanson 
had  already  started  on  her 
long  series  of  disastrous  ad- 
ventures with  those  gallant 
gentlemen,  the  Hollywood 
Swansoneers.  She  said  what 
was  to  me  a  much  more  in- 
teresting thing  about  the 
beautiful  Gloria. 

"Miss  Swanson's  great 
talent  is  not  acting.  It's 
writing."  And  then  she  add- 
ed, quite  irrelevantly,  as  was 
her  habit:  "So  is  Jean  Her- 
sholt's." 

Eagerly  I  await  the  fulfillment  of  these  two  prophecies  from 
the  grave;  for  no  two  people  in  all  Hollywood  could  write  more 
interesting  or  more  different  stories. 

For  Miss  Adams  to  say  that  a  person  should  never  marry  was 
a  most  unusual  occurrence.  She  believed  in  marriage,  and  died 
feeling  that  she  had  guided  many  a  client  into  a  successful  mari- 
tal career.  But  she  was  always  warning  those  who  came  to  her 
not  to  marry  certain  kinds  of  people  or  not  to  marry  at  all 
during  certain  unfavorable  periods;  and  I  feel  sure  that  if  she 
had  been  alive,  she  would  have  told  Joan  Crawford  and  Fran- 
chot  Tone  not  to  marry  during  1935. 

Joan's  horoscope  always  intrigued  her,  because  it  showed 
with  almost  photographic  clearness  the  inevitable  reasons  for 
her  outstanding  success  in  the  movies;  but  it  also  showed  that 
she  should  think  long  and  earnestly  before  contracting  a  mar- 
riage with  anyone  during  the  year  which  is  just  closing  or — I 
regret  to  say  it,  for  I  think  Joan  and  Franchot  are  both  swell 
people  and  I  wish  them  well — 1936.     But  now,  the  die  is  cast! 

Miss  Adams  read  Tone's  horoscope  long  before  he  met  Miss 
Crawford,  while  he  was  still  an  aspiring  leading  man  with  the 
Theatre  Guild;  and  she  read  Claudette  Colbert's  at  the  same 
time.  Claudette  was  a  Theatre  Guilder,  too,  you  know,  before 
she  became  Hollywood's  busiest  actress.  I  have  looked  up  my 
notes  on  Evangeline's  predictions  for  Miss  Colbert,  but  all  I 
can  find  is  a  warning  to  look  out  for  some  kind  of  violent  attack 
from  another  person  during  late  1935  or  early  1936,  and  the 
suggestion  of  a  possible  scandal  sometime  in  1935. 

Well,  Claudette  has  beaten  her  stars  so  far.  She  has  cer- 
tainly escaped  mayhem  during  1935;  and  scandal,  too.  Come 
to  think  of  it,  though,  her  divorce  from  Norman  Foster,  al- 
though there  was  nothing  scandalous  about  it.  did  receive  a 
good  deal  of  publicity,  and  that  in  the  eyes  of  an  old  New 
England  puritan  like  Evangeline  Adams — she  was  a  descendant 
of  old  John  and  Samuel  Adams,  you  know! — may  have  passed 
for  "scandal." 

For  all  her  straight-laced  ways,  however,  Evangeline  had  an 
uncanny  flair  for  spotting  unsuccessful   marriages  long  before 


the  world  knew  they  were  that  way.  I  remember  what  she 
once  said  about  Colleen  Moore  when  Colleen  was  to  all  out- 
ward appearances  happily  married  to  the  genial  and  recently 
Johan-ized  John  McCormick: 

"You  think  of  Colleen 
Moore  as  a  gay,  irrespon- 
sible youngster" — and  who, 
in  those  bobbed  days, 
didn't? — "but  that  is  be- 
cause she  is  a  real  actress; 
according  to  her  chart,  one 
of  the  finest  actresses  on  the 
screen.  But  there  is  nothing 
irresponsible  about  this  girl 
in  real  life.  Her  Mercury, 
which  as  you  know,  or  ought 
to  know,  rules  the  mind,  is 
in  the  systematic,  method- 
ical, planning  sign  Virgo. 
The  only  home  that  such  a 
person  will  ever  be  happy 
in  is  one  which  she  makes 
herself  and  over  which  she 
has  exercised  absolute  do- 
minion down  to  the  smallest 
detail.  Yet,  a  girl  whose 
Venus  is  as  strongly  placed 
in  the  home  sign  Cancer  as 
Colleen's  is,  must  make 
some  kind  of  home." 

I  have  often  thought  of 
that  long-ago  reading  of  the 
stars  in  the  light  of  Colleen's 
pride  and  satisfaction  in  her 
famous  $500,000  doll  house, 
perhaps  the  only  home  which 
she  has  been  able  to  make 
herself  and  over  which  she  could  exercise  fully  her  own  will. 

If  you  are  as  skeptical  of  all  this  stuff  as  I  was  when  I  first 
met  Miss  Adams,  you  are  probably  laughing  at  the  possibility 
of  an  astrologer,  sitting  in  a  studio  three  thousand  miles  from 
Hollywood,  knowing  what  was  going  to  happen  to  a  movie 
star  five  or  even  ten  or  fifteen  years  from  the  time  she  read  his 
or  her  chart.  Well,  I  have  ceased  to  laugh.  I  knew  and  loved 
Rudolph  Valentino — and  this  is  what  Evangeline  Adams  pro- 
phesied for  Rudy  more  than  three  years  before  his  death: 

"The  year  1925  will  bring  this  actor  under  very  contradictory 
aspects,"  she  said.  "It  will  depend  wholly  on  his  ability  to 
propitiate  the  Fates  as  to  whether  he  will  be  on  the  crest  or 
submerged  in  the  cellar  so  far  as  popularity  is  concerned." 

Then  she  went  on,  in  a  conversation  which  was  sprinkled 
with  Saturns  and  Uranuses  and  Tauruses  and  such  like,  to  ex- 
plain that  Rudy  was  under  most  depressing  influences  which 
might  affect  both  his  health  and  his  reputation,  bring  out  the 
most  undesirable  side  of  his  character,  expose  him  to  public 
humiliation  and  gossip  and  rob  him  of  his  power  and  possibly 
of  his  life.  On  the  other  hand,  if  he  disregarded  outside  in- 
fluences and  immersed  himself  in  constructive  work,  it  was  just 
possible  that  he  might  make  the  very  best  picture  of  his  career. 
These  were  her  concluding  words: 

"There  will,  however,  be  no  middle  course  for  this  actor  in 
1924  and  extending  into  1925.     It  must  either  be  the  banner 
time  of  his  life,  because  he  develops  into  being  a  star  of  the 
first  magnitude,  or  he  will  be  lost  in  space." 
What  happened  was  this: 

Rudy,  at  the  height  of  his  career  in  January,  1924,  was  pub- 
licly crowned  "King  of  the  Movies."  In  July  of  that  year  he 
broke  with  his  managers,  involved  himself  in  contract  litiga- 
tion, and  entered  upon  a  long  period  of  absence  from  the  screen. 
In  November,  Chicago  organizations  passed  resolutions  de- 
nouncing him  as  an  actor  and  a  man.  The  following  year, 
he  was  publicly  accused  of  having  been  a  slacker  in  the  world 
war  and  his  wife,  the  gifted  Rambova,  sued  him  for  divorce. 

1  PLEASE  TURN  TO  PAGE  100  ] 


16 


arst  saw  ]ight  .  w!f«  heroine. 
n  Connechcu, 


■  Charles  Boyer,  the  most  Latin  sex-appeal  since  Valentino! 
The  world  and  its  girl-friend,  mainly  the  girl-friend,  ex- 
citedly await  his  return  from  England  to  do  another  film 


You'll  probably  be  seeing  her 
soon — Gloria  Swanson.  With 
Herbert  Marshall.  Warner 
Baxter,    and    Elizabeth    Allan 


The  Gary  Coopers,  one  of  Hol- 
lywood's most  seen  together 
couples,  about  to  enjoy  a  spot 
of  tennis  at  the  L.  A.  matches 


Janet  Gaynor,  smiling  and 
well  after  her  skull  fracture 
from  her  accidental  collision 
with  Henry  Fonda  on  the  set. 
That's  Eadie  Adams  with  her 


Cute  as  a  boarding  school 
deb.  None  other  than  Carole 
Lombard,  the  sophisticated 
of  sophisticated  screen  ladies 


Wll 


On  the  Spot 

NEWS 


ROBERT  TAYLOR'S  FAN   MAIL  JUMPS    TO  300  PER 

DAY 
M-G-M  star  rewarded — gets  "Three  Live  Ghosts"  part 

"TRAIL    OF    THE     LONESOME    PINE"    NEXT    ALL 
TECHNICOLOR 

Sylvia  Sidney  signed  for  lead  with  Henry  Fonda,  MacMurray, 

Paulette   Goddard   wanted   for  cast,    but    Chaplin    says   no. 

Wants  her  to  appear  first  in  his  film,  "Modern  Times,"  which 

will  release  later  than  "The  Pine" 

JOAN  BENNETT  SURPRISES  HUBBY  GENE  MARKEY 
IN  NEW  YORK 

Flies  to  meet  his  boat  from   Europe  and  thus  spikes  reports 
of  domestic  rift  current  for  weeks 

NO  MORE  ENGLAND  FOR  FAY  WRAY 

Writes   friends   she   will    stay   in    Hollywood   on    her    return 


POLLY  ANN  YOUNG  TO  WED  J.  CARTER  HERMANN 

IN  JANUARY 
Lets  news  out  at  sister  Sally  Blane-Norman  Foster  nuptials 
RANDOLPH  SCOTT  SAVES  THE   DAY  FOR   CAROLE 
LOMBARD     AND     HER    PRODUCTION,     "SPINSTER 

DINNER" 
Looked  as  if  it  would  have  lived    up  to  title — couldn't  find 

a  leading  man  to  suit  her 
GARBO  FROM  ALL  INDICATIONS  TO  MAKE  HOLLY- 
WOOD HER  HOME  ON  HER  RETURN 
She's  going  to  bring  her  two  brothers  with  her 
DIETRICH    MOVES   INTO   SEVENTH   HOUSE   SINCE 
COMING  TO  HOLLYWOOD 
WALLACE  BEERY  THE  GOOD  SAMARITAN 
Introduces  new-comer  or  old-timer  on  weekly  radio  broadcast 
in  hope  of  giving  them  better  break 

21 


ON     the    night     before     Christmas 
when  the   stockings   are   hung  by 
the  chimney  with  care  in  the  hope 
that  St.  Nicholas  soon  will  be  there  the 
most   famous   child   the    world    has   ever 
known  intends  to  stay  awake  in  her  little 
bed  and  keep  her  eyes  very   wide  open. 
Because  THIS  year  she  expects  to  catch 
Santa  Claus. 

And  what  Shirley  Temple  wants  Santa 
Claus  to  bring  her  for  Christmas  is  the 
Dionne  quintuplets. 

She  told  me  so  herself. 

Shirley  Temple  believes  in  Santa  Claus. 
In  fact,  last  year  she  heard  on  the  roof  the 
prancing  and  pawing  of  each  little  hoof  and 
she  caught  just  a  glimpse  of  Santa  Claus,  but 
he  was  too  quick  for  her.     This  Christmas 
she's  going  to  be  quicker.     She  told  me  that, 
too. 

There  is  just  one  worry  in  Shirley's  six-year- 
old  mind  as  the  day  of  cheer  and  holly  and 
lighted  candles  draws  near. 

"  There  is  a  chimbley  in  our  patio,"  she  said, 
seriously,  "I'm  scared  he'll  come  down  that  by 
mistake  and  then  he'd  be  outside  and  how 
could  he  find  my  stocking?  " 

She  contemplated  this  catastrophe  gravely  for 
a  full  minute,  her  head  on  one  side,  her  mouth 
puckered.  Then  the  smile  that  has  made  the 
whole  world  smile  back  at  her  twinkled  out  at 
me.     "If  I  leave  the  door  unlocked  he'll  come  in 


the  house  all  right,  because  to  be  Santa  Claus 
he  must  be  pretty  smart,  don't  you  think? 
Mother,  can  I  be  sure  to  leave  the  door  unlocked 
Christmas  Eve?" 

Her  mother  said  she  could  and  Shirley  returned 
momentarily  to  her  spinach.  (We  were  at  lunch 
in  her  studio  bungalow.) 

She  took  a  very  large  mouthful  of  spinach  and 
remarked:  "Of  course  he  can't  get  the  quintuplets 
in  my  stocking — nor  the  doll  buggy  either."     That 
tickled    her    and    she    laughed    that    never-to-be- 
forgotten,  never-to-be-recaptured  laughter  of  child- 
hood that  trails  clouds  of  glory.     "I  thought  a  lot," 
she  said,  when  both  the  laughter  and  the  spinach  had 
disappeared.     "If  I  went  to  sleep  quick,  in  a  minute 
it'd  be  morning  and  I  could  see  my  presents.     But  if 
I  stay  awake  every  minute  and  stick  my  eyes  wide  open, 
I  might  see  Santa  Claus.     Which'd  you  do?" 

I  said  I  thought  I'd  try  to  stay  awake  but  if  I  couldn't, 
I'd  console  myself  when  I  woke  up  by  remembering  how 
quick  Christmas  had  come. 

"Santa  Claus  never  makes  any  noise,"  said  Shirley, 
"but  the  reindeers  do.  Dancer  and  Prancer  and  Dunder 
and  Blitzen  make  noise.  Mother,  do  I  have  to  eat  all  my 
carrots  and  peas?  I  ate  all  my  spinach." 


Shirley 


Wants  the  Quintuplets 


22 


for 


Christmas 

By  Adela 

„  e*    Johns 
Rogers  bt.  J° 


:'Yes,  precious,  you  know  you  do,"  said  Mrs.  Temple's 
quiet,  charming  voice. 

While  Shirley  concentrated  on  carrots  and  peas,  I  con- 
centrated for  a  moment  on  Shirley.  Shirley  the  irre- 
sistible. 

It  interested  me  greatly  to  know  how  this  baby  whose 
name  is  known  to  millions,  whose  little  face  is  beloved 
in  every  civilized  place  on  the  globe,  who  earns  thou- 
sands and  thousands  of  dollars  every  week,  was  going 
to  spend  Christmas  Day,  what  she  thought  about  that 
day  which  has  been  consecrated  since  time  immemorial 
to  childhood. 

I  hadn't  met  her  before — and  I  went  with  a  combina- 
tion of  excitement  and  dread.     I  am  a  little  inclined 
to  believe  in  Santa  Claus  myself  and  I  felt  I  just 
couldn't  bear  it  if  Shirley  Temple  wasn't — Shirley 
Temple.     I  do  not  as  a  rule  like  stage  children  nor 
child  actors.     I  don't  approve  of  them  and  I  have 
seen  tragedy  surround  them  in  their  sacred  youth 
and  tragedy  destroy  them  in  their  maturity  too  often. 
I  have  had  my  heart  wrung  by  the  poor  self-conscious 
babies  of  the  spotlight,  by  the  unnatural  life  they 
lead,  the  hard  little  eyes  peering  out  of  little  masks 
and  affected  voices  saying  studied  phrases. 
I  felt,  that  morning,  as  I  drove  through  a  light 
California  fog,  that  I  couldn't  bear  it  if  Shirley 
Temple   was  like   that   off   the   screen.     Shirley 
Temple  belongs  to  me  as  she  belongs  to  every 
mother.     She's  the  living  memory  of  the  little 
girl  who  grew  up — the  little  girl  who  grew  up  to 
be  your  best  pal  and  your  greatest  pride,  but  who 
ives  now  only  in  the  long  ago.     She's  the  baby 
daughter  some  women  never  had.     She  belongs 
to  my  boys,  who  continue  to  demand  another 
baby  sister  just  like  Shirley  Temple.     I  have 
laughed  and  wept  with  her  and  loved  her  as 
humanity  must  love  kids  if  it's  to  go  on  at  all. 
Well,  knowing  Shirley  Temple  will  remain  one 
of  the  exquisite  experiences  of  my  life,  some- 
thing  to   take  out  on  days    when  life  hurts, 
when  faith  slips  through    tired  fingers,  when 
ghosts  of  dead  dreams  and  unanswered  prayers 
bring  heartaches.     It's — it's  good  to  find  that 
love  has  been  given  where  love  belongs,  that 
altars  such  as  a  confused,  weary  world  has 
erected   to   this  child  are  sure  and  steady 
altars.    It's  well  to  know  we  were  right  when 
we  took  this  baby  to  our  hearts  and  let  a 
little  child  lead  us  into  hours  of  simple  tears 
and  simple  laughter  that  left  us  stronger  and 
cleaner  and  more  confident  that  God  made 
us  to  be  happy. 

I  might  just  as  well  break  down  right  here 
and  admit  that  finding  Shirley  Temple  be- 
lieving in  Santa  Claus  as  a  love  that  surely 
would  come  to  her  on  Christmas  morning 
made  my  Christmas  bound  to  be  happier. 
When  you  know  her,  there  still  isn't  any 
way  to  explain  Shirley  Temple.    You  just 
have  to  love  her,  that's  all.     As  you  adore 
Alice  in  Wonderland. 
You    see,    Shirley    doesn't    know    she's 
famous.     She  doesn't  know  she  earns  a 
fortune  with  her  dancing  steps  and  her 
twinkling  smile.    She  doesn't  know  she's 
acting.     She's  the  luckiest  child  in  the 
world. 

It's  like  this. 

Your  children  and  mine  play  house — 
they  play  Indian — they  play  dolls  and 
G-men  and  war.     They  get  rigged  up 

23 


HOW  THE  MOST  FAMOUS  LITTLE   GIRL 


in  cowboy  suits  or  mother's  old  clothes.  They  dig 
trenches  in  the  back  yard  and  they  get  up  shows 
and  circuses  and  pretend  to  be  Buck  Rogers  or  the 
Little  Princess.  Well,  Shirley  Temple  does  that 
all  day  long,  only  she  has  the  whole  darn  20th 
Century-Fox  studio  to  do  it  in,  the  wardrobe  de- 
partment to  make  her  costumes,  the  art  depart- 
ment to  arrange  her  sets.  That's  all.  The 
grown-ups  don't  always  have  time  to  make  believe 
with  the  kids,  you  and  I  know  that.  We  don't 
always  have  time  to  stop  and  be  pirate  chief  or 
the  train  conductor.  But  Shirley  Temple  has 
Jimmy  Dunn  and  John  Boles  and  Bill  Robinson 
there  to  play  with  her  all  day  long.  She  IS  Alice 
in  Wonderland.  And  that's  what  keeps  her 
normal  and  simple  and  happy.  She's  an  imagi- 
native child  and  they  make  a  make-believe  world 
for  her  and  she  plays  in  it  with  all  her  heart  and 
soul. 

And  Christmas  is  just  as  big  an  adventure  to 
her  as  it  is  to  every  other  child  in  this  land  who 
hangs  up  a  stocking  with  care. 

"Do  you  expect,"  said  Shirley,  "that  anybody 
ever  gets  tired  of  presents?" 

Having  dealt  properly  with  the  carrots  and 
peas  she  got  up  sedately  and  backed  up  to  her 
mother,  and  mother  removed  the  hooped  skirt 
and  frilled  pantalettes  of  the  "Littlest  Rebel"  and 
Shirley  went  into  the  tiled  bathroom  of  her  studio 
bungalow,  which  to  her  isn't  a  star's  dressing 
room  but  a  play  house  par  excellence.  Pretty 
soon  she  called  me  in,  her  voice  a  conspiratorial 
whisper. 

"I'm  going  to  give  mother  a  new  watch  for 
Christmas,"  she  said,  twinkling  up  at  me.  "  Don't 
tell.  You  don't  expect  she'll  get  one  for  herself 
before  Christmas,  do  you?  That  would  be  awful, 
wouldn't  it?" 

I  said  I  was  sure  she  wouldn't  do  that. 

"Then  that's  all  right,"  said  Shirley,  with  a 
sigh  of  relief. 

"I  have  an  awful  lot  of  Christmas  shopping  to 
do.     But  I'm  making  Daddy's  present  my  own  self, 
tell  anybody  about  that.     It's  a  surprise." 

And  she  didn't  tell  me. 

"Are  all  your  teeth  real  or  have  you  got  any  false  teeth?" 
she  said  suddenly. 

I  said  that  to  date  my  teeth  were  all  my  own  and  Shirley 
shook  her  head  in  pity.  "Come  on  in  and  see  me  put  on  my 
false  tooth,"   she  said. 

We  went  into  the  small  shiny  white  dressing  room.  Shirley 
opened  her  mouth  with  great  expectation  and  rolled  her  eyes 
at  me  and  pointed  one  small  finger  at  her  teeth.  One  of  the 
front  ones  hadn't  quite  grown  down  yet — the  pearly  little 
second  tooth.  Her  mother  adjusted  a  tiny  porcelain  cap  over 
it  and  Shirley  squirmed  and  wriggled  with  delight.  Then  she 
showed  me  the  result  with  pardonable  pride.  "I  got  a  false 
tooth,"  she  said,  with  a  wide  grin. 

"What's   the  nicest  part   of   Christmas,   Shirley?"   I  said. 

"My  bruvvers'll  come  home,"  said  Shirley  instantly. 

There  are  two  big  brothers.  Jack  who  is  at  Stanford 
University,  and  George,  Jr.  who  is  at  New  Mexico  Military 
Institute. 

"It's  lonesome  having  my  bruvvers  at  school  like  that," 
said  Shirley.     Then  her  face  lighted  up.     "But  if  they  hadn't 

24 


I  can't 


gone  away  it  wouldn't  be  so  much  fun  having  'em  come  home." 

"More  fun  than  presents?"  I  asked. 

"O — hh,  yes!"  said  Shirley,  wiggling  frantically,  while  her 
hoop    skirts    were    readjusted. 

"Do  stand  still,  precious,"  said  Mrs.  Temple. 

"All  right,"  said  Shirley,  and  stood  still  for  thirty  seconds 
and  then  began  wiggling  once  more.  "Last  year  I  had  presents 
and  presents  and  presents.  All  the  rooms  were  full  of  presents 
and  presents.  It  looked  more  fun  to  open  them  and  it  took 
me  days  and  days.  I  opened  and  opened.  I  had  so  many 
presents  I  could  give  a  whole  lot  of  them  away.    A  whole  lot." 

"Do  you  like  a  Christmas  tree?"  I  asked. 

"Yes,"  said  Shirley,  "but  I  like  hanging  up  my  stocking 
best.     You  have  to  wait  till  morning — that's  the  most  fun." 

We  went  back  to  the  set  and  then  I  really  fell  in  love  with 
Shirley  Temple  forever  and  ever. 

The  scene  in  the  picture  went  something  like  this:  Big 
Boy  Williams,  playing  a  drunken  Yankee  soldier,  told  Shirley 
to  pull  off  his  boots.  He  leaned  back  in  his  chair  and  Shirley 
pretended  to  pull  off  his  boots,  and  instead  she  shoved  him 
over  backward  and  he  went  flat  on  the  floor.  Then  he  jumped 
up  and  chased  her,  murder  in  his  eye.  The  chase  was  to  end 
when  he  caught  her  directly  in  front  of  the  camera.     The  re- 


IN  THE  WORLD  WILL  SPEND  CHRISTMAS 


These  most  delightful 
pictures  of  Shirley 
Temple  speak  for  them- 
selves. And  there's  not 
a  human  being,  young 
or  old,  wealthy  or  poor, 
who  won't  feel  richer 
in  spirit  when  he's 
read    this    great    story 


hearsals  went  off  perfectly,  but  when  they  started  to  shoot 
Shirley  had  discovered  that  if  she  ran  as  fast  as  she  could,  Big 
Boy  Williams  couldn't  catch  her  until  she  was  at  the  other  end 
of  the  set.  That,  decided  Shirley,  was  much  more  fun  than 
stopping  right  in  front  of  the  camera  for  a  close-up.  So, 
squealing  with  laughter,  she  beat  Big  Boy  Williams  to  the 
other  end  of  the  set  and  came  back  still  uproarious,  shouting  to 
Director  David  Butler,  "I  can  run  faster  than  he  can — 
I  can  run  faster  than  he  can."  It  was  a  glorious  game  and 
Shirley  liked  her  own  version  of  it  much  better  than  the  one 
in  the  script.  "I  can  run  faster  than  anybody,"  she  yelled 
gleefully. 

All  the  lights  and  the  cameras  and  the  people  didn't  mean 
anything  to  her.  It  was  more  fun  to  beat  Big  Boy  Williams. 
It  took  quite  a  while  to  convince  her  that  she  had  to  do  it  the 
other  way  and  then  the  close  up  of  terror  was  amazing 

"I'm  not  really  scared  of  you,  Big  Boy,"  she  told  him,  patting 
his  arm.     "I'm  just  pretending." 

The  Christmas  of  the  world's  most  famous  child  will  be — 
Christmas.  As  quiet  as  Mrs.  Temple  can  make  it.  As  simple. 
The  boys  will  be  home  from  school.  Grandmother  will  be 
there.  A  tree.  A  stocking  by  the  fireplace.  Turkey.  Presents 
that  Shirley  gives  and  gets.   Shirley   [  please  turn  to  page  97 


25 


Abroad  he  acquired  that 
English  way  of  dressing 
and  talking  that  leads 
so  many  people  to  think 
of     him     as     English-born 


NECKTIES  get 
Fred  Astaire  down. 
He  has  as  many 
of  them  as  Bill  Powell 
has  hats  —  which,  the 
last  time  I  looked  into 
Bill's  closet,  was  fifty, 
and  probably  is  a  hun- 
dred by  now. 

But  there  is  a  differ- 
ence between  Fred's  ties 
and  Bill's  hats,  a  differ- 
ence other  than  color 
and  shape.  Fred  wears 
his  ties.  Bill  doesn't 
wear  his  hats.  He  just 
collects  them  as  another 
nut  might  collect  Napo- 
leana  or  Americana  or 
Hollywoodana.  They're 
museum  pieces,  Bill's 
hats,  all  except  the  old 
gray  one  he  has  always 
worn  and  always  .will 
wear — and  that's  sort  of 
a  museum  piece,  too. 

Fred's  ties,  on  the 
other  hand,  are  in  con- 
tinual circulation.  He 
can  only  wear  one  at  a 
time — such  is  the  silly 
rule!  —  but  he  some- 
times tries  on  as  many 
as  fifteen  before  he  finds 
that  one.  And  then,  just 
for  good  measure,  he  ties 
the  runner-up  around 
his  middle  as  a  belt. 

He  probably  got  the  idea  from  his  pal,  the  Prince  of  Wales. 
Davy  has  a  suit  for  every  day  in  the  year — and  many  a  time 
he  refuses  to  go  to  the  royal  sewing  circle  because  he  really 
hasn't  anything  to  wear! 

But,  back  to  Fred. 

When  in  New  York,  Fred  did  his  neckties  daily  dozen  in  a 
big,  sunny,  mannish  bedroom,  the  walls  of  which  were  littered 
with  pictures  of  famous  race  horses.  The  bedroom  couldn't 
very  well  help  being  sunny  because  it  was  in  a  penthouse  on 
the  roof  of  875  Park.  Avenue.  It  wasn't  as  big  a  penthouse  as 
the  late  Ivar  Kreuger's,  and  it  didn't  have  a  tree  growing  up 
in  the  middle  of  it.  But  Fred's  penthouse  was  plenty  big  enough 
to  house  him  and  his  ties,  and  in  the  pre-altar  days,  his  mother 
and  his  sister. 

It  can  hardly  be  said  that  they  lived  extravagantly,  consider- 
ing that  Fred  and  his  sister  were  getting  $4,000  a  week  from 
Ziegfeld  in  1931.  But  to  appreciate  the  causes  for  the  simple 
tastes  of  the  Astaires,  it  is  necessary  to  go  back  to  the  beginning, 

26 


The  Private  Life 

The  real  facts — -from  noodle  soup  to  his  great  romance — 


to  Omaha.  Now  I  am  not  going  to  tell  you  much  of  Fred's 
early  life,  for  you  must  already  have  read  that  since  his  climb 
to  movie  fame.  But  a  sort  of  broad  outline  of  Freddie  from 
Omaha  to  Hollywood  can  do  no  harm. 

In  character  and  career,  Fred  Astaire  may  seem  to  resemble 
the  bubbling  effervescence  of  champagne  rather  than  the  slow, 
heavy  foaming  of  the  humbler  beer.  But  Fred's  father  was  a 
brewer;  and  prohibition — Nebraska  being  a  state  where  they 
take  such  things  seriously — ruined  his  business;  and  so  fat 
little  Freddy  and  his  talented  sister  had  to  "take  steps"  to 
retrieve  the  family  fortunes. 

We  should  drink  to  Mr.  Volstead  then,  we  admirers  of  the 
man  who  has  made  the  nation  dance-conscious,  because  it  was 
the  much  abused  Eighteenth  Amendment  and  the  still  more 
abused  Volstead  Law  that  gave  us  Fred  Astaire. 

Of  course,  as  all  the  world  should  know  by  now,  his  name 
wasn't  Astaire  but  Austerlitz.  Why  the  change  from  Germany 
to  France,  nobody  knows.    But  when  the  dancing  pair  finally 


of  Fred  Astaire 


about  the  shyest  star  of  all 


appeared  at  a  Winter  Garden  Sunday  Night  Concert  in  New 
York,  Monday  morning  critics  did  solemnly  comment  on  "the 
Parisian  chic  of  the  young  Astaires." 

Of  course,  Delly  and  Freddy  didn't  make  the  Winter  Garden 
in  one  jump.  As  a  matter  of  fact,  they  didn't  make  anywhere 
for  some  time,  except  the  local  dancing  school,  where  brown- 
eyed  Freddy  was  known  as  "that  talented  Austerlitz  girl's 
little  brother." 

Subsequently,  Mother  Astaire  brought  her  two  "Nebraska 
golliwoggles "  to  New  York.  She  still  had  enough  money  to 
pay  for  dancing  lessons:  and  she  believed  in  going  to  one  school 
for  one  kind  of  step  and  to  another  for  another.  That's  how 
so  many  dancing  masters  are  now  able  to  stick  out  their  heav- 
ing chests  and  say,  with  some  show  of  truth: 

"I  taught  Fred  Astaire." 

One  dancing  teacher  did  do  something  for  the  kids.  That 
was  Ned  Wayburn.  Ned  wrote  their  first  one-act  skit,  "A 
Rainy  Saturday. "    It  was  while  they  were  doing  this  act  at  a 


At  the  ripe  old  age  of 
six  and  seven  Fred  and 
Adele  were  cavorting  in 
amateur  theatricals  in 
New    York  —  like    this! 


charity  entertainment, 
when  Fred  was  a  little 
less  than  eight  and  Adele 
was  a  little  more  than 
nine,  that  Martin  Beck, 
head  of  the  Orpheum 
Vaudeville  Circuit,  is 
said  to  have  offered 
them  thirty  weeks  in  the 
sticks  on  the  two-a-day. 
"Two-a-day!"  ex- 
claimed Sister  Adele,  in 
recalling  those  early 
troupings.  "Pollyanna 
was  a  pessimist  com- 
pared with  the  humorist 
who  first  called  vaude- 
villethetwo-a-day.  Two- 
a-day  for  us  would  have 
meant  that  the  theater 
had  burned  down  in  the 
middle  of  the  after- 
noon." 

Behind  the  gayety 
with  which  both  As- 
taires now  speak  of  those 
first  struggles  lie  years 
of  draughty  little  vaude 
ville  houses  in  Western 
one  -  horse  towns,  all  - 
night  journeys  in  stuffy 
day  coaches,  meals,  if 
any,  in  greasy,  one-arm 
lunchrooms  —  and  two 
forlorn  youngsters  in 
their  early  teens,  who 
hoped  for  some  better 
spot  than  the  "opener" 
on  vaudeville  bills.     They  had  great  courage,  those  two. 

At  last,  the  break  came — or  so  they  thought.  Their  act  was 
booked,  for  a  solid  week  at  Proctor's  Fifth  Avenue  Theater  in 
New  York,  where  Douglas  Fairbanks  was  the  headliner.  Of 
course,  they  opened  the  bill.  They  expected  that.  But  they 
didn't  expect  to  get  their  notice  after  the  first  performance  on 
Monday  afternoon.  But  when  Freddy,  who  was  business 
manager  as  well  as  dance  originator  and  ballet  master,  went 
around  to  the  theater  office  to  ask  why  the  act  was  cancelled 
he  got  his  answer  in  four  words: 
"Because  it  was  terrible  !" 

Six  weeks  later,  they  were  on  Broadway  again,  really  on 
Broadway,  filling  a  featured  spot  in  Ed  Wynn's  "Over  the 
Top." 

"That,"  commented  Freddy  as  he  told  the  story,  "is  show 
business." 

Whatever  it  was,  Fred  Astaire  had  his  chance,  at  last,  to 
show  the  show-shop  world  "the  feet  that  can  talk  and  sing." 

27 


By  Frederick  Lewis 


Left,  Fred  and  sister  Adele  when  they  were 
ten  and  eleven;  center,  a  year  later,  when 
professional  photographers  came  into  their 
lives;  right,  at  the  ages  of  thirteen  and 
fourteen,  those  difficult  days  of  training, 
filled  with  school  and  dancing  classes  and 
the     ever-present    hope    for    a    better    "spot" 


After  "Over  the  Top"  came  "The  Passing  Show,"  "Apple 
Blossoms,"  "The  Love  Letter,"  "The  Bunch  and  Judy," 
and  "Round  the  Town" — then  "For  Goodness  Sake,"  Europe 
and  the  Grand  Slam! 

It  was  in  London  that  Fred  began  to  pull  away,  artistically 
I  mean,  from  his  popular  madcap  sister.  Perhaps  it  was  a  case 
of  the  prophet  and  his  own  country.  Anyhow,  when  Fred 
Astaire  sailed  away  from  New  York,  he  was  considered  by  all 
but  a  few  of  the  most  discriminating  as  just  another  snappy 
hoofer;  when  he  arrived  in  London,  he  was  immediately 
hailed  as  a  master. 

"  Mr.  Astaire  is  an  actor  from  the  knees  down  ...  his  ankles 
articulate  ecstasy  or  despair  .  .  .  every  footflicker  tells  a 
story  ...  his  laughing  eyes  .  .  .  his  smile,  illuminated  by 
intelligence  ...  an  impish  soul  in  an  Every-man's  body  .  .  . 
feet  that  tell  a  love  story  .  .  .  comedian  ...  a  man  of  the 
world  .  .  .  commanding  all  the  secrets  of  caressing  .  .  .  the  gallery 
rose  to  frenzy  ...  in  the  stalls,  the  women  by  their  glances 
betokened  beatitude.   ..." 

But  to  get  back  to  875  Park  Avenue.  Mother  Astaire  was  a 
wise  woman.  She  had  Omaha  ideas.  Adele  used  to  say  that 
her  mother  only  allowed  her  a  hundred  dollars  a  week  out  of 
her  $2,000,  even  though  she,  Adele,  was  thirty-one  when  she 
quit.  I  imagine  Mother  pursued  more  of  a  hands-off  policy 
with  the  man  of  the  house — it's  still  a  man's  world,  especially 

28 


with  mothers — but  she  was  certainly  no  playgirl  when  it  came 
to  household  expenses. 

There  was  Mandy,  last  name  unknown,  who  served  as 
general,  colonel  and  major  factotem.  Mandy's  chief  job  was 
to  answer  the  telephone,  and  say  nothing.  Delly's  maid  was 
Louize  Lux,  presumably  of  the  well  known  Suddsy  Luxes  of 
Hollywood  and  points  East.  Louise's  motto  was  "Keep  the 
pretties  clean."  Tom  Gisborn  ran  the  Rolls  Royce.  That  was  a 
little  something  that  got  by  Ma!  In  fact,  it  got  by  everybody 
the  way  Tom  drove  it. 

Tom  led  a  hard  life.  His  boss  was  always  getting  away  from 
him.  Once  he  glanced  back  in  the  traffic  on  Fifth  Avenue  in 
front  of  the  Public  Library  and  found  the  back  seat  abso- 
lutely Astaireless.  Tom  was  puzzled.  He  knew  that  the  boss's 
reading  was  confined  within  closely  charted  limits:  detective 
pulps  and  racing  form  sheets.  Fred  was  not  one  to  while  away 
an  afternoon  browsing  about  the  library.  But  Tom  had  been 
caught  with  his  back  door  open  before  He  eased  his  big 
boat  up  to  the  curb,  and  waited. 

And  waited!  Finally,  the  "young  master"  emerged  from 
Woolworth's  on  the  Fortieth  Street  corner  munching  some- 
thing which  he  had  extracted  with  difficulty  from  a  paper  bag. 
He  had  spent  an  hour  and  three  quarters  in  the  Five-and-Ten, 
and  all  he'd  bought  was  a  bag  of  popcorn. 

[  PLEASE  TURN  TO  PAGE  108  | 


Remember,  boys,  that  little  girl  second  from  the  leit  is  the  talented  dramatic  actress  I  discovered  in  Caliente  last  week-end 

29 


COVER 


The  "hit-makers,"  director  Wes 
Ruggles,  Claudette  Colbert,  and 
writer    Claude    Binyon    talk    it    up 


The  place  where  the  most  things  happen  in  Hollywood  is  right 
smack  in  the  studios.  That  probably  sounds  so  simple  to  yon 
there  seems  to  be  little  sense  in  stating  it,  and  yet  most  reporters 
hang  around  the  Trocadero  bar,  the  Vendome  at  lunch  time,  the 
studio  press  departments,  to  get  what  news  they  garner. 

The  new  Photoplay  wants  to  bring  you,  monthly,  exactly  what 
is  really  happening  in  the  most  fascinating  town  on  earth.  You'll 
get  tin  drama  and  the  color  and  the  personalities,  we  promise,  but 
we  also  want  to  give  you  the  facts. 

With  this  in  mind,  Photoplay  herewith  starts  a  new  depart- 
ment. Every  picture  shooting  will  be  visited  direct  on  the  set  each 
month. 

We'll  tell  you  just  what  the  new  pictures  are  about,  who's  in 
them,  and  the  little  stories  that  lie  behind  the  dramatic  stories  that 
you  finally  sec  on  the  screen. 

Hollywood  is  boiling  these  days.  This  month,  each  week,  more 
than  forty  pictures  have  been  working.  Some  of  those  pictures 
finish  in  seven  days.    Others  take  months. 

Watch  this  department  for  the  complete  news  on  each  and  all  of 
them  regularly. 

R.  W. 

30 


THE  first  stop  on  our  tour  of  the  month's  most  interesting 
"pictures  in  the  work"  took  us  to  the  bustling  Warner 
lot,  where  the  outlook  is  so  optimistic  they  are  building 
three  huge  new  sound  stages. 

It's  all  pirates,  blood  and  thunder  on  the  "Captain  Blood" 
set.  This  is  Warner's  big  outdoor  thriller  and  about  two  million 
dollars  are  being  invested  in  it.  That  two  million  is  being 
risked  on  an  actor  you  have  never  seen. 

Errol  Flynn  is  his  name.  He's  a  tall,  graceful  Irishman  with 
a  delicate  handsomeness  that  belies  his  background.  Twenty- 
six  years  old,  he  has  been  amateur  light-heavy  weight  boxing 
champion  of  Ireland,  has  dived  for  pearls  in  the  South  Seas, 
captained  a  freighter,  and  prospected  for  gold  in  New  Guinea. 

We  watched  Mr.  Flynn  do  a  long  difficult  scene  on  board  the 
ship,  Cinco  Laggos.  The  ship  is  a  beautiful  model  of  studio 
craftsmanship,  being  an  exact  copy  of  the  one  used  in  the  out- 
door takes.  They  have  to  have  this  one  for  the  close-ups.  You 
can't  take  close-ups  on  a  pitching  ocean.  In  this  sequence, 
Flynn  addresses  a  group  of  pirates.  In  the  background  is  a 
painted  ocean,  decorated  with  tinselled  bits  of  silver  and  gold 
paper  so  that  when  you  squint  it  is  exactly  like  sunshine  on 


THE  STUDIOS 


An  Early  Bird's-Eye  View 
Of  Pictures  in  the  Making 

By  Michael  Jackson 


Eric  Linden  and  Cecelia  Parker, 
the  young  lovers  (off-screen,  no!) 
in      O'Neill's      "Ah.      Wilderness" 


Warner  Baxter  as  the  bold,  bad 
man  in  "Robin  Hood  of  Eldorado." 
a  tale  of  the  exciting  days  of  '49 


water.  Michael  Curtiz,  the  director  of  the  film  and  the  man 
who  made  "  Black  Fury,"  let  us  look  through  the  camera.  The 
scene  is  absolutely  real  through  that  glass  eye. 

As  the  camera  moves  back  and  forth  to  give  the  effect  of  the 
ship's  roll,  the  ocean,  synchronized,  moves  up  and  down,  too. 
It's  just  like  being  at  sea. 

Flynn,  still  bearing  scars  from  a  too  realistic  saber  duel  the 
script  demanded  with  Basil  Rathbone,  tells  his  crew  what 
reward  they  will  receive  if  wounded  by  the  enemy.  Five 
hundred  guilder  for  loss  of  a  right  arm.  Five  hundred  for  loss 
of  an  eye.  The  same  for  loss  of  a  right  leg.  Four  hundred  for 
the  loss  of  a  left  arm  or  leg.  "If  a  man's  lucky,  he  can  get 
rich!"  pipes  one  of  the  tough  looking  crew. 

"Greedy,  greedy,"  mutters  Pirate  Guy  Kibbee. 

"Captain  Blood"  is  taken  from  the  Rafael  Sabatini  thriller. 
Flynn  and  his  men  are  seen  as  fugitives  in  the  King  Charles' 
rebellion.  Once  useful  members  of  society,  they  intend  to 
plunder  their  way  back  to  security.  A  richly  costumed  and 
lavishly  mounted  affair,  "Captain  Blood"  should  be  a  stirring 
adventure  film.  I  suspect  that  Mr.  Flynn,  recently  married  to 
Lily  Damita,  is  a  star  of  the  future. 


Straight  from  this  lusty  atmosphere,  we  went  to  the  "Enemy 
of  Man"  set,  where  the  air  is  almost  sanctified.  For  here  a 
great  actor  is  portraying  a  great  man.  You  feel  conscious  of 
that  immediately.  "  Enemy  of  Man"  is  based  on  the  life  of  Dr. 
Louis  Pasteur.    Paul  Muni  plays  the  physician-chemist. 

The  scene  is  in  a  hospital.  All  about  are  extras  quietly  lying 
in  bed.  Pasteur — you  can't  help  thinking  of  Muni  as  the  char- 
acter he  portrays — is  near  death  himself.  He  is  an  old  man, 
somehow  very  noble  and  kind,  yet  sad  with  a  sort  of  world 
weariness.  Muni  wears  a  grey  beard  and  his  hair  is  touched 
with  grey.  His  face  is  not  heavily  lined,  nor  are  his  hands  made 
up.  Yet  every  little  gesture  conveys  his  age.  Pretending  ill- 
ness, Muni  is  pushed  up  to  the  camera  in  a  wheelchair. 

William  Dieterle  rehearses  the  scene  slowly.  Dieterle  always 
wears  spotless  white  gloves  when  he  directs.  We  asked  the 
press  department  why.  They  said  he  had  given  so  many 
reasons  they  didn't  know  themselves.  The  extras  lie  in  their 
beds,  waiting  for  the  lights  and  cameras.  We  asked  one  of  them 
if  that  wasn't  a  fine  job  lying  in  bed  all  day. 

"  No,"  he  said  simply.    Extras  don't  like  anything. 

[  PLEASE  TURN  TO  PAGE  92  1 


The  eyes  of  the  law!  Movie  or  no  movie,  they 
set  your  rich  red  corpuscles  racing.  The  coldly 
calculating  brain  behind  the  twin  points  of 
steel  is  Edward  Arnold's,  the  inspector,  in  Dos- 
toievsky's aptly  titled  "Crime  and  Punishment" 


Lorre.  the  criminal  in  "Crime  and 
Punishment,"  achieves  his  "menace" 
without  the  use  of  any  make-up.  He 
merely    has    his    pate   close-cropped 


The  candid  camera  shot,  right,  of 
Lorre  and  Marian  Marsh  and  the 
other  remarkably  graphic  pictures  in 
this  spread  are  by  Victor  Haveman 


32 


^ 


*% 


* 


k?^* 


Edward  Arnold,  with  his  triumph  as 
Diamond  Jim  still  echoing,  is  expected 
to  attain  even  greater  heights  as  a 
character  delineator  in  "Crime  and 
Punishment."  Marian  Marsh,  with  him 
above,  is  the  prostitute  in  the  storied 
tragedy.  Her  assignment  to  the  film 
raises  a  neat  question.  Columbia,  in 
entering  the  motion  picture  world's 
heavy-classics  tourney  after  smash  hits 
in  the  lighter  field,  with  such  as  "It 
Happened  One  Night,"  and  "One 
Night  of  Love,"  engaged  the  deDie- 
triched  Von  Sternberg.  Now,  without 
Dietrich,  will  Marsh  become  Von  Stern- 
berg's new  Trilby?  Oddly  coincidental 
is  the  fact  Marian  played  Trilby  to 
John  Barrymore's  Svengali  in  the  pic- 
ture of  that  name.  The  European  star, 
Peter  Lorre,  left,  came  to  the  American 
movie-goer's  attention  with  the  im- 
ported "M,"  and  "The  Man  Who  Knew 
Too  Much."  But  his  first  Hollywood 
picture,  "Mad  Love,"  was  a  set-back 
to  the  promise  in  the  two  earlier  films. 
The  Dostoievsky  tragedy  should  prove 
whether   the   set-back   was   temporary 


33 


Face 
Down 


By  Charles  J.  Kenny 

Illustration  by  Frank  Godwin 


CHAPTER  VII 


DICK  BRENT  held  out  his  arms.     "Take  it  easy,"  he 
cautioned. 
For  a  moment  he  thought  that  she  didn't  see  him. 
Then  she  gave  one  last,  startled  glance  over  her  shoulder  and 
flung  herself  into  his  arms. 

"  What  is  it?  "  Dick  asked.    "  What's  the  matter? " 
"That  awful  thing,"  she  gasped,  "back  of  me.    It's  coming! 
It's  coming!    I  tell  you  it's  coming!" 

Dick  looked  down  the  vacant  corridor  and  said,  "Steady 
now.    There's  nothing  coming." 

She  buried  her  face  against  his  shoulder  and  shuddered,  cling- 
ing to  him  until  her  fingers  dug  through  his  coat. 

34 


"Listen,"  he  told  her,  "you've  got  to  snap  out  of  it.  Turn 
around  and  look  down  the  corridor.  You  can  see  for  yourself 
there's  no  one  coming." 

She  kept  her  head  pressed  tightly  against  his  coat. 

"Come  on,"  he  told  her,  "turn  around  and  look." 

Gently  he  raised  his  hands  to  her  face,  forced  her  to  look  back 
down  the  corridor. 

"No!  No!  No!"  she  screamed.  "Don't  make  me.  I  can't 
bear  to  see  it  again." 

"See  what?"  he  asked. 

"It,"  she  said,  twisting  her  face  free  and  holding  herself  close 
to  him  as  a  frightened  child  clings  to  his  parent. 


For  a  moment  they  stood  motionless,  and  in  that  moment  the 
wind  whipped  around  the  house,  moaning  from  a  low-pitched 
sound  into  a  shrill  scream. 

Dick  felt  her  suck  in  her  breath,  knew  that  she  was  going  to 
scream  again.    He  pressed  his  hand  over  her  lips. 

"Now  listen,"  he  told  her,  "come  down  to  earth.  Where's 
Alter?" 

She  shook  her  head  and  raised  her  hands  to  push  his  palm 
from  her  lips.  Her  eyes,  staring  at  him  over  the  top  of  his  hand, 
were  glassy  and  distended  with  horror. 

Dick  realized  there  was  only  one  thing  to  be  done  and  he 
did  it. 


Bending  slightly,  he  placed 
one  arm  about  her  waist,  one 
about  her  knees,  swung  her  from 
the  floor  and  carried  her  into  the 
room.  He  sat  her  down  in  a 
chair.  She  clung  to  his  hand. 
"Don't  go  away,"  she  said. 
Dick  thought  perhaps  a  bit  of 
facetiousness  might  help. 

"I'm  only  going  over  to  that 
big  chair  and  sit  down,"  he  told 
her.   "You  can  send  me  a  wire  if 
you  need  me,  or  if  it's  something 
urgent,  write  a  note  and  pin  it  to 
the  arm  of  your  chair.    Or,  per- 
haps you'd  prefer  to  come  and 
sit  on  my  lap." 
"Yes,"  she  told  him,  "I'll  sit  on 
your  lap." 
Dick  looked  at  her  and  saw  that  she 
was  in  earnest,  so  he  crouched  by  the 
side  of  her  chair,  holding  her  hand  in  his 
left  hand,  patting  the  back  of  it  gently 
with  his  right. 
"If  there's  really  someone  in  this  house,"  he 
said,  "I  want  to  know  it.     I  want  to  know 
where  he  is  and  what  he  looks  like.     All  this 
hysterical  business  isn't  helping  us  any.    Tell  me 
what  happened." 
"Close  the  door,"  she  pleaded. 
Dick  closed   the  door,   hesitated  a  moment,  then 
pushed  the  chair  against  it  in  such  a  way  that  the 
back  of  the  chair  was  under  the  knob  of  the  door. 

She  sat  motionless,  save  for  her  eyes,  which  fol- 
lowed his  every  move. 

"  Come  back  over  here,"  she  begged,  "and  tell  me 
who  you  are." 

He  came  to  her  and  she  grabbed  at  his  hand,  cling- 
ing tightly  to  his  wrist  and  fingers. 

"The  name,"  he  said,  "is  Brent,  Dick  Brent." 
"I've  never  heard  of  you,"  she  told  him.     "Are 
you  a  friend  of  Mr.  Alter?  " 

He  avoided  the  question.    "Right  now,"  he  said, 
"the  big  thing  is  to  talk  about  you.    Tell  me  your 
name." 

He  thought  perhaps  she  might  lie  to  him, 

but  she  said  frankly,  "I'm  Merla  Smith." 

"I  think,"  he  told  her,  "I've  heard  of 

you.    Aren't  you  the  daughter  of  J.  Benton 

Smith?" 

"Yes." 

"What  were  you  doing  here?" 
He  could  see  that  she  was  trying  to  keep 
him  from  discovering  something,  and  the 
necessity  of  keeping  that  something  from 
him  did  more  to  restore  her  poise  than  all 
of  his  reassurances. 

"When  you  saw  me,"  she  said,  "I  was 
running  down  the  corridor." 

"How  long  had  you  been  here?" 
"I  didn't  look  at  the  time  when  I  came." 
"Had  you  seen  Alter?" 
"Naturally.    One  doesn't  enter  a  person's  house  without  see- 
ing the  host." 

"Where  is  Alter?" 

"I  don't  know.    He  was  here  in  this  room  .  .  .  that  is  .  .  . 
I  don't  know." 

"Were  you  here  when  I  rang  the  bell?" 

"Does  it  make  any  difference?" 

"Yes." 

"I'm  afraid  you'll  have  to  ask  Mr.  Alter  about  that." 

"Why  were  you  calling  on  him?" 

"Need  we  go  into  that?" 

"I  think  we'd  better." 


35 


"Well,"  she  said,  her  eyes  now  back  to  normal  dimensions 
and  surveying  him  with  wary  appraisal,  "  Mr.  Alter  is  a  lawyer. 
It  might  have  been  that  I  was  consulting  him  in  his  professional 
capacity.  On  the  other  hand,  it  might  have  been  merely  a 
social  visit.  Alter  is  a  very  eligible  bachelor,  you  know.  Of 
course,  Dad  might  not  approve  of  him.  Dad's  ideas  of  legal 
ethics  might  not  be  exactly  the  same  as  Mr.  Alter's." 

Brent  waited  until  her  eyes  were  fastened  on  his.  They  now 
held  that  mocking  expression  of  amused  tolerance  with  which 
young  women  of  the  modern  generation  regard  persistent 
masculine  attempts  to  overcome  feminine  resistance. 

"Look  here,"  he  said,  "did  you  know  Dr.  Copeland?" 

That  question  jarred  her  out  of  her  composure.  She  tried 
to  set  her  face  in  a  mask  so  that  he  could  not  read  her  expres- 
sion, and  failed.     Apprehension  darkened  her  eyes. 

"Go  on,"  he  told  her,  "answer." 

"Yes,"  she  said,  "I  know  him." 

"Intimately?" 

"No." 

"In  a  friendly  or  professional  capacity?" 

"Neither." 

"What  was  it?" 

"I'm  not  going  to  tell." 

Brent  released  his  hand  from  her  gripping  fingers.  Those 
fingers  were  ice  cold. 

"Now  listen,"  he  told  her,  "you  and  I  are  going  to  have  an 
understanding.    You  may  not  like  it,  and  when  I'm  done  you 
may  not  like  me,  but  whether 
you  like  it  or  notv  we're  going 
to  have  an  understanding. 

"Now,  Alter  had  occasion 
to  mention  a  certain  person 
early  this  evening.  He  didn't 
want  to  give  that  person's 
real  name  so  he  referred  to 
her  as  Mary  Smith.  At  that 
time  I  didn't  think  much  of 
it.  Mary  Smith  is  rather  a 
common  name,  but  that  per- 
son was  connected  in  some 
way  with  Dr.  Copeland. 
Now,  I'm  wondering  if  the 
name  Mary  Smith  didn't  pop 
into  Frank  Alter's  mind  be- 
cause he  was  thinking  of 
Merla  Smith." 

She  sat  perfectly  motion- 
less, and  after  a  moment  said 
tonelessly,  "This  person  was  a  woman?" 

"Naturally." 

"She  was  connected  with  Dr.  Copeland?" 

"Yes." 

"And  Frank  Alter  was  representing  her?  " 

"Yes." 

She  inhaled  a  deep,  quivering  breath,  and  in  a  voice  which 
she  fought  to  keep  from  showing  emotion  said,  "Who  was  the 
woman?  " 

Dick  shook  his  head. 

"And  she  was  mixed  up  in  some  way  with  Dr.  Copeland?" 

"You  might  say,"  Brent  said,  "that  she  knew  something 
about  Dr.  Copeland's  murder.     You  see,  Dr.  Copeland  .   .  ." 

Her  quick,  gasping  intake  of  breath  warned  him.  He 
stopped,  watched  the  expression  of  her  eyes. 

"Dr.  Copeland  dead!"  she  exclaimed.  "Do  you  know  what 
you're  talking  about?     Are  you  sure?  " 

He  nodded. 

"Good  heavens,  it's  impossible.  It  can't  be.  Why  I  saw 
him  only  .  .  .  Never  mind  .  .  No  matter.  Only  you're  mis- 
taken.    He  can't  be  dead." 

"Don't  spread  it  on  too  thick,"  Brent  warned.  "If  you 
want  to  register  surprise,  that's  one  thing.  If  you  want  to 
lay  a  foundation  for  your  innocence,  that's  another.  I  said 
Dr.  Copeland  had  been  murdered.  Now,  tell  me  what  you 
know  about  that." 


What  Has  Gone  Before: 

T^ICK  BRENT,  detective,  has  been  engaged  by  Frank  Alter, 
"^  a  lawyer,  to  keep  the  name  of  lovely  Vilma  Fenton — - 
whom  he  calls  Mary  Smith,  but  whom  Brent  recognizes  as 
Vilma — out  of  the  investigation  of  the  murder  of  Dr.  Cope- 
land. Alter  double  crosses  Brent,  and  tries  to  pin  the  murder 
on  him.  Brent  escapes  the  trap  set  for  him  and  goes  to 
warn  Vilma  Fenton.  While  he's  waiting  for  her,  her  butler 
is  struck  down  by  a  mysterious  person  who  escapes.  Brent, 
baffled  for  the  time,  goes  to  Alter's  home.  Through  a 
window,  he  sees  the  lawyer  talking  to  Merla  Smith,  promi- 
nent society  debutante.  But  when  Brent  enters  the  house, 
the  same  room  where  Merla  Smith  was,  she's  nowhere  to 
be  seen,  and  Alter  says  he  is  alone.  Alter  leaves  the  room 
to  get  Brent  a  drink.  As  Brent  waits,  Merla  Smith  races 
screaming  along  the  corridor,  and  collapses  in  Brent's  arms 
as  he  dashes  out  of  the  room.  "Don't  let  it  get  me!"  she 
cries.    "It  tried  to  choke  me!"   Hysterical,  she  again  screams 


"  N-n-n-n-nothing." 
"  Yes  you  do." 

"  No  I  don't.  Honestly.  On  my  word  of  honor  I  know 
nothing  about  it.  Only,  perhaps  it's  going  to  change  things 
very  much  so  far  as  I'm  concerned.     I  must  think  it  over." 

Brent,  watching  her,  said,  "You're  all  right  now.  You've 
got  a  grasp  on  yourself  again." 

"  Was  that  why  you  were  questioning  me?"  she  asked. 
"Partially,"  he  said. 

He  stepped  to  the  door,  pulled  back  the  chair.  As  he  opened 
the  door,  a  gust  of  wind  rushed  down  the  corridor,  and  billowed 
the  curtains. 

Brent  said,  slowly,  "H-m-m-m  .  .  .  that  didn't  happen 
before.  Something's  been  left  open  Tell  me,  where's  Alter. 
Did  he  go  out?" 

"I  tell  you  I  don't  know.     I  didn't  see  Alter." 
Dick  raised  his  voice  and  shouted,  "Oh  Frank,  Frank  Alter! 
Hell-o-o-o-o! " 

There  was  no  answer.  The  wind  howled  down  through 
the  corridor. 

"What  was  it  you  saw?"  Dick  asked  her 
She  could  control  herself  now. 

"I   didn't   see   anything,"   she   told   him.      "It   was  dark. 
Some  one  clicked  a  switch  and  the  corridor  was  all  black,  and 
then  this  thing  jumped  out  at  me.    There  were  fingers  clutch- 
ing at  my  throat.    My  God,  he  almost  got  me!" 
"Where  was  he  when  he  turned  out  the  lights?" 

"In  one  of  the  bedrooms 
down  the  corridor." 
"Where  were  you?" 
"In    the   corridor." 
"And   then   what   hap- 
pened?" 

"I  walked  past  the  door 
and  the  lights  went  out. 
Then  he  jumped  out  at 
me.  He  grabbed  and  his 
hand  caught  in  my  blouse. 
He  almost  had  me  by  the 
throat.  It  was  my  backward 
leap  that  saved  me." 
"So  then  what?" 
"Then  I  turned  and  ran  as 
hard  as  I  could." 

"And  what  happened?" 
"I  heard  him  coming  after 
me." 

"You  could  hear  him  run- 
ning?    What  was  it  like?     Describe  it." 

"Yes,  I  could  hear  him  run.  He  ran  like  an  animal,  a  pad- 
pad-pad.  Oh  I  know  what  it  was.  He  didn't  have  any  shoes  on. 
I  heard  his  feet  and  I  could  hear  him  breathe.  It  was  a  peculiar 
breathing.  It  sounded  as  though  his  mouth  was  open  and  his 
breath  was  hot  and  smelly,  like  the  breath  that  comes  from  a 
caged  lion,  if  you  know  what  I  mean." 
"I  know  what  you  mean,"  Dick  told  her. 
There  was  a  telephone  in  a  corner  of  the  room.  Dick 
crossed  to  it. 

"What's  that?"  he  asked,  suddenly  looking  toward  the 
corridor. 

Her  frightened  eyes  turned  toward  the  door,  and,  having 
made  certain  that  she  could  not  watch  the  number  he  was 
turning  on  the  dial,  Dick  dialed  Vilma  Fenton's  number. 
A  moment  later  he  heard  the  butler's  voice  on  the  wire. 
"This  is  Dick  Brent,"  he  said.     "I  left  there  a  few  minutes 
ago.     You'll  remember  me,  James." 

"Yes,  sir,  I  remember  you  perfectly,  sir.  If  you'll  pardon 
my  saying  so,  sir,  I'm  going  to  remember  you  for  a  long  time. 
And  the  name  is  not  James.    It's  Arthur." 

"Quite  right,  Arthur,"  Brent  said.  "Tell  your  mistress  I'm 
on  the  line." 

A  moment  later  he  heard  Vilma  Fenton's  voice. 

"Oh,  Dick,  I'm  so  glad  you  called.    I  want  to  tell  you  .  .  ." 

"Listen,"  he  interrupted,  "this   [  please  turn  to  page  82  ] 


36 


OUR  NEW  PERSONALITY  of  this  MONTH 


A  New 

Career 

at  62 


By  Kirtley  Baskette 


THE  preview  was  almost  over. 
Next  to  the  rugged,  ruddy 
faced  man  with  the  thinning 
curly  hair,  watching  himself  for 
I  he  first  time  on  the  screen,  sat  a 
man  whose  maverick  iron-grey 
shock  fell  close  to  keen  eyes.  His 
own  shadow  face  was  nothing  new 
to  those  eyes,  but  the  debut  of  his 
best  friend  had  made  them  more 
than   usually  alert. 

Suddenly  they  turned,  and  a 
bronzed  hand  reached  out  from 
broad  shoulders  to  bestow  an 
assuring  slap  on  his  friend's  knee. 
Will  Rogers  pulled  his  wide  grin 
wider  with  a  wink. 

"Okay  Fred,"  he  whispered, 
"okay." 


Fred  Stone  and  his  tal- 
ented daughters,  Paula. 
Dorothy.  Carol,  as  the  old 
master — sorry — the  young 
feller — p  o  i  n  t  s  up  their 
steps.  And  headlines 
once  screamed:  "Stone 
Never    to    Dance    Again!" 


Fred  Stone,  one  of  the  greatest 
entertainers  Broadway  ever  knew, 
can  look  to  that  last  whispered 
tribute  from  Will  Rogers,  one  of 
the  greatest  entertainers  Holly- 
wood ever  knew,  for  a  benedic 
tion  upon  the  new  career  which  is 
beginning  for  him  at  sixty-two. 

For  only  a  few  days  after  that 
preview  of  "Alice  Adams,"  Bill 
Rogers  flew  away  to  join  the  old 
timers  of  the  Cherokee  Strip  and 
Fred  Stone,  a  boy  from  the  Kan- 
sas plains  next  door,  stayed,  wet- 
eyed,  to  cross  his  trouping  trail 
as  he  had  crossed  it  in  the  old  days 

But  this  is  not  the  story  of  the 
friendship     of     those     two     fine 

f  PLEASE  TURN  TO  PAGE  101  | 

37 


C AL  YORK'S  GOSSIP 


Cupid  keeps  right  on  going  in 
Hollywood.  First  of  our  ro- 
mantic pairs  are  Henry  Fonda 
and  Shirley  Ross  leaving  the 
Cafe  Trocadero.  Marriage  is 
expected    at    an    early    date 


Gilbert  Roland,  always  with 
Constance  Bennett  wherever 
Connie  appears,  decides  to 
turn  the  tables  and  to  get  a 
shot  of  the  cameraman  at  the 
Los    Angeles    tennis    matches 


THOUGH  she  never  worked  with  him,  Shir- 
ley Temple  is  already  showing  unmistakable 
signs  of  that  ready  wit  of  Will  Rogers'.  Slur- 
ley  met  the  Gallic  actress,  Simone,  the  other 
day  and  decided  it  would  be  a  good  time  to  put 
her  six  months'  lessons  in  French  to  the  acid 
test.  She  started  firing  questions  at  Simone. 
Simone  listened  attentively  but  each  time  had 
to  ask  for  a  repetition  in  English. 

Finally  Shirley  threw  up  her  hands  in  dis- 
gust 

"Miss  Simone,"  she  said.  "I  guess  you  and 
I  just  don't  speak  the  same  kind  of  French." 

TATITH  the  tiny  patter  of  little  feet  and  all 
*  *  that  expected  in  the  Fred  Astaire  house- 
hold  before   long,    Fred  has   already   started 
hustling  to  buy  baby  the  needed  new  shoes. 

Fred  will  drag  down  an  over-riding  percent- 
age on  top  of  his  salary  for  his  next  twinkle- 
toes  epic,  "Follow  the  Fleet."  You'll  be  glad 
to  know  that  his  little  side-kick,  Ginger,  get's 
a  few  more  kopeks  on  her  salary  check  too. 
You'll  also  be  glad  to  know  that  those  rumors 
about  Ginger  and  Fred  being  mad  at  each  other 
and  jealous,  and  anxious  to  split  up  profession- 
ally is  just  a  lot  of  old  apple-butter. 

They  never  have  been  pals,  they  never  have 
been  intimate  or  even  close.  They  don't  go 
around  together  socially  very  much.  It's  a 
strictly  business  arrangement,  but  they  both 
have  plenty  of  respect  for  each  other,  and 
neither  one  is  taking  all  the  bows.  There — I 
guess  that  clears  lluit  up. 

38 


Sally  Blane,  who  has 
become  Mrs.  Norman 
Fosier  since  this  pic- 
ture was  taken,  and 
her  devoted  Norman 
interchanging     glances 


The  newest  object  of 
Jackie  Coogan's  affec- 
tions is  Betty  Grable. 
Unless  this  romance 
lasts  a  week  we  just 
won't  take   it  seriously 


CAROLE  LOMBARD  is  no 
longer  wearing  that  80  karat 
trifle  given  her  by  Bill  Powell 
during  the  halcyon  period  of 
marital  accord. 

She's  replaced  it  with  a  152 
karat  star  sapphire  she  gave  her- 
self. 

EMILY  POST  would  have  had  some  work 
cut  out  for  her  over  at  the  20th  Century- 
Fox  lot  the  other  day. 

On  one  stage  were  Lawrence  Tibbett,  Mrs. 
Tibbett  No.  1  and  the  children,  Mrs.  Tibbett 
No.  2,  and  Virginia  Bruce  who,  'tis  whispered, 
thinks  Larry  is  pretty  swell  herself. 


AFTER  all  these  years,  Josef  von  Sternberg 
has  decided  to  stay  with  us  movie  people 
for  a  permanent  while — at  least  the  old  maestro 
is  practically  done  with  his  new  house  away 
out  Chatsworth  way  in  the  San  Fernando 
Valley,   not  far  from  Joel   McCrea's   rancho. 

Von  has  put  himself  up  a  very  modern- 
modern  house.  It's  miles  away  from  everyone 
you  ever  knew  and  (he  hasn't  decided  yet)  but 
it  looks  as  if  the  whole  exterior  will  be  covered 
with  bronze  paint.    Won't  that  be  nice? 

However,  what  makes  us  wonder  what  both- 
ers Joe  is  the  fact  that  we  understand  all  of 
his  glassware,  windows,  door  fronts,  every- 
thing is  to  be  bullel-proof  ghiss.' 


OF  HOLLYWOOD 


Helen  Vinson,  the  very  new 
Mrs.  Fred  Perry,  serves  wed- 
ding cake  to  her  guests  Ralph 
Bellamy,  Wally  Ford.  Johnny 
Mack  Brown,  Walter  Con- 
nolly. Her  bridegroom,  Fred 
Perry,     is     second     from     left 

Photos  by  Hy 


On  the  day  they  left  Holly- 
wood for  New  York  and 
marriage  Jean  Crawford 
and  Franchot  Tone  looked 
starry  eyed  and  loving 
even     on     milk    and     fruit 


Why  Miss  Sothern! 
What  are  you  so 
haughty  about,  and  yet 
so  nic»,  too?  That's  Mr. 
Roger  Pryor  and  we 
k  n  o  iv    you    like    him 


Margaret  Sullavan  and 
her  husband.  William 
Wyler,  who  really  do 
have  a  swell  time  to- 
gether despite  little 
flashes  of  temperament 


fPHE  ghost  of  Napoleon  caused  Warner 
*  Brothers  beaucoup  grief  and  trouble — just 
as  old  Nap  himself  caused  a  lot  of  other  people 
a  bit  of  worry  during  his  mortal  span. 

After  keeping  it  up  the  sleeve  for  some  moons 
now,  we  understand  that  anyone  who  wants  to 
step  up  and  buy  the  script  can  do  so  at  a  mod- 
est and  reasonable  sum. 

What's  more  the  buyer  can  have  Paul  Muni 
as  the  Little  Corporal,  if  they  want  him.  Paul 
has  been  cuh-razy  to  play  the  part  for  a  long 
time,  but  so  many  stars  at  Warner  Brothers 
wanted  to  play  Bonaparte  that  it  looked  like 
a  Civil  War  if  they  made  the  picture  on  the 
home  lot. 


OVER  Paramount  way  they're  resurrecting 
that  old  "Horses,  horses,  crazy  over  horses" 
thing  for  Charlie  Gorman's  benefit. 

For  Charlie's  had  the  delicate  task  of  bleach- 
ing Agnes — and  Agnes  is  a  horse. 

A  trick  horse  was  needed,  it  seems,  for  an 
important  part  in  Harold  Lloyd's  new  "Milky 
Way"  and  it  had  to  be  a  white  horse.  Agnes 
could  do  tricks,  but  she  wasn't  white.  So  into 
the  bleach  pots  she  went. 

Bleaching  a  horse  turns  out  to  be  somewhat 
of  a  gargantuan  task  and  rather  expensive. 
Only  half  a  horse  can  be  bleached  at  a  time, 
for  one  thing,  and  it  takes  five  bleaches  to 
turn  brown  into  white  when  it's  a  horse. 


So  far  the  score  is  20  gallons  of  peroxide,  20 
pounds  of  white  henna  and  5  gallons  of  am- 
monia. 

And  still  going  strong. 

Agnes  is  quite  put  out  about  it  all. 

&HE'S  young  and  she's  pretty 
kjand  she's  got  a  pretty  swell 
dad.     But 

The  other  day  she  came  to  Max 
Factor  with  a  tale  of  woe. 

"Blast  the  day  you  made  that 
elegant  white  toupee  for  dad," 
she  moaned.  "Now  he  thinks 
he's  a  Kentucky  colonel  and  you 
should  see  our  liquor  bill!" 

NAT  PENDLETON  comes  in  for  our  spe- 
cial  "Better   Manners   For  Pets"   medal 
this  month. 

Nat  goes  for  snakes  as  little  house-mates, 
and  he's  been  making  a  labor  of  love  out  of 
training  his  little  reptilian  not  to  stick  his 
tongue  out  at  guests! 

THE  Beverly  Hills  city  fathers  don't  know 
it  yet,  but  the  name  of  Alpine  Drive  has 
been  officially  changed  by  three  of  its  eminent 
residents. 

It  is  now  known  as  "Harmony  Row."  And 
the  new  name  is  the  brainchild  of  Nelson  Eddy, 
Gladys  Swarthout  and  Lawrence  Tibbet  who 
all  live  in  a  row  next  to  each  other. 

Incidentally  all  complain  to  each  other  about 
the  noise  next  door. 


39 


Virginia  Bruce,  the  belle 
of  all  parties,  is  a  love- 
lier than  ever  picture 
when  dated  by  the 
handsome  Cesar  Romero. 
Isn't    he    the    Brummell? 


Bill  Seiter  poses  very 
proudly  with  his  pretty 
wife,  Marian  Nixon. 
After  a  year  of  wedded 
life,  this  couple  are  still 
so  very  blissfully  happy 


The  Don  Stewarts  and  the  Richard  Barthelmesses 
are  always  paling  around  together  and  here  they 
are     at     the     Trocadero      at     Bill      Goetz'      party 


SHIRLEY  TEMPLE  has  kept  a  record  of 
her  impressions  of  her  first  year  in  pictures 
in  a  big  scrap  book.     It  starts  with  sentences 
scrawled  and  printed  in  her  childish  handwrit- 
ing and  ends,  in  a  firm  little  hand,  with: 
"I  wish  I  could  work  with  Will  Rogers." 

THAT  man's  around  again — which  is  to  say 
the  rumor  fello. 

This  time  he  says  that  Arline  Judge  and 
husband  Wesley  Ruggles  are  going  through 
one  of  those  matrimonial  ripples,  but  let's 
hope  he's  all  wet  (as  he  sometimes  is),  at  least 
that  nothing  serious  will  come  of  any  such  mis- 
understanding as  might  exist. 

What  with  a  nice  baby  and  a  new  house  and 
two  nice  people  like  that.  But  you  never  can 
tell.  Hollywood  is  still  punch  drunk  from  the 
Joan  Blondell-George  Barnes  divorce  bolt. 

A  PROP  boy  was  much  puz- 
zled the  other  day  on  the 
"Anything  Goes"  set  to  find 
Ethel  Merman  standing  in  an 
uncomfortable  position  while  all 
around  her  ungentlemanly  gen- 
tlemen were  seated. 

"Pardon  me,  Miss  Merman,"  he 
said  gallantly  offering  her  a 
chair.    "Won't  you  sit  down?" 

"Thank  you,  no,"  she  laughed. 
"I've  fust  finished  that  banister 
sliding  scene  and  I've  got  a  bad 
case  of  — er — woodburn!" 

40 


WHAT'S  that  old  wheeze  about  love  being 
a  woman's  whole  life? 

Consider,  in  refutation,  the  case  of  Peggy 
Conklin,  bright  young  thing  of  the  New  York 
stage  who's  playing  the  lead  in  Columbia's 
"One  Way  Ticket." 

Peggy  married  James  Thompson,  a  New 
York  broker,  in  an  elopement  ceremony  in 
Bedford.  Seven  days  later — still  the  technical 
honeymoon  period — she  up  and  left  him  flat. 
The  movies  were  wagging  such  an  enticing 
finger  in  her  direction. 

After  a  successful  technicolor  test  for  Walter 
Wanger,  to  whom  she  is  under  contract,  she 
flew  back  to  her  desolate  groom  to  take  up  the 
threads  of  the  honeymoon.  Three  days  later 
Columbia  called  and  Peggy  again  answered. 

Husband  Jimmy  is  dizzy  with  these  comings 
and  goings  and  has  decided  he'll  have  to  do 
a  little  traveling  himself  if  he  wants  more  than 
a  nodding  acquaintance  with  his  bride. 

NEDDA  HARRIGAN,  wife  of  Walter  Con- 
nolly, startled  her  friends  the  other  day 
by  flashing  an  exquisite  square  cut  diamond. 

"It's  my  engagement  ring,"  she  announced. 

It  was  the  ring  to  mark  her  engagement  to 
Connolly  whom  she  married  fifteen  years  ago. 

"When  we  got  married  I  simply  couldn't 
afford  to  give  her  one,"  Walter  explained  the 
fifteen  year  delay.  "Then  I  wanted  to  wait 
until  I  could  give  her  the  kind  she  deserves." 


Celebrating  their  return  home 
after  a  lengthy  absence,  B  e  b  e 
Daniels  and  Ben  Lyon  greeted 
many    friends   at   the   Goetz   party 


The  Gary  Coopers.  Hol- 
lywood's most  popular 
married  pair,  took  the 
exotic  Dolores  Del  Rio 
along  with  them  to  the 
Bill    Goetz    celebration 


Darryl  Zanuck  and  Mrs. 
Zanuck  arrive  late  lor 
the  Bill  Goetz'  party, 
unaware  that  the  party 
was  given  in  their  honor. 
But    what    a    lot    of    iun 


The  Robert  Montgomerys  and  the  Elliot  Nugents 
always  see  the  stage  plays  together  so.  of  course, 
they    turned    out    in    force    for    Miss    Claire's    play 


Mr.  and  Mrs.  Clark  Gable  who 
go  everywhere  were  among  those 
present  at  the  opening  of  Ina 
Claire's      play      at      the      Belasco 


IT  seems  now  that  you  have  to  hate  'em  first, 
before  you  can  love  'em. 

Anyway,  Barton  MacLane,  the  magnetic 
meany  of  "G-Men,"  has  dashed  right  from 
Dillinger  to  stardom. 

MacLane,  who  has  been  taking  the  raw  end 
of  things  all  the  way  since  he  came  to  Holly- 
wood, is  too  good  to  waste,  the  Brothers  War- 
ner have  decided. 

So — they're  going  to  star  him.  And  his  first 
picture,  after  all  these  tough  egg,  bullet-stop- 
ping parts  is  going  to  be  called  (can  you  take 
it?) — "Country  Boy!" 

CAN  you  imagine  frail,  ethereal  Lillian  Gish 
playing  the  role  of  a  mystery  woman? 

That's  what  she  was  though,  just  the  same, 
for  Hollywood  buzzed  with  exciting  rumors 
that  Lillian,  who  looks  today  exactly  as  she 
did  years  ago  when  she  was  your  big  sister's 
favorite  star,  was  set  to  be  an  important  at- 
traction again. 

It  all  came  about  because  Mary  Pickford, 
her  hostess,  and  Jesse  Lasky  kissed  and  shook 
hands  and  signed  a  joint  producer  agreement. 
That  brought  back  old  memories  of  the  old 
days  when  Our  Mary  and  Jesse  Lasky  were 
together  as  Famous  Players-Lasky.  Lillian 
Gish  belonged  in  that  era,  which  seemed  to  be 
in  the  process  of  being  revived.  It  was  only 
natural  to  wonder  if  Lillian  could  have  any 
part  in  the  future  plans  of  Pickford-Lasky. 


FRED  MacMURRAY'S  sense 
of  humor  saved  his  blood 
pressure  t'other  day  when  he 
went  out  on  the  "The  Bride 
Conies  Home"  set  to  listen  to  a 
record  of  a  broadcast  made  a  few 
days  previously. 

Loud  and  insulting  Bronx 
cheers  issued  from  the  loud- 
speaker during  every  lapse  in  the 
dialogue.  Mystified,  Fred  decided 
it  was  a  new  form  of  criticism 
from  the  director.  Something 
subtle.    Also  amusing. 

The  sound  department  had 
dubbed  in  the  cheers  to  see  if 
Fred  could   take   it.      He  could. 

YOU'D  hardly  think  that  anyone  who  has 
been  around  Hollywood  as  long  as  Glenda 
Farrell  would  have  any  illusions  left. 

Nevertheless  when  Joan  Blondell,  one  of 
Glenda's  closest  friends,  ended  her  marriage 
with  George  Barnes  a  very  pet  illusion  of 
Glenda's  went  decidedly  ph-h-t. 

She  had  always  considered  their  union  ro- 
mantically perfect,  and  was  really  all  cut  up 
and  dumfounded  when  it  went  to  the  divorce 
court.  In  fact,  they  say  that  it  is  making 
things  tough  for  the  several  ardent  gentlemen 
who  would  lead  Glenda  altarwards.  One  in 
particular,  Addison  Randall,  who  rumor  insists 
has  popped  the  question  repeatedly. 

f  PLEASE  TURN  TO  PAGE  111  ] 


41 


For  the  first  and  last  time 


DIETRICH 


THEY    have    plans    at    Paramount    to    remake    Marlene 
Dietrich. 
But  I  wonder — do  you  remake  someone  like  Marlene 
Dietrich? 

You  re-mold  her  masque  on  the  screen — yes — and  you  pipe  a 
new  and  spirited  tune  which  may  better  carry  an  obligato  of 
tinkling  silver  in  the  box-office  till. 

But  you  don't  drown  out  with  the  brighter  tune  of  today 
the  deep,  haunting  undertones  of  yesterday's  symphony.  You 
don't  say  "switch  your  faith,  alter  your  ideals"  and  behold 
the  transformation — just  like  that.  You  don't  pour  out  the 
wine  and  expect  the  glass  to  sparkle  more  brightly. 

She  sat  across  from  me  in  the  exotically  decorated  drawing 
room  of  her  home.  Her  white  silk  lounging  pajamas  were  only 
a  little  more  white  and  a  little  more  soft  than  her  complexion. 
While  I  munched  a  piece  of  her  famous  "bee's  nest  cake," 
telling  myself  once  more  that  of  all  the  beautiful  women  in 
Hollywood  she  was  surely  the  most  beautiful,  I  thought  of 
those  plans  and  wondered. 

We  had  talked  for  possibly  five  minutes.  Then  I  realized. 
The  song  is  ended  for  Marlene  Dietrich. 

Her  real  song,  which  was  her  work  with  Josef  von  Sternberg, 
is  ended  now — but  the  melody  lingers  on. 

It  echoed  in  her  words — 


"  When  you  have  been  so  devoted  to  the  ideals  of  someone 
for  so  long  and  then  change,  it  is  not  the  same 

"I  failed  him,"  she  stated  simply.  'I  was  never  the  ideal  he 
sought.  I  tried  to  do  what  he  wanted,  but  I  didn't  succeed. 
He  was  never  quite  satisfied  with  any  of  the  pictures  we  made. 
He  expected  something  great,  something  we  never  achieved." 

She  smiled  slowly.  Always,  it  seems,  no  matter  what  her 
words,  her  face  wears  a  soft,  composed  smile. 

"Perhaps  that  was  his  fault — expecting  so  much — but 
I  don't  think  it  was  a  fault.  And  I  would  rather  be  a  failure 
hunting  that  goal  than  a  success  going  along  the  average  line. 

"Just  making  pictures  doesn't  mean  anything  to  me.  It  has 
never  been  enough.  All  my  life  I  have  had  to  have  a  higher 
interest." 

After  five  years,  I  think  it  is  time  to  try  to  understand 
Marlene  Dietrich. 

Now  that  there  is  no  longer  any  theatrically  occult  Svengali- 
Trilby  ogre  to  rise  out  of  a  bottle,  like  the  Geneii  of  the 
"Arabian  Nights,"  every  time  you  mention  her  name,  perhaps 
we  hospitable  Americans,  we  who  have  made  her  life  miserable 
because  we  must  have  our  intriguing  legends,  can  settle  down 
and  relax  into  an  open  mind. 

Marlene  Dietrich  happens  to  be,  despite  her  unholy  beauty, 
I  think,  something  of  an  idealist 


42 


TALKS 


about  her  relationship, 
now  broken,  with  Joseph 
von  Sternberg,  concern- 
ing which  the  movie 
world  is  still  wondering 

By  Chet  Green 


If  she  had  been  the  artificial,  glamour-seek- 
ing poseur  for  which  she  has  been  wantonly 
denounced,  I  think  she  would  have  had  for 
me,  her  first  interviewer  since  the  split,  per- 
haps an  artful  explanation  handy  to  toss  off 
her  professional  divorce  from  von  Sternberg. 
Furthermore,  if  she  were  playing  to  the  grand- 
stand, I  think  she  would  have  had  a  glowing 
promise  for  the  future  handy. 

She  had  neither.  No  guile  nor  gloss.  Her 
words  were  simple  and  sincere,  as  simple  and 
sincere  as  her  beauty. 

"It  was  I  who  insisted  that  he  direct  my  last 
two  pictures,"  she  said.  "Mr.  von  Sternberg 
did  not  want  to  direct  them.  He  thought  we 
should  part  long  ago.  He  has  always  known 
what  was  right  for  me.  He  has  always  pre- 
dicted what  would  happen. 

"I  remember  when  we  made  'Morocco.'  It 
was  the  time  when  there  was  a  great  deal  of 
talk  in  every  picture.  He  cut  down  the  dia- 
logue so  that  when  the  rushes  were  shown  at 
the  studio  everyone  said,  '  What's  the  matter? 
Why  doesn't  she  talk?'  ' 

"  'Wait  and  see,'  he  told  them.  It  was 
something  quite  new  and  welcome,  and,  of 
course,  it  was  successful. 

"I  had  to  beg  him  to  direct  my  last  two 
pictures.  'It  will  be  bad  for  you,'  he  told  me. 
He  said  the  average  public  would  not  see  the 
things  in  them  that  we  worked  so  hard  to  get. 
He  was  right.  He  sensed  the  reaction  of  the 
public  perfectly.  But  I  would  rather  do  them 
— I  would  rather  do  something  different  and 
daring  than  to  be  just  a  popular  success.  It 
is  personal  perhaps.  I  liked  the  pictures.  I'm 
not  influenced  by  public  opinion,  although 
I  can  understand.     I  do  not  resent  it. 

"I'm  not  sure,  though,  that  the  public 
knows  what  it  does  want." 

Marlene  Dietrich  smiled  again,  that  quiet, 
soft  amused  smile. 

She  told  of  the  steady  stream  of  criticism 
because  she  was  so  "still  and  set"  in  her  pic- 
tures. Yet  when  the  last  one,  "The  Devil  Is 
A  Woman,"  was  released,  protests  poured  in 

[  PLEASE  TURN  TO  PAGE   106  ] 


Jeatt 


h*&*% 


CVvat^8 


Metv 


LtttvS 


[OO' 


/ 


JEAN  ARTHUR'S  eyes  have  captured  the  blue  of  the  sea. 
Not  the  deep  indigo  of  the  outer  ocean,  but  a  paler  yet  more 
poignant  tint.  The  azure  light  that  lies  in  pools  under  a 
summer  sky,  where  the  northern  ocean  wanders  among  its  rocky 
fjords. 

When  she  looked  up  from  the  canary  pillows  against  which 
the  blond  head  rested,  the  blue  eyes  opened  like  a  sunny  day. 
With  a  girlish  frankness  calculated  to  disarm  one — if  one  hap- 
pens to  be  merely  a  man.  And  when  she  spoke  in  the  voice  that 
records  so  well  in  pictures,  a  voice  clear  but  with  a  mellow 
quality  that  gives  it  the  illusion  of  a  drawl — her  words  were 
equally  frank. 

"It  wasn't  because  I  got  seasick  on  the  location  trip,"  she 
said.  "They  took  me  out  of  that  part — it  was  my  first  dramatic 
lead  in  pictures — because  I  wasn't  any  good." 

"Well,  now — I  wouldn't  say  that." 

"Oh,  yes  you  would,  if  you  had  seen  me,"  she  proclaimed 
defiantly.     "I  was  terrible." 

She  inhaled  her  cigarette  with  a  quick,  nervous  breath.  Jean 
Arthur  straightened  against  the  pillows  with  a  flash  of  legs  that 

44 


a\t\ 


appeared  most  shapely, 
encased  in  sheerest 
hosiery. 

"The  studio  gave  that 
story  out  —  about  my 
getting  seasick  on  the 
way  to  Santa  Cruz 
Island.  It  was  nice  of 
them.  They  wanted  to 
let  me  down  easy."  She 
laughed  —  a  throaty 
sound  with  the  tinkle  of 
a  tiny  bell  in  it.  "I  don't 
get  seasick.  My  ances- 
tors were  Vikings." 

We  were  talking  about 
something  that  happened 
to  Jean  several  years  ago, 
but  something  that  has 
left  an  indelible  impres- 
sion on  this  descendant 
\&&*  of  Norwegian  ancestors 

who  has  succeeded,  after 
many  trials,  in  carving 
out  a  permanent  niche  in 
the  hard  surface  of 
moviedom. 

They  had  shipped  her 
out  to  Hollywood  after 
giving  her  a  test  in  New  York  —  a  blond  vision  of  young 
womanhood  such  as  we  sometimes  see  looking  out  from  the 
glossy  cover  of  a  magazine;  all  of  her  ardent  hope  for  a  career 
trembling  in  the  eagerness  of  those  sea  blue  eyes. 

"I  had  been  posing  for  a  commercial  photographer,"  she  ex- 
plained. "Advertising  hats,  stockings,  dresses  and  so  on.  I 
knew  nothing  about  acting.  I  listened  to  the  director  and  tried 
to  do  exactly  what  he  said.  I  followed  direction  so  closely  I 
even  took  his  intonations.  And  I  flopped.  You  see,  I  still 
believed,  even  after  I  was  grown  up,  that  any  older  man  knew 
so  much  more  than  I  did." 

It's  a  horrible  feeling  for  anyone  to  have,  that  sickening  feel- 
ing when  you  see  the  door  that  has  just  opened  on  the  fulfill- 
ment of  your  life's  ambition  immediately  close  again.  They  put 
Jean  Arthur  into  pie-slinging  comedies  after  she  flopped  in  the 
dramatic  role.  But  all  the  time  she  was  being  pushed  around 
in  comedies  there  was  forming  in  her  young  mind  a  stubborn 
determination  to  find  out  what  was  the  matter  with  her. 

"There  wasn't  a  spark  from  within,"  she  admitted.  "I  was 
acting  like  a  mechanical  doll  the   [  please  turn  to  page  119  ] 


PHOTOPLAYS 


Edited  By  Frederick  L.  Collins 


the    1915' 
ptovided    a 


„    UP    acUn9 
.      Void    <3ave       Wis     i'ltst 
*ianClS„s     direct*     MYS»eiy" 
and    ^a.\he    Sile^    WY 
serial- 

KlC     naivete 
the     cherubic      ^^ 

B0f°CoUeen    *-£*    W**» 
made   bet    a 


College    boys    by    the    thousands    worshipped 
the    charm    and    beauty    oi    Marguerite    Clark 


Bryant  Washburn  was 
responsible  ior  that 
far  away  look  in  the 
eyes  oi  many  a  woman 


Olive  Thomas,  ad- 
judged the  world's  most 
beautiful  woman,  was 
in     a     Ziegfeld    chorus 


^ecau<!«> 

Beiovv     »j, 

sfacre  Corner  A.  and 

96     ca'eer    for     ,.dese"ed  a 
ne    screen 


45 


-*(. 


Charming  and  beautiful  May 
Allison  did  her  emoting  on 
the     Lasky     Photodramas     lot 

46 


Above.  Sweden's  contribution 
to  the  American  screen  was 
the    ill-fated    Anna    Q.    Nilsson 

Left,  Sessue  Hayakawa  came 
from  a  land  of  idols  to  be 
set    up    here    as    one    himself 


Tom  Mix.  of  the  ten- 
gallon  hat,  put  his 
name  in  Mazdas — on 
his    own    front    lawn 


Charles  Ray,  the  shy 
and  retiring  hayseed, 
was  riding  the  crest  of 
a  Horatio  Alger   wave 


Madame  Alia  Nazimova  landed 
in  Hollywood,  like  the  marines, 
to     save     the     town     for     art 

Wallace  Beery,  right,  and  Gloria 
still  gathered  at  the  corner  drug 
store — but    were    soon    to    part 


Fashion  in  coiffures  were 
set  by  Alice  Joyce,  one  of 
the    reigning    film    beauties 

47 


In  1917.  the  sensations  of 
the  day,  despite  the  War, 
were    Mack    Sennett's    nifties 


-M 


y 


400 


.■J> 


Ce«7   n 


fifi 


.     a*a' 
e^avvsotv         sWtve         d 


,*^?V 


"    >5 


*: 


A  new  personality  was  about 
to  enter  into  the  life  of  Mary 
Pickford,      Douglas      Fairbanks 


\**r 


i* 


'his        /e°ding  *    s   '«- 
„    s   Period   ,     fton   o/ 


T>o»»ete' 


-e^ 


*ebe  j^be0u^  J„v    pata* 


»etY 


Co««'ve 

W  A  So"10,  ■?  do*"" 
aw°- 


^oW 
48 


tf  otma ' 


"'odes, 


v*4fe» 


GOlD£Af 


and 
age 


the 


The  bouncing  Doug  Fairbanks 
came  out  of  the  East,  and  it 
led    to    a    new   era    in   pictures 


Gals.  Nelson  Eddy,  leit.  is  asking  our  Mitzi  to  pop 
off  with  him  to  Lake  Tahoe,  one  of  the  most  gorgeous 
spots  in  California,  and  she  refused!  Above,  with  Chic 
Sale,    hearing    about   Lincoln.    Chic's    favorite    character 


SALUTATIONS,  Joanie! 
And  how  are  you,  my  little  Totem  Pole?    Me?    Still  re- 
covering from  my  recent  Alaskan  trip. 

To  get  away  from  Hollywood,  that  was  my  cry,  and  get 
away  far.  So,  beautiful  Alaska  with  amazingly  big  flowers, 
snow  plastered  mountains,  scrumptious  glaciers,  and  a  few 
whales  and  icebergs  now  and  then,  just  appealed  to  this  party- 
weary  femme.  And  what  did  I  find  in  Alaska?  Movie  Stars! 
And  what  did  people  talk  aboutdn  Alaska?    Hollywood! 

In  Ketchikan,  in  a  little  post-card  and  trinket  store  sat  the 
young  lady  clerk  behind  the  counter  browsing  happily  over 
Photoplay!  Then  she  took  one  look  at  me,  standing  patiently 
with  pictures  of  huskies  and  totem  poles  (two  for  five)  in  my 
hand,  and  quick,  she  whisked  through  the  pages  of  said  maga- 
zine, found  therein  a  tintype  of  me  and  Fred  Astaire  and 
blurted  out,  "Ain't  this  you?"  Shyly  I  nodded  my  raven  curls, 
then  took  the  pen  she  thrust  in  my  pinkie  and  wrote  my  name. 
"Write  more,"  she  commanded,  so  with  a  wave  and  a  flourish 
I  dashed  off,  "Buy  Photoplay  in  Ketchikan,  it's  the  Aristocrat 
of  Motion  Picture  magazines."  She  was  that  pleased  I  got  my 
post-cards  all  for  nothing! 

Well,  sir,  I  finds  myself  next  in  Skagway.     That's  a  great 


little  place,  Skagway.  There  I  met  the  peppy,  old,  walrus-mus- 
tached  gent,  Martin  Itjen  who  drove  down  to  Hollywood  last 
year  in  his  gayly  adorned  "  Skagway  Streetcar"  just  to  see  Mae 
West.  He  saw  her,  all  right,  and  they  had  their  pictures  taken 
together.  All  us  tourists  paid  Martin  fifty  cents,  for  which  he 
drove  us  around  the  town  in  the  "streetcar"  which  is  really  a 
bus  with  a  stuffed  bear  on  the  front  platform,  and  a  figure  of 
the  famous  Gold  Rush  bad  boy,  Soapy  Smith,  in  the  rear. 
Martin  took  us  to  places  like  the  Pullen  House,  which  was  the 
doggy  place  to  stay  for  the  gold-glutted  gents  of  '98  .  .  .  and 
to  the  graveyard  of  the  well-touted  Soapy  .  .  .  and  such.  He 
also  recited  poems  of  his  stay  in  Hollywood,  and  his  visit  with 
Mae. 

"What  did  you  find  to  say  to  her?"  I  piped. 

"I  asked  her  to  come  up  and  see  me  some  time,"  said  he, 
"and  I  meant  it!" 

Episode  Three  was  brief.  I  saw  a  fine  big  yacht  gliding  out 
of  the  Juneau  harbor,  spied  a  handsome,  white-headed  gent  on 
board,  and  let  out  a  startled  yelp.    It  was  Lew  Stone! 

And  then,  coming  down  the  historic  Trail  of  '98,  I  found  me 
a  handsome  lad.  He  stood  out  on  the  platform  singing  hosan- 
nahs  to  the  hills  and  streams.     [  please  turn  to  page  117  ] 


Confidentially  yours,      ^ 


49 


Divorce  Taught  Them 


how    truly    they 


Any  woman  who  reads  Bruce  Cabot's  honest 
statements  in  this  story  will  instantly  understand 
why  Adrienne  Ames  fell  so  much  in  love  with  him 


THE  speaker  was  that  big,  hulking,  shambling,  loose- 
jointed,  long-lipped,  and  disconcertingly  good-look- 
ing French-Canadian  giant,  who  tries  to  conceal  him- 
self under  the  Scotch-Bostonese  name  of  Mr.  Bruce  Cabot. 

Bruce  was  in  one  of  those  spots.  After  several  years  of 
histrionic  effort,  he  had  at  last  crashed  through  in  "Robin 
Hood  of  El  Dorado,"  and  after  only  one  year  of  marital 
happiness,  he  had  cracked  up  with  Adrienne  Ames. 

And  now,  in  a  sort  of  back-handed  way,  he  was  trying 
to  say  that  if  Adrienne  was  willing — and  he  had  reason  to 
believe  that  she  was — they  were  going  to  pick  themselves 
up  and  attempt  the  matrimonial  flight  again. 

It  was  while  he  was  on  location  up  in  the  mountain  doing 
his  crashing  through,  it  seems,  that  he  got  his  first  definite 
word  of  the  cracking  up — of  what  he  described  as  the 
''shock"  of  divorce — and  he  thinks  this  fact  had  something 
to  do  with  the  effect  upon  him,  perhaps  upon  them  both. 

"It's  hard  to  explain  the  awful  feeling  of  finality  about  a 
divorce,"  he  continued,  "especially  when  you're  so  far 
away  as  I  was,  marooned  in  the  open  with  so  much  time 
to  think.  Suddenly,  I  realized  that  there  was  nothing  in 
the  world  I  wanted  so  much  as  Adrienne.  She  was  the 
only  girl  in  the  world  for  me — and  we  were  divorced! 

"Believe  me,  I  did  things  I  hadn't  done  since  the  early 
days  of  our  marriage.  It  was  a  sixty  mile  drive  over 
rotten  roads  to  the  nearest  telephone,  but  I  made  it  every 
night  just  for  the  chance  to  talk  with  her.  Crazy,  wasn't 
it — when  we  couldn't  talk  honestly  while  we  were  to- 
gether? But  with  hundreds  of  miles  between  us  and  with 
only  the  aid  of  the  telephone  wires  we  became  honest  with 
each  other,  poured  out  our  hearts. 

"I  told  her  all  the  things  that  had  been  tearing  at  me 
and  she  told  me  the  things  that  had  broken  her  heart. 
All  at  once  we  both  realized  how  unimportant  those  things 
were  compared  with  the  real  feeling  we  still  had  for  one 
another.  I  remember  the  last  telephone  conversation  we 
had.  I  asked  her  if,  after  I  had  returned  and  we  had 
succeeded  in  getting  our  affairs  in  shape,  there  was  a  chance 
for  us,  for  me.  Her  'Yes'  was  as  thrilling  as  anything 
I've  ever  heard." 

The  fact  that  the  young  Cabots  were  going  to  try  it 
again  didn't  strike  me  as  so  important  as  the  fact  that 
through  the  bitter  experience  of  divorce  they  had  learned 
things  about  themselves  and  their  feelings  which  had 
eluded  them  while  they  were  married. 

How  many  young  wives  who  change  under  the  supposed 
lack  of  "freedom,"  how  many  young  husbands  who  sulk  in 
the  belief  that  they  are  "misunderstood,"  might  discover 
similar  things  about  themselves  if  given  sufficient  "time 
to  think"? 

Don't  misunderstand  me.  I  am  not  advocating  Trial 
Divorce,  even  though  it  may  seem  like  a  logical  sequence 
to  Trial  Marriage.  I  am  sure  Bruce  isn't,  either.  But 
there  is  something  in  these  young  people's  experience 
which  should  be  of  value  to  all  true  lovers,  either  before 
or  after  marriage,  who  find  themselves  on  the  verge  of 
parting  in  angry  haste  with  the  possibility  of  repenting  at 
lonely  leisure. 

For  if  there  was  one  thing  that  all  Hollywood  knew, 
even  if  they  did  not,  it  was  that  Adrienne  and  Bruce  were 
true  lovers.    It  didn't  take  a  divorce  to  prove  that. 

I  remember  them  the  night  they  returned  from  their 
honevmoon  at  the  housewarming  Dorothy  di  Frasso  gave 


50 


were   married! 


By  George  Stevens 


Bruce    and    Adrienne    at    their 
first   party  after  their  marriage 


Adrienne  Ames,  the  beautiful, 
who  wants  true  love  or  none 


at  the  beautiful  Beverly  Hills  home  now  occupied  by  Marlene 
Dietrich.  The  two  youngsters  clung  to  each  other  for  all  the 
world  like  the  brides  and  grooms  in  those  after-the-battle 
cabinet  photos  in  the  windows  of  the  small  town  photographers. 

As  a  matter  of  fact,  it  didn't  take  even  a  marriage  to  prove 
that  Bruce  and  Adrienne  loved  each  other.  There  had  been 
plenty  of  earlier  evidences  of  the  strength  of  the  emotion  which 
had  drawn  them  together. 

Adrienne  had  come  to  Hollywood  the  pampered  wife  of  a 
young  Texas  millionaire,  Stephen  Ames.  When  the  linking 
of  her  name  with  Bruce  Cabot's  started  ugly  rumors  of  a  marital 
rift,  both  of  them — one  might  say  all  three  of  them,  for  Ames 


came  up  from  Texas  and  was  duly  photographed  with  his  wife 
and  her  favorite  escort — made  an  honest  effort  to  maintain  the 
status  quo. 

But  it  was  no  use.  All  Hollywood  saw  that  love  like  theirs 
was  not  to  be  denied. 

Stephen  Ames  saw  it,  too,  and  stepped  aside.  Perhaps  the 
fact  that  he  had  met  in  his  Hollywood  journeyings  the  beau- 
teous Raquel  Torres  may  have  had  something  to  do  with  the 
speed  of  his  stepping.  Anyhow,  he  stepped — and  true  love, 
in  the  persons  of  Adrienne  and  Bruce,  was  free  to  run  what 
seemed  to  be  its  allotted  course. 

For  almost  a  year  it  did  run  that  [  please  turn  to  page  1 14 1 


How's  this  for  a  Sunday  afternoon  get-together? 
Seated.  Mr.  and  Mrs.  Frank  Chapman  (Gladys 
Swarthout),  Clark  Gable.  Dick  Barthelmess,  Mrs. 
Gable.  Standing,  Clifton  Webb.  Mrs.  Barthelmess, 
and  Countess  de  Maigret,  social  sensation  of  the  hour 


Above,  seldom  does  this 
handsome  young  cou- 
ple get  a  chance  to  be 
together.  Mr.  and  Mrs. 
Harmon  Nelson,  who  is 
Bette  Davis  to  us  folks 


It  must  be  love,  that's 
what  Hollywood  says, 
anyhow.  Janet  Gaynor 
and  Al  Scott,  broker, 
who  used  to  be  mar- 
ried   to   Colleen    Moore 

D2 


Hmm,  Van  Smith  with  Mary 
Carlisle  this  time!  Van  has 
been,  or  still  is,  or  something, 
mentioned  in  connection  with 
Nancy    Carroll,    Estelle    Taylor 


Gladys  Swarthout,  Paramount 
star,  in  a  winter  ensemble  for  all 
but  the  most  formal  occasions. 
Her  costume  consists  of  a  brief 
nutria  swagger  coat,  flared  to 
wrap  or  swing  freely;  tomato  red 
lining  of  tweed.  Her  hat  from 
Descat;  black  cloque  crepe  frock 
with  front  fullness;  her  hand- 
stitched    gloves,    suede    pumps 


■Ids*"1*? 
vetsanw  • 


svroo 


ens 


Above  left:  Rosalind  Keith 
wears  a  black  homespun 
wool  skirt,  topped  by  a  gold 
and  black  striped  jacket 
belted   and   smartly  fringed 

Above  right:  Soutache  braid 
and  frogs  trim  Miss  Keith's 
grey  angora  wool  suit  with 
its  matching  hat  and  black 
kid  pull-ons,  bag  and  pumps 

Left:  Gail  Patrick,  in  an  un- 
rivaled alliance,  black  wool 
and  Persian  lamb.  The  ma- 
roon corduroy  velvet  blouse 
to  be  alternated  with  lame 


Above:  Stitched  de- 
tail is  the  distin- 
guishing note  of  the 
tunic  frock.  Rosa- 
lind tucks  a  gay  as- 
cot in  the  open 
neckline.  A  smart 
pouch,  gloves  and 
ties,    brown    suede 


Right:  For  spectator 
sports,  Gail  Patrick 
prefers  a  softly  tai- 
lored  woolen.  To 
her  oxblood  suit 
she  adds  a  bold 
plaid  swagger  top 
coat  with  badger 
tuxedo  revers  collar 


Above:  Wide  lapels 
characterize  Mr.  Eddy's 
dinner  jacket.  His  long 
tie  with  pointed  ends  is 
conventional    deviation 

Left:  Double  -  breasted 
with  peak  lapels  of 
brown  Saxony  over- 
plodded  fabric.  Buck- 
skin  shoes,   calf  trim 


Coat  and  lapelled  waist- 
coat of  a  hard  finished 
worsted.  Grey  trousers, 
extreme  stripe,  full 
drape.    A  French  scarf 


w 


m  { 


Selected  as  the  best  dressed 
man  of  the  month.  Nelson 
Eddy  offers  a  fashion  theme 
of  new  and  original  ideas 


A  chalk  striped  blue 
worsted  coat  in  con- 
trast to  grey  of  trou- 
sers and  buckskin 
shoes  is  Mr.  Eddy's 
choice  for  informal 
daytime   wear 


High  waisted  tailcoat  has  an  ex- 
treme curve  cut  front.  Waist- 
coat, singlebreasted  with  wide 
lapels.  The  bold  wings  of  the 
collar  extend  beyond  the  con- 
ventional tie.   a  butterfly  bow 


Ginger  Goes 
Grecian 


Paris  says  the  classic  note  is  smart.  Holly- 
wood echoes  it,  and  the  gay  Miss  Rogers, 
but  recently  a  hey-hey  girl  shows  how  ex- 
quisitely she  can  become  a  modern  Helen 


The  back  of  the  gown 
shown  left  is  a  repe- 
tition oi  the  front  mo- 
tif, with  the  draped 
fullness  of  pale  green 
pebble  satin  caught 
casually  onto  a  cord 
at  the  shoulder  line 


At  left:  two  views  of 
Ginger's  new  coiffure 
"The  Golden  Plaque" 
with  smooth  crown, 
the  hair  is  softly 
waved  over  the  ears, 
ending  in  soft  coils 
placed  low  on  neck 


Above:  Row  upon  row  of 
bias  satin,  edged  with 
maribou,  form  the  volumi- 
nous sleeves  of  Ginger's 
rose  pastel  negligee.  The 
fitted  bodice  is  fastened 
with   rhinestone   buttons 


In  the  mood  of  Botticelli  is 
the  black  velvet  gown  shown 
above.  The  off-shoulder  motif 
is  expressed  in  the  black 
chiffon  yoke,  tied  at  throat 
with  narrow  cord.  A  deep 
lace  veil  crowns  the  Juliet 
cap.  At  left:  Ginger  has 
donned    a    silver    fox    cape 


.  u.     fted     A   foe 

ie<jVtn  ° {     Yvoodea    ^j,. 
adVetVle  °l  **£  S* 


W+ 

^■^ 


Above:  Softly  draped  turban 
for  afternoon  wear,  high  sweep 
from  badk  to  crown  with  pleated 
detail  low  on  the  right  side. 
Helen  wears  it  with  fur  coats 


A  slightly  different  ver- 
sion of  Miss  Vinson's  hat, 
shown  above  is  fashioned  in 
velvet  to  match  the  fabric  of  her 
frock.    Note!    Curls  and  pearls 


Head 
Lines 


.  Tot  Pt^v  veV 


pettoCtaeC 


ccn?elS 


a<3e 


._  eve11 


atf*-.  i»ce 


&™x****\  ****** 

tial 


Above:  Martha  Sleeper  shows 
the  swagger  lines  of  Tonleigh 
Square,  a  sports  felt  to  wear 
with  tweeds  and  page  boy  bob 


Right:  Shades  of  Robin  Hood. 
With  its  dashing  little  feather 
pointing  skyward,  the  brown 
felt  is  worn  by  Marsha  Hunt 


Longw°rth 


Pearl  fa*^t\usband  ei  MY     soch  a  *«**„.  with 


-J   —  _ 


0livic  de  W™  ■» 


aptai«    Blood" 


Extremes  in  personalities  are  emphasized  by  the  quiet, 
childlike  beauty  of  Joan  Bennett  as  offset  by  the  compel- 
ling, man-of-the-world  manner  of  Ronald  Colman.  Both 
appear  in  "The  Man  Who  Broke  the  Bank  at  Monte  Carlo." 


The  Barretts  of 
Wimpole  Street 

WINS  THE  PHOTOPLAY 
GOLD  MEDAL  AS  BEST 
PICTURE  OF  1934 


BY  exactly  one  vote,  "The  Barretts  of  Wimpole 
Street"  won  the  most  coveted  award  in  motion 
pictures,   the   Photoplay   Gold    Medal,   as   the 
best  production  of  1934. 

It  was  the  closest  voting  in  all  the  twenty  years  that 
Photoplay  has  been  making  the  award,  and  never 
have  such  fine  screen  offerings  been  runners-up  for 
the  honor. 

"The  Barretts"  just  nosed  out  that  saucy  comedy, 
"It  Happened  One  Night."  Close  after  that  came 
"One  Night  of  Love,"  with  "The  Gay  Divorcee"  in 
fourth  place. 

Yet  characteristically  enough,  the  choice  of  our 
readers  was  typical  of  the  Photoplay  public.  "The 
Barretts  of  Wimpole  Street,"  for  all  its  outstanding 
box-office  success,  its  "curiosity"  appeal,  and  its 
stellar  cast,  just  made  it  as  the  BEST  picture  of  the 
past  year.  The  decision  unquestionably  was  a 
difficult  one  to  make  due  to  the  high  class  of  the 
competition  "The  Barretts"  faced.  The  closeness 
of  the  decision  speaks  in  highest  praise  of  the  out- 
standing motion  pictures  of  1934 — and  also  of  the 
universality  of  their  appeal, 
which  is  a  good  mark  in  favor  of 
the  motion  picture  industry. 

But  the  highest  praise  of  all 
goes  to  Photoplay  readers  in 
the  fineness  of  their  discernment 
and  knowledge  of  what  con- 
stitutes a  good  picture — story, 
cast,  and  the  ability  of  that  cast 
to  portray  the  story  with  cred- 
ibility and  authenticity.  Con- 
gratulations, Photoplay 
readers! 

It  should  be  emphasized  that 
the  Photoplay  Gold  Medal 
award  is  an  unbiased,  unin- 
fluenced decision  of  the  public. 

Photoplay  makes  no  recom- 
mendations. No  committee  of 
decision  sits  in  judgment — as 
the  votes  fall  so  they  are  counted, 
without  fear  or  favor,  and  the 
award  goes  to  the  highest.  It  is 
one  award  which  the  public  it- 
self decides. 

Photoplay  itself  also  looked 
with  high  favor  on  "The  Bar- 
retts," listing  the  picture  among 
the  best  of  the  month,  which 
rate  a  star  in  the  magazine.  Not 
only  that,  four  of  the  outstand- 
ing cast  were  listed  in  the  best 
performances  of  the  month.  The 


tmm^M 


Top.  a  replica  of  the  solid  gold. 
Tiffany  designed.  Photoplay  Gold 
Medal  for  the  best  picture  of  the 
year.  Above  and  left,  Fredric  March, 
Charles  Laughton.  and  Norma 
Shearer   in   the    1934    medal   winner 


four  were  Norma  Shearer  as  Eliza- 
beth Barrett,  Fredric  March  as  Robert 
Browning,  Charles  Laughton  as  the 
tyrannical  head  of  the  house  of  Bar- 
rett, and  Maureen  O'Sullivan  as 
Henrietta  Barrett.  Others  in  the  cast 
were  Katherine  Alexander,  Ralph 
Forbes,  Una  O'Connor,  Marion  Clay- 
ton, Ian  Wolfe,  Ferdinand  Munier, 
and  Leo  Carroll. 

The  picture  was  taken  from  the 
play  of  the  same  name  by  Rudolf 
Besier,  in  which  Katharine  Cornell 
starred.  Ernest  Vajda,  Claudine 
West,  and  Donald  Ogden  Stewart 
did  the  admirable  screen  adaptation, 
and  Sidney  Franklin  was  the  direc- 
tor, M-G-M  the  studio. 

All  honor  then  to  Photoplay 
readers,  and  "The  Barretts." 

65 


THE     NATIONAL     GUIDE      TO     MOTION     PICTURES 


ft    I  LIVE  MY  LIFE— M-G-M 

A  GAINST  the  usual  smart  background,  Joan  Crawford 
*^revels  in  a  brand  new,  becoming  character — a  society 
snobby  with  a  weak  streak  of  sincerity  which  shows  only 
under  pressure. 

The  pressure  comes  from  Brian  Aherne,  a  stubborn  Irish 
archeologist,  who  takes  a  Greek  island  flirtation  seriously, 
follows  to  New  York  with  honorable  intentions.  The 
ensuing  battle  of  opposite  attitudes,  richly  humorous  and 
vital,  is  played  to  the  limit  by  a  bountiful  cast,  including 
Frank  Morgan,  Jessie  Ralph  and  Frank  Conroy. 

Director  Van  Dyke  keeps  the  see-saw  struggle  humming, 
even  to  the  final  clash  at  the  altar.  Joan,  never  more 
stunning,  dwarfs  her  startling  wardrobe  with  her  personal 
vitality.     At  that  Brian  Aherne  almost  steals  the  show. 


ft   HANDS  ACROSS  THE  TABLE -Paramount 


¥F  your  funnybone  is  in  need  of  a  tickling,  don't    miss 
this  sparkling  and   sometimes   uproarious   comedy   of   a 
manicurist  who's  determined  to  marry  money  and  winds 
up  behind  the  eight  ball  of  poor  but  honest  love. 

Not  since  "Twentieth  Century"  has  Carole  Lombard 
had  such  ample  scope  for  her  fine  flair  for  sophisticated 
light  comedy,  punctuated  by  telling  tenderness,  as  in  this 
role  of  the  manicurist,  Regi  Allen.  A  grand  teammate,  Fred 
MacMurray  as  the  blueblood  playboy  with  empty  pockets 
shares  performance  honors  with  her. 

Astrid  Allwyn  is  excellent  as  the  rich  gal  who  loses  Mac- 
Murray  to  Lombard  and  Ralph  Bellamy  grabs  off  a  load  of 
sympathy  as  the  crippled  and  wealthy  Maclyn  who  loves 
and  loses  Regi.     Marie  Prevost  wows  with  her  dumb  Nona. 

66 


ill 

SHADOW 

STDPP 


A    Review   of    the    New    Pictures 


ft   BARBARY  COAST— Sam  Goldwyn 


O  1  RONG  motion  picture  fare  in  this  exciting  and  colorful 
^melodrama,  played  w-ith  distinction  against  the  back- 
ground of  the  disreputable  water  front  district  of  San 
Francisco  in  the  early  gold  rush  days. 

It  is  a  man-sized  chunk  of  human  nature  in  the  raw 
yet  woven  throughout  are  scenes  of  infinite  tenderness  and 
beauty. 

So  adroitly  is  the  touchy  angle — the  well  known  im- 
morality of  the  district  and  its  people — handled,  that  even 
the  most  squeamish  cannot  complain  of  a  single  squeam  yet 
at  no  time  is  its  basic  strength  sapped  by  this  artistic 
compromise.  You  may,  indeed,  even  wish  for  a  more  virile 
ending,  so  attuned  will  you  have  become  to  its  pulse. 

Mary  Rutlcdgc  (Miriam  Hopkins)  comes  to  the  district 
from  New  York  to  marry  a  wealthy  man  only  to  learn  upon 
her  arrival  that  he  has  been  killed  in  a  roulette  game 
argument  by  Louis  Chamalis  (Edward  G.  Robinson),  vice 
lord  of  the  district.  Greedy  for  gold,  she  becomes  queen  of 
Chamalis'  enterprises  and  mistress  of  his  actions.  Into 
this  mess,  love  comes  in  the  person  of  poetical  James 
Carmichael  (Joel  McCrea)  and  Louis  turns  out  to  have  a 
little  gold  in  his  heart  as  well  as  a  lot  in  his  pockets. 

Of  the  three  stars,  McCrea's  work  is  outstanding;  but 
a  bit  player,  Walter  Brennan,  as  Old  Atrocity,  steals  scenes 
right  and  left. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


THE    BEST    PICTURES    OF    THE    MONTH 

BARBARY  COAST  HANDS  ACROSS  THE  TABLE 

A  MIDSUMMER  NIGHT'S  DREAM     SHIPMATES  FOREVER 
I  LIVE  MY  LIFE  THE  CASE  OF  THE  LUCKY   LEGS 


THE  BEST  PERFORMANCES  OF  THE  MONTH 

Miriam  Hopkins  in  "Barbary  Coast" 

Edward  G.  Robinson  in     Barbary  Coast" 

Joel  McCrea  in  "Barbary  Coast" 

Walter  Brennan  in  "Barbary  Coast" 

Joe  E.  Brown  in  "A  Midsummer  Night's  Dream" 

Anita  Louise  in  "A  Midsummer  Night's  Dream" 

Olivia  de  Havilland   in  "A  Midsummer  Night's  Dream" 

Carole  Lombard  in  "Hands  Across  the  Table" 

Fred  MacMurray  in  "Hands  Across  the  Table" 

Preston  Foster  in  "Last  Days  of  Pompeii" 

Eric  Von  Stroheim  in  "The  Crime  of  Doctor  Crespi" 


* 


A  MIDSUMMER  NIGHT'S  DREAM— Warner 
Brothers 


TA7ARNER  BROTHERS  have  done  almost  as  great  a 
* "  thing  in  producing  Max  Reinhart's  "A  Midsummer 
Night's  Dream"  as  they  did  when  they  revolutionized  the 
movies  by  the  introduction  of  sound.  For  here  is  not  only 
motion  picture  production  raised  to  the  realm  of  art  but 
entertainment  that  will  appeal  equally  to  everyone. 

Shakespeare  has  been  followed  respectfully  and  faith- 
fully. The  most  beautiful  score  Mendelssohn  ever  wrote 
has  been  orchestrated  exquisitely.  The  playing  is  perfect, 
and  the  costuming,  settings,  and  photography  blend  together 
into  enchantment  that  would  have  delighted  the  Bard. 

The  story,  of  course,  reveals  the  plight  of  the  four  earthly 
lovers  when  they  wander  into  a  wood  and  fall  under  the  spell 
of  Puck,  who  mischievously  is  obeying  the  will  of  Oberon  to 
show  Titania,  queen  of  the  fairies,  what  fools  love  can  create. 
The  mists  of  the  morning  dispel  the  dream  of  the  night, 
while  the  fantasy  descends  into  good,  rowdy  farce. 

Particular  honors  should  be  bestowed  on  Jimmy  Cagney, 
as  Bottom,  Olivia  de  Havilland  as  Hermia,  Mickey  Rooney 
as  Puck  and  Victor  Jory  as  the  black-browed  Oberon, 
though  every  member  of  this  truly  all-star  cast  play  their 
scenes  with  gusto.  To  Warner  Bros,  for  their  courage,  to 
Max  Reinhart  for  the  inspiration,  to  William  Dieterle  for 
his  direction,  to  Hal  Mohr  for  the  camera  work,  and  to 
Erich  Wolfgang  Korngold  for  the  scoring,  congratulations. 


* 


SHIPMATES  FOREVER— Warners 
Cosmopolitan 


THE  perennial  Annapolis  story  emerges  here  fresh  and 
*  appealing,  thanks  to  the  knockout  juvenile  performances 
of  Dick  Powell  and  Ruby  Keeler  under  the  deft  and  sym- 
pathetic direction  of  Frank  Borzage.  Dick,  as  a  big  time 
crooner,  enters  the  Academy  only  to  please  his  admiral 
dad,  Lewis  Stone.  However,  he  enters  under  the  wrong 
auspices  and  in  a  contrary  frame  of  mind  which  leads  to 
his  unpopularity.  During  the  final  year,  he  goes  on  a  cruise 
with  his  class  and  when  a  steam  pipe  blows  up  at  battle 
practice,  Dick  risks  his  life  to  save  his  former  roommate  and 
eventually  becomes  the  hero  of  the  fleet  and  of  the  Academy. 
The  naval  minded  ditties  second  the  inspiring  Annapolis 
color  and  make  it  all  the  more  reason  for  being  a  picture  to 
merit  much  fine  praise  and  amusing  attention. 


* 


THE  CASE  OF  THE  LUCKY  LEGS— First 
National 


TJILARIOUS  and  farcical  comedy  is  the  keynote  of  this 
**deep,  fast  paced  mystery  melodrama  that  is  handled 
with  skillful  precision  and  logical  clarity.  Warren  William, 
superbly  suave  and  witty,  gayly  unravels  a  leg-contest 
promoter's  murder  with  the  amusing  assistance  of  Gene- 
vieve Tobin.  Patricia  Ellis  and  Peggy  Shannon  are  the 
lovely  suspects  who  keep  your  busy  brain  spinning  to  keep 
up  with  this  Erie  Stanley  Gardner  barrier.  You'll  have  a 
grand  time  trying  to  find  out  who  did  it  and  you'll  laugh 
uproariously  at  the  frolicsome  mirth  and  merriment  that 
dominates  the  entire  picture  from  beginning  to  end.  There's 
the  full  stock  of  strange  and  mysterious  happenings  to- 
gether with  the  chain  of  murders  and  the  subsequent  sus- 
pects who  are  innocent,  to  thrill  and  chill  you. 


67 


SELECT      YOUR      PICTURES      AND      YOU      WON'T 


THE  THREE 
MUSKETEERS 
— RKO-Radio 


O'SHAUGH- 
NESSY'S  BOY 
— M-G-M 


TIN  GARDE!  It's  that  dashing  Gascon,  D'Artagnan,  and  his 
^trouble  loving  pals  in  a  delightfully  romantic  new  presen- 
tation of  Dumas'  swashbuckling  classic  of  royal  intrigue. 
Walter  Abel,  able  but  less  acrobatic  than  Douglas  Fairbanks 
of  yore,  leads  the  sword  flashing  quartet  to  the  dashing  rescue 
of  the  Queen's  honor.    Beautifully  produced,  acted  with  spirit. 


TA7ALLACE  BEERY  and  Jackie  Cooper  click  again  in 
*''  another  tender  and  often  tearful  father  and  son  story 
with  the  same  powerful  appeal  as  "The  Champ."  The  heart 
tugs  arrive  when  Wally,  a  stumblebum  animal  trainer,  fights 
to  win  back  the  love  of  his  son,  reared  to  hate  him  by  a  meddling 
sister-indaw.     It's  brightened  by  colorful  circus  atmosphere. 


PERSONAL 
MAID'S 
SECRET— 
Warner  Bros. 


TWO  FISTED 
— Paramount 


•PHIS  warmly  human,  clever  and  thoroughly  delightful  little 
*  picture  glorifies  the  family  maid.  Ruth  Donnelly  is  Lizzie, 
whose  deft  persuasiveness  manoeuvers  the  lives  of  an  interest- 
ing average  family  to  Long  Island  mansions  and  various  happy 
endings.  Full  of  skillful  "touches"  with  some  real  drama  at 
the  end.    Margaret  Lindsay,  Warren  Hull  and  Arthur  Treacher. 


JIMMY  GLEASON'S  old  stage  hit,  "Is  Zat  So,"  brightened 
**  and  brushed  up,  gives  Lee  Tracy  that  fast  and  furious  farce 
role  he  has  needed  so  long.  Lee  and  Roscoe  Karns  are  the 
smooth-tongued  pair,  who  buttle  and  battle  through  paralyzing 
scrapes  in  a  millionaire's  mansion  to  guard  a  tot  from  his 
worthless  father.     It's  a  scream  all  the  way. 


LAST  DAYS 
OF  POMPEII 
—RKO-Radio 


THE 

VIRGINIA 
JUDGE— 
Paramount 


TV  SPECTACULAR  drama  of  pagan  splendor  during  the 
**  loose,  lax  period  of  the  Roman  Empire  assumes  the  same 
title  as  Bulwer-Lytton's  famous  novel  but  is  entirely  different 
in  plot  and  action  and  worth  while  seeing.  Preston  Foster 
gives  a  vivid  performance  as  the  blacksmith  who  sets  up  gold 
as  his  God  after  losing  his  wife  and  son  because  of  poverty. 


TAT  ALTER  C.  KELLY  in  the  role  of  the  southern  small 
'  *  town  judge,  which  he  made  famous  on  the  stage,  makes 
this  otherwise  ordinary  picture  a  warmly  human  and  appealing 
story.  You'll  get  laughs  from  that  colored  lazybones,  Stepin 
Fetchit,  as  the  be-plumed  ruler  of  the  Pearly  Gates  of  Heaven 
Lodge  who  is  involved  in  crap  games  and  razor  arguments. 


68 


HAVE      TO      COMPLAIN      ABOUT      THE      BAD      ONES 


FRECKLES— 

RKO-Radio 


SHE 

COULDN'T 
TAKE  IT— 
Columbia 


QENE  STRATTON  PORTER'S  latest  contribution  to  the 
^screen  is  probably  an  excuse  for  introducing  another  child 
actress  to  movie  audiences.  As  such,  it  is  a  pleasant,  though 
unexciting  little  story  of  love  in  a  lumber  camp.  Tom  Brown 
and  Carol  Stone  are  the  shy  lovers,  while  little  Virginia  Weidler 
is  permitted  full  range  to  flaunt  her  talents. 


VOU'VE  seen  this  idea  before,  but  you'll  probably  like  the 
*  new  speedy  version.  A  harassed  millionaire,  Walter 
Connolly,  flees  to  prison  from  his  mad,  spoiled  family,  makes 
George  Raft,  gangster  inmate,  trustee  of  his  wealth  when  he 
dies.  Released,  George  takes  command,  battles  with  spoiled 
deb  daughter,  Joan  Bennett,  until  love  crashes  through. 


NAVY  WIFE 

—20th 

Century-Fox 


MUSIC  IS 

magic- 
Fox 


BECAUSE  of  her  family  experiences,  Navy  nurse  Claire 
■^Trevor  is  afraid  of  love  and  marriage  in  this  so-so  program 
picture.  When  she  does  wed  Navy  doctor  Ralph  Bellamy,  a 
secret  assignment  from  the  Intelligence  Department  develops 
complications  for  her  husband  in  the  form  of  an  adventuress 
spy.    Ben  Lyon  does  well  with  an  unimportant  role. 


"DEBE  DANIELS  steps  out  and  shows  'em  some  real  trouping 
**in  this  pleasant  little  semi-musical,  headed  by  Alice  Faye 
and  Ray  Walker,  of  the  vaudeville  gal  who  finally  makes  the 
grade  in  Hollywood.  Bebe  plays  to  the  hilt  her  role  of  the 
aging  movie  queen  who  won't  be  her  age.  Her  scene  in  the 
hot-cha  song  number  will  wow  you.     Some  catchy  tunes,  too. 


FIGHTING 
YOUTH— 
Universal 


THE  CRIME 
OF  DOCTOR 
CRESPI— 
Republic 


TV  HANDFUL  of  radical  students  upset  college  routine  in 
"*  this  so-so  film  of  campus  life.  Charles  Farrell  makes  a 
none  too  convincing  football  hero  who  is  tricked  into  ditching 
the  game  by  radical,  Ann  Sheridan,  June  Martel,  Farrell's 
college  sweetheart,  aids  federal  investigators  to  clean  out  the 
radicals  and  all  eventually  ends  well. 


I7DGAR  ALLAN  POE  would  have  been  well  pleased  with 
^this  admirable  and  authentic  adaptation  the  producers 
have  made  of  "The  Premature  Burial."  Transposed  to  the 
screen,  it  becomes  one  of  the  most  harrowing  and  gruesome 
of  thrillers.     Eric  Von  Stroheim  is  excellent  as  Doctor  Crespi. 

[  PLEASE  TURN  TO  PAGE   113  | 


69 


The 

Glorifying 

of 

Eleanor 

Powell 


Eleanor    Powell,    three    years    and    a    halt    ago.    long    before 
her     "transformation,"     when      she     was     in     the     Varieties 


A  YEAR  ago,  if  you'd  asked  any  of  the  Broadway  biggies 
what  they  thought  of  Eleanor  Powell's  chances  in  the 
movies,  they  would  have  answered  quite  honestly,  "No 
soap — she's  not  good-looking  enough." 

A  year  ago  Eleanor  Powell  was  the  acknowledged  Ugly 
Duckling  of  the  Great  White  Way.  Today  she  is  one  of  the 
loveliest  stars  in  Hollywood.  Between  the  two  extremes  lies  a 
story  which  has  never  been  equalled  in  all  show  business. 

For  in  twelve  months'  lime  Eleanor  Powell  has  transformed  her- 
self from  sheer  ugliness  into  actual,  radiant  beauty! 

You  saw  that  beauty  in  "Broadway  Melody  of  1936."  And 
this,  if  you  want  to  be  lovelier,  is  the  true  story  of  how  she 
achieved  it.  Eleanor  has  given  me  the  complete,  intimate 
details  behind  the  greatest  change  the  theater  has  ever  seen  in 
any  of  its  daughters,  the  greatest  change  I  have  ever  seen  in  a 
girl  in  all  my  life. 

When  Broadway  first  knew  this  young  star  she  was  a  homely, 

70 


How  in  twelve  months 
she's  been  trans- 
formed from  an  Ugly 
Duckling  into  a  vivid, 
radiant   film   beauty! 

By  Mary 
Watkins  Reeves 


freckle-faced,  spindly -legged  kid  of  sixteen.  True, 
she  had  a  definite  personality  and  she  was  some- 
thing very  extra-special  when  it  came  to  dancing, 
but  that  was  all.  Enough  grease-paint,  and  long- 
legged  or  skirted  costumes,  and  her  looks  got  by 
on  a  stage.  But  in  real  life  she  was  an  unlovely 
youngster  if  one  ever  lived.  The  only  really  ap 
pealing  feature  about  her  was  her  nose,  a  cute 
cross  between  piquant  and  pug.  But  a  nose  alone 
can't  save  a  plain  face,  a  disproportioned  figure.  Broadway 
branded  her  Ugly  Duckling.    And  the  name  stuck. 

Well,  it  isn't  so  bad  when  Broadway  thinks  you're  homely. 
It  isn't  so  bad  when  you  think  so  yourself,  as  Eleanor  often  had 
to  admit  But  when  your  own  mother — a  stage  mother  at  that 
— agrees,  that's  the  ultimate!  It's  up  to  mamas  to  consider 
their  offspring  perfectly  devastating  when  nobody  else  in  the 
world  does. 

Yet  Mrs.  Powell  said  to  me  very  frankly  the  other  day, 
"  Eleanor  wasn't  even  a  pretty  baby.  She  was  too  fat  when  she 
was  four,  too  thin  when  she  was  eight,  and  at  ten  she  was  a — a 
problem!    Bashful,  awkward,  gawky — " 

So,  wisely  she  enrolled  her  little  girl  in  dancing  school.  The 
child  developed  not  only  a  new  poise  but  a  marked  innate 
talent  for  rhythm.  At  sixteen,  fresh  from  Springfield,  Mass- 
achusetts, Eleanor  descended  on  New  York  to  "get  in  a  show." 
And  did. 


The  "new"  Eleanor  Powell,  the  pulsating  dancing  sensation 
of  "Broadway  Melody  of  1936."  Leit,  when  she  first 
came    to    the    attention    of    Broadway — freckled    and    spindly 


She  got  in  lots  of  shows  and  vaudeville,  topping  off  her  stage 
career  with  a  spectacular  success  in  George  White's  Scandals. 
She  became  recognized,  by  her  twenty-first  birthday,  not  only 
as  the  foremost  girl  tap  dancer  of  the  country,  but  as  the  Baby 
of  The  Street,  as  Broadway  affectionately  called  her.  It  was 
natural  that  Eleanor  turn  her  eyes  toward  Hollywood  for 
further  fields  to  conquer. 

In  her  own  unusual  way  she  was  refreshingly  attractive. 
Schoolgirlishly  boisterous,  invariably  tweeded,  tailored  from 
her  undies  to  her  slim  sporty  coats.  When  she  sat  she  sprawled, 
when  she  danced  she  was  lightning.  A  speck,  of  powder  and  a 
light  lip-rouging  was  all  the  make-up  you  ever  saw  added  to  that 
plain,  scrubbed-clean  sort  of  face     [  please  turn  to  page  98  ] 

71 


Charles  E.  Kerl 


Jean  Harlow's 

Christmas 
Dinner  Table 


Flat  silver:  in  Francis  I  by  Gorham. 
Service  plates,  goblets  and  flower  bowl; 
Georgian  by  Wallace. 
Candlesticks:  1780  Sheffield. 
China:  Oakleaf  by  Wedgewood. 
Crystal:  design  by  Tiffany. 
Doilies:  in  old  Point  Venice  lace. 
Napkins:  madeira  linen  with  Berano  in- 
serts. 

Furniture:  Louis  XVI. 
Candelabra  on  buffet:  1730  Sheffield. 


72 


THE  gossamer  of  glamour  is  finely  spun.  So  it  is  eminently 
fitting  that  Christmas  dinner  in  lovely  Jean  Harlow's 
white  hilltop  home  in  Bel-Air  should  be  a  formal  affair  of 
gracious  dignity,  adult  gaiety  and  roast  pheasant  rather  than 
the  noisy  informality,  heart-warming  as  that  is,  of  a  family 
gathered  around  turkey  and  trimmings. 

Dinner  is  served  in  the  Harlow  home  at  8:30  o'clock  by 
Brown,  the  colored  butler  of  serious  mien.  So  at  eight-fifteenish 
you'll  be  in  the  antique  ivory  and  soft  green  drawing  room 
sipping  a  cocktail  or,  if  your  taste  runs  stronger,  a  highball. 
Your  hostess  rarely  uses  liquor  but  on  this  holiday  night  she 
may  indulge  in  one  dry  Martini.  Regardless  of  her  personal 
taste,  however,  you  may  have  what  you  will  in  the  liquor 
line. 

Chatting  near  you  this  night  will  be  glorious  Norma  Shearer 
and  her  brilliant  husband,  Irving  Thalberg;  dark-eyed  Dolores 
Del  Rio  and  her  clever  decorator  husband,  Cedric  Gibbons; 
Mr.  and  Mrs.  Carey  Wilson  (she  was  Carmelita  Geraghty  and 
is  Jean's  closest  friend)  and  suave  William  Powell  who's  beauing 
Jean  these  exciting  days.  Eight  carefully  chosen  guests,  Jean 
believes,  is  perfect  for  the  dinner  party  and  this  eight  plu- 
perfect. 

At  eight-thirty  Brown  will  swing  wide  the  ivory  doors  of  the 
rather  intimate  dining  room.  Light  from  twenty-three  tall  white 
tapers  will  bathe  the  room  in  a  soft,  balanced  glow.  Four 
tapers  will  stand  in  heavily  encrusted  silver  sticks  on  the  table, 
ten  will  be  in  two  candelabra  on  the 
buffet  and  nine  will  be  held  in  one 
massive  candelabrum  in  the  far 
corner  of  the  room. 

Candle  light  for  all  evening  meals 
is  Miss  Harlow's  choice  and  in  this 
instance  it  is  a  wise  one  indeed  for 
the  flickering  light  and  shadows 
dancing  over  the  gleaming  silver  and 
crystal  appointments  vastly  en- 
riches their  beauty. 

Regardless  of  vogue,  Miss  Harlow 
prefers  lace  to  damask  so  the  bur- 
nished mahogany  surface  of  the 
antique  ivory  Louix  XVI  table  like- 
wise will  reflect  the  capers  of  the 
candles.     Spread   on   it    will    be   a 

runner  and  oblong  individual  place  doilies  of  fine  old  Point 
Venice  lace.  The  graceful  chairs  are  upholstered  in  soft  coral 
velvet  and  the  same  dull  green  of  the  drawing  room  covers 
the  floor. 

Though  it  is  a  Christmas  dinner,  there  will  be  no  seasonal 
hint  in  the  floral  centerpiece.  Two  dozen  short  stemmed 
Talisman  roses  will  be  simply  but  effectively  arranged  in  a  low 
silver  bowl  with  rolling  edges.  Roses,  Miss  Harlow  believes, 
are  the  perfect  flower  for  the  formal  dinner. 

At  one  end  will  be  a  silver  dish  of  bon-bons;  at  the  other 
will  stand  a  matching  dish  of  mixed  nuts.  Before  each  place, 
too,  will  be  an  individual  basket  of  nuts  and  ready  for  the 
smokers  will  be  silver  ash  trays,  monogrammed  silver  match 
boxes  and  flat  silver  trays  of  various  brands  of  cigarettes. 

Silver  water  goblets,  chaste  in  design,  and  sparkling  crystal 
glasses  for  the  red  Bordeaux,  1921,  to  be  served  with  the 
pheasant,  will  stand  at  the  tip  of  the  dinner  knife  of  the  ex- 
quisite flat  silver  which  has  been  in  Miss  Harlow's  family  for 
so  imany  years.  Napkins  of  Madeira  linen  with  Berano  inserts 
wll  lie  ready  for  use  on  handsome  silver  service  plates. 

For  this  Christmas  dinner  Miss  Harlow  has  planned  mock 
turtle  soup,  pheasant  with  brown  almond  sauce,  asparagus 
with  butter  sauce,  hot  buttered  rolls,  tomato  en  aspic  with  tiny 
toasted  cheese  rolls,  and  Baked  Alaska  Diablo. 

It  may  strike  you  as  a  simple  menu  for  such  a  formal  dinner 
but  it  is  in  strict  accord  with  Miss  Harlow's  preference  in  such 
matters.  She  never  serves  a  full  course  dinner;  rather,  she 
says,  each  of  the  few  courses  must  be  chosen  with  discretion 


Preview  of 
the  Perfect 
Christmas 
4  Dinner  4 


and  each  must  be  perfect  unto  itself.  An  incomparable  plan! 
To  help  you  achieve  the  perfect  beginning,  middle  and  end 
of  this  menu,  should  you  choose  to  copy  it,  Miss  Harlow's 
colored  cook,  Nanny,  has  parted  with  three  prized  recipes. 
Materials  essential  for  Nanny's  mock  turtle  soup  include: 
1  calf's  head,  2  cups  of  brown  stock  (beef  or  vegetable  extracts 
dissolved  in  water  or  canned  consomme  or  bouillon),  H  cup 
sliced  onion,  J^  cup  carrot  cut  in  dice,  1  cup  stewed  and  strained 
tomatoes,  34  CUP  butter,  J^2  cup  flour,  juice  of  3^  lemon,  2 
sprigs  thyme,  6  allspice  berries,  6  cloves,  3^  teaspoon  pepper- 
corns and  Madeira  wine  to  taste  if  desired. 

Nanny  concocts  the  delight  this  way:  clean  and  wash  calf's 
head;  soak  1  hour  in  cold  water  to  cover.  Cook  until  tender  in 
3  quarts  boiling  water  to  which  seasoning  and  vegetables  have 
been  added.  Remove  head;  boil  stock  until  reduced  to  one 
quart.  Strain  and  cool.  Melt  and  brown  butter,  add  flour, 
stir  until  well  browned.  Pour  on  brown  stock  slowly  and  bring 
to  boil.  Add  the  headstock,  tomatoes,  1  cup  diced  face  meat, 
and  lemon  juice.    Simmer  5  minutes  and  serve. 

To  properly  roast  the  pheasant,  Nanny  says,  tie  a  fat  piece 
of  bacon  over  the  breast  with  a  piece  of  string.  Baste  frequently 
while  baking  30  to  40  minutes.  Serve  on  buttered  toast  gar- 
nished with  watercress. 

The  delectable  brown  almond  sauce  is  made  by  browning 

3^2  pound  blanched  and  chopped  almonds  in  2  tablespoons  of 

butter.    Then  add  2  tablespoons  flour,    1  teaspoon  of  salt  and 

V%   teaspoon  pepper.     Finally   pour 

over  this  mixture  1  pint  of  thin  cream 

and  bring  slowly  to  boiling  point. 

For  Nanny's  Baked  Alaska  Diablo 
you'll  need:  a  meringue  of  4  egg 
whites,  4  tablespoons  powdered  sugar 
and  1  tablespoon  lemon  juice;  1 
quart  brick  ice  cream,  frozen  hard; 
thin  sheet  sponge  cake;  cherries 
soaked  in  brandy. 

Cover  a  baking  board  with  brown 
sugar,  arrange  cake  on  paper  and  ice 
cream  on  cake,  having  cake  extend 
3^2  inch  beyond  the  ice  cream. 
Quickly  spread  the  entire  cake  and 
cream  with  the  meringue  and  place 
the  whole  in  a  hot  oven  for  about  5 
minutes.  Turn  the  board  if  necessary  to  brown  evenly.  Slide 
the  browned  cake  and  cream  from  paper  to  platter.  Place 
cherries  soaked  in  brandy  on  top,  set  fire  to  cherries  and  serve 
at  once.  The  cake  board  and  brown  paper  must  be  used; 
they  are  non-conductors  of  heat. 

When  you  have  thrilled  to  the  last  bite  of  Baked  Alaska 
Diablo,  close  to  two  hours  magically  will  have  passed  at  table. 
This,  too,  is  in  keeping  with  the  strict  Harlow  rule  of  dining 
leisurely  that  food,  spiced  with  sprightly  conversation,  may  be 
enjoyed  to  its  fullest. 

Coffee  will  be  brought  to  the  drawing  room  in  plain  white 
Wedgewood  demi-tasse  cups  on  a  heavy  Georgian  silver  tray. 
Liqueurs  will  be  served  to  those  who  wish  them.  You'll  probably 
enjoy  Miss  Harlow's  pet  substitute — a  cube  of  sugar  dipped 
in  brandy. 

There'll  be  no  bridge  or  games  to  stir  you  up  after  this  perfect 
dinner;  Miss  Harlow  doesn't  believe  in  them.  In  lieu,  you'll 
round  out  this  evening  of  carefully  engineered  relaxation  by 
sinking  deeply  into  comfortable  chairs  and  talking.  Eager, 
stimulating  talk. 

The  art  of  conversation  is  a  great  one,  Miss  Harlow  believes, 
and  she  encourages  its  practise. 

Before  you  know  it  the  hands  of  the  clock  will  have  sped 
around  to  that  hour  when  Miss  Harlow  must  graciously  shoo 
you  out  the  door,  much  as  she  rues  it.  After  all,  morning  is 
coming  all  too  soon  and  morning,  for  this  hostess,  means 
grinding,  hard  work  before  a  camera  cruelly  ready  to  pick  up 
the  most  minute  evidences  of  beauty  neglect  the  night  before. 


* 


73 


„  and  known  as 
,  v,0ve)aU  grown  u,Ps°erVmq  drama 

lheeAance   actor. 


IF  you  asked  anyone  you    might  know   to   name   the  big 
theatrical  families  of  this  country  he  would  probably  reply, 
"Why,  the  Barrymores,  of  course,  the  Bennetts,  and  pos- 
sibly the  Costellos." 

If  you  mentioned  the  name  "Morris,"  his  thoughts  would 
probably  turn  to  an  easy  chair  or  perhaps  a  salary  loan. 

Yet  out  on  Sunset  Boulevard  in  Hollywood  where  it  curves 
as  if  to  dodge  the  spotlighted  struttings  at  the  Clover  Club  and 
the  Trocadero  just  ahead,  perches  a  little  low  Spanish  bun- 
galow. There  quietly  lives  a  man  who  is  the  pappy  of  the 
biggest  theatrical    tribe  of  them  all. 

His  name  is  William  Morris,  and    in  his  day  he  was  the 


busiest  and  highest  paid  actor  on  Broadway.  He  played  with 
Edwin  Booth  and  Lawrence  Barrett  and  John  McCullough. 
He  was  Modjeska's  leading  man. 

Some  thirty  odd  years  ago  David  Belasco  introduced  him, 
at  a  rehearsal  of  "The  Girl  I  Left  Behind  Me,"  to  a  young 
actress  named  Etta  Hawkins  who  had  come  to  New  York 
from  Aurora,  Illinois,  with  a  letter  to  Daniel  Frohman.  They 
were  married  and  later  during  an  acting  engagement  in  Man- 
chester, N.  H.,  a  son  was  born  and  named  after  the  town. 


74 


nia 


rt  JV 


o  w 


QCCen«    on    h~.U'  s"*>- 
er    eyGs 


,Qnd  de/inin"P    e^Perts    a„ 

Powdering 


CONDUCTED        BY        CAROLYN        VAN        WYCK 


77 


Above:  Marian  Marsh's  washing 
mits  are  a  very  satisfactory  ad- 
dition to  her  bath  accessories. 
She  selects  them  in  pastel  plaids 
to    match    her    decorative    towels 


Left:  Rouge,  as  Loretta  Young 
applies  it.  adds  a  very  natural 
color  emphasis  to  her  make-up. 
Follow  the  cheek  -  bone  curve, 
and    blend    with    the    finger-tips 


Lower  left:  Ann  Rutherford  is 
making  up  her  lashes  with  a  new 
creamy,  run-proof  mascara.  It 
comes  with  a  brush  in  a  satin 
case  which  she  slips  in  her  bag 


Making  Up 


78 


Above:  A  compact  little  chest 
contains  Tala  Birell's  manicure 
necessities.  —  cuticle  remover, 
polish  and  its  remover.  Tala 
is     applying     a     natural     polish 


Left:  Patting  your  powder  up 
close  to  the  lower  eyelid  will 
conceal  deep  shadows  and  make 
your  eyes  sparkle  with  youth, 
is    Evelyn    Venable's    tip   to    you 


Lower  left:  Ann  selects  a  non- 
drying  lipstick  of  medium  tone. 
Its  clever  case  comes  in  three 
colors  and  carries  its  own  un- 
breakable    lip-shaped     mirror 


To  Beauty 


79 


HskTTie  Answer  Alan 


WATCH  your  heart  when  Robert 
Donat  appears  on  the  screen!  This 
handsome  young  man  with  his  wavy 
auburn  hair,  brown  eyes,  and  his  ready  smile  is 
the  newest  male  heart  throb  and  annexes  a 
new  contingent  of  feminine  admirers  every 
time  his  face  is  flashed  upon  the  screen.  The 
sighing  "ohs"  and  "ahs"  heard  in  the  audiences 
when  he  appeared  in  "Henry  the  Eighth" 
and  in  "The  Count  of  Monte  Cristo"  were 
merely  forerunners  of  the  acclaim  that  has 
recently  been  accorded  him. 

Robert  Donat  (pronounced  Dough-nat)  was 
born  in  the  residential  suburb  of  Withington,  a 
mile  or  so  away  from  Manchester,  England,  on 
March  18,  1905,  and  is  descended  from  a  family 
that  has  been  progressively  Italian,  French, 
German,  Polish  and  English.  At  the  age  of 
seven,  he  wrote  a  play  called  "The  Hunch- 
back" which  he  produced  in  his  mother's 
kitchen  and  in  which  he  played  the  leading 
part.  After  his  stirring  performance,  his 
parents  insisted  that  he  learn  to  recite  and 
thenceforth,  every  family  gathering  was  an 
occasion  for  him  to  again  hang  Danny  Deever 
or  to  Carry  the  News  from  Ghent  to  Aix.  At 
the  age  of  eighteen,  because  of  his  matchless 
voice  and  perfect  diction,  he  won  the  gold 
medal  of  the  Academy  of  Music  and  Elocution. 
In  spite  of  the  swashbuckling  roles  he  por- 
trays on  the  screen,  Donat,  in  person,  is  a  very 
modest  and  likable  young  man  who  has  an  in- 
fectious sense  of  humor  and  an  engaging  per- 
sonality. He  is  fond  of  hiking,  riding,  motor- 
ing and  fencing  (at  which  he  excels)  and  reads 
anything  from  a  detective  thriller  to  a  Greek 
play,  depending  upon  his  mood.  He  regards 
Long  Island  Roast  Duckling  as  America's 
greatest  single  contribution  to  civilization. 

His  latest  appearance  on  the  screen  is  with 
Madeleine  Carroll  in  the  Gaumont-British  pro- 
duction, "39  Steps." 

Kay,  Los  Angeles,  Calif. — You  are  right, 
and  we  feel  the  same  way  you  do.  The  above 
brief  biography  will  give  you  all  the  informa- 
tion you  are  seeking.  Yes,  there  is  a  Mrs. 
Robert  Donat,  also  two  young  Donats. 

Adelyn  Graves,  Narberth,  Pa. — Indeed, 
Ann  Harding  is  a  lovely  person.  She  was  born 
at  Fort  Sam  Houston,  Texas,  on  August  7th 
and  is  5  and  one-half  feet  tall.  She  has  ash 
blonde  hair  and  blue-grey  eyes  and  tips  the 
scales  at  106  pounds.  Before- entering  the 
motion  pictures,  she  appeared  on  the  legitimate 
stage  in  "Tarnish,"  "Stolen  Fruit,"  and  "The 
Trial  of  Mary  Dugan."  She  was  recently 
divorced  from  Harry  Bannister.  Her  next  ap- 
pearance on  the  screen  will  be  in  "Peter 
Ibbetson." 

L.  J.  Davison,  New  York  City. — Loretta 
Young  was  born  in  Salt  Lake  City,  Utah,  on 
the  sixth  of  January,  1913.  She  is  5  feet  3  and 
one-half  inches  tall  and  has  brown  hair  and  blue 
eyes.  Her  stage  career  began  at  the  age  of  four 
but  she  did  not  enter  the  movies  until  1927. 
Grant  Withers  was  her  one  and  only  husband 
but  they  are  divorced  at  present. 

You  will  soon  see  her  in  "Ramona,"  her 
latest  picture. 

80 


WHAT  DO   YOU  WANT  TO  KNOW? 

THE  ANSWER  MAN  is  a  library  of 
fact,  fancy  and  personalities  on  pic- 
tures and  players,  and  hasn't  been 
stumped  for  an  answer  yet.  Naturally, 
he  does  not  limit  you  on  your  ques- 
tions, but  brevity  is  desirable.  If  you 
prefer  an  answer  direct,  be  sure  and 
enclose  a  self-addressed  stamped  en- 
velope. Also,  be  sure  and  address 
your  queries  to  The  Answer  Man, 
Photoplay  Magazine,  1926  Broadway, 
New  York  City. 


Robert  Donat,  who  reads  any- 
thing from  a  detective  thriller  to  a 
Greek  play,  and  who  considers 
roast    duckling    the    top    in    food 


Mrs.  W.  C.  Bradley,  Binghamton,  N.  Y. 
— Frank  Morgan  took  the  part  of  the  Governor 
of  Louisiana  in  "Naughty  Marietta." 

Laura  F.  Beebe,  Sturgis,  Mich. — Noah 
Beery  is  very  much  alive.  At  the  present  time 
he  is  over  in  England  making  "King  of  the 
Damned."  . 

Wallace  Beery  was  the  one  who  played  in 
"The  Champ." 

Yes,  "East  Lynne"  was  made  into  a  "talkie" 
in  1931.  Ann  Harding,  Conrad  Nagel  and 
Clive  Brook  were  in  the  cast. 


Betty  Snyder,  Rochester,  N.  Y. — Figeac, 
France,  is  the  birthplace  of  Charles  Boyer.  He 
was  educated  in  the  grade  and  high  school 
there  and  later  attended  the  Sorbonne  in  Paris. 
Besides  being  an  accomplished  actor,  Charles 
Boyer  is  the  author  of  many  published  short 
stories.  He  has  also  appeared  on  the  legitimate 
stage  before  entering  the  movies.  He  was  born 
on  August  28th,  but  does  not  reveal  the  year. 
His  height  is  5  feet  11  inches  and  he  weighs  154 
pounds.    He  has  black  hair  and  brown  eyes. 

Mildred  Haselwood,  Wichita,  Kan. — 
You  will  have  to  write  to  the  studios  directly 
for  your  information,  but  unless  you  are 
thoroughly  familiar  with  the  studio  routine 
and  the  motion  picture  industry,  the  possibility 
of  securing  the  kind  of  employment  you  desire 
is  very  slim.  Furthermore,  the  work  is  far 
more  difficult  and  exacting  than  you  think. 
The  script  girl  is  held  responsible,  to  a  certain 
extent,  for  errors  that  occur  in  the  films. 

Esther,  Fort  Wayne,  Ind. — Dick  Powell 
was  divorced  in  1932.  His  wife  was  a  non- 
professional and  there  were  no  children  by  his 
marriage.  Donald  Cook  was  married  twice 
and  was  divorced  the  same  number  of  times 
He  is  the  father  of  little  Donna  Daily  who  was 
born  March  21,  1934. 

Alice  N.  Morrison,  Seattle,  Wash. — 
Unless  the  songs  are  used  in  a  musical  produc- 
tion, we  do  not  keep  any  record  of  the  titles. 
Hugh  Herbert  really  is  that  gentleman's  name, 
and  a  grand  gentleman  he  is.  Binghamton, 
New  York,  is  the  place  of  his  birth.  Many 
thanks  for  your  charming  sentiments. 

L.  J.  Ellis,  Melbourne,  Australia. — 
Tacoma,  Washington,  claims  Bing  Crosby  as 
one  of  its  natives,  and  the  date  of  his  birth  is 
May  5,  1904.  He  is  5  feet  9  inches  tall  and 
weighs  165  pounds.  His  hair  is  brown  and  his 
eyes  the  shade  that  his  feminine  admirers 
describe  as  pastel  blue.  At  one  time,  Bing  in- 
tended to  become  a  lawyer  and  studied  for  the 
bar  at  Gonzoga  University,  but  somehow  he 
was  side-tracked  and  found  himself  being  billed 
as  one  of  the  three  "  Rhythm  Boys"  appearing 
with  Paul  Whiteman's  band.  He  is  married  to 
Dixie  Lee,  an  actress,  and  is  the  father  of  three 
boys.  Bob  Crosby  is  his  only  brother.  His 
favorite  hobbies  are  boating  and  fishing  and  he 
owns  quite  an  enviable  stable  of  racing  ponies, 
although  we  don't  know  whether  you  would 
consider  that  a  hobby  or  a  worry.  Bing  is  now 
at  work  making  the  screen  version  of  "Any- 
thing Goes." 

Shirley  Temple  was  born  April  24,  1929,  at 
Santa  Monica,  California.  She  is  40  inches  tall 
and  weighs  42  pounds.  Her  hair  is  the  color  of 
gold  and  her  eyes  hazel.  She  has  two  brothers, 
Jack  and  George,  both  of  whom  are  much  older 
than  Shirley.  She  loves  to  memorize  lines 
from  plays  and  to  collect  dolls,  but  most  of  all 
she  is  very  fond  of  riding  on  her  pony.  "  Cap- 
tain January"  is  the  name  of  her  next  picture. 

Bevelyn  Hendricks,  Tucson,  Ariz. — 
Your  question  regarding  Loretta  Young  has 
been  answered  above. 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


81 


Luxable  fashions  are 
important  in  the 
wardrobe  of  this 
popular  star.  You'll 
see  her  wearing 
them  in  Universal 
pictures.  Clever 
girls  take  her  ad- 
vice— stick  to  Lux! 


says  GLORIA  STUART 

"It's  a  winner  with  washables — 
keeps  them  like  new!" 

"TT7HEN  a  player  is  a  box  office  hit,  fans  won't  stand  for 
VV  someone  else  taking  her  place.     No  other   player  is 
'just  as  good.'   I'm  that  way  about  Lux. 

"With  Lux,  stockings  practically  never  get  runs,  undies 
keep  the  darling  colors  they  have  when  new,  sweaters  stay 
soft,  unshrunken.  Naturally  I'm  keen  about  Lux!" 

Do  YOU  follow  the  lead  of  the  Hollywood  stars  and  insist 
on  Lux?  They  know  it's  safe— that  it  has  none  of  the  harmful 
alkali  ordinary  soaps  often  have— never  weakens  threads  or  fades 
colors  as  cake-soap  rubbing  may.  Saves  stocking  runs,  too! 

Thousands  of  girls  who  must  count  every  penny  find 
Lux  helps  them  to  look  as  well-groomed  as  their  favorite 
stars.  Anything  safe  in  water  is  safe  in  Lux. 


Specified  in  all  the  big  Hollywood  studios 

"All  costumes  on  the  Universal  lot  that  are  washable  at 
all  are  cared  for  with  Lux,"  says  Vera  West,  Wardrobe 
Supervisor.    "It  cleans    like    magic  —  I   wouldn't    be 
without  it  if  it  cost  $1.00  a  box!" 


"I  try  to  guess  how 
often  my  things 
have  been  Luxed, 
but  they  look  new 
so  long  I'm  a  mile 
off!"  says  Gloria. 


Face  Down 


CONTINUED  FROM  PAGE  36 


is  important.  1  sent  a  man  out  to  keep  a 
watch  on  the  front  of  the  house.  His  name  is 
Peters.  I  want  you  to  put  him  on  the  tele- 
phone and  let  me  talk  with  him." 

"  I'll  get  him,"  she  said.  "  He  came  here  and 
reported  just  a  few  minutes  ago,  but  listen,  I 
wanted  to  tell  you  something.  My  car's  been 
stolen." 

"  Stolen?  "  he  asked. 

"Yes." 

"You're  certain?" 

"Yes.  And  Arthur,"  she  went  on,  "that's 
the  butler,  you  know,  saw  the  tracks  of  the 
man  who  stole  it — at  least  we  think  he's  the 
one;  he's  got  bare  feet.     He  was  .  .  ." 

"You,"  he  ordered,  "get  out  of  that  house. 
Are  your  guests  still  there?  " 

"Yes." 

MAKE  some  excuse,"  he  told  her,  any  "ex- 
cuse I  don't  care  what  it  is.  Get  Peters 
to  drive  you.  Go  to  the  Roosevelt  Hotel, 
register  under  the  name  under  which  I  first  met 
you.  Tell  Peters  that  I  said  you  were  to  have 
Jim  Sweet  as  a  bodyguard.  Peters  will  know 
how  to  arrange  it.  Tell  Peters  to  see  that  you 
get  to  the  hotel,  and  leave  thai  house  al  once. 
After  that,  have  Peters  come  out  to  where  I 
am  now." 

"  Where  are  you  now?  " 

"At  Frank  Alter's  residence." 

"Is he  there?" 

"There's  no  time  for  answering  questions," 
he  told  her.  "Get  Peters  and  get  started,  and 
tell  Peters  to  take  care  of  you  first  and  then 
get  out  here  just  as  quickly  as  he  can." 

Brent  slammed  the  receiver  back  on  the 
hook. 

"To  whom  were  you  talking?"  Merla 
Smith  asked. 

"Curious?" 

"  Not  particularly." 

He  chuckled  and  said,  "Only  so  curious 
that  you  forgot  your  fear  in  an  attempt  to 
find  out  who  it  was.  .  .  .  Come  on,  we're 
going  down  the  corridor  to  where  you  saw 
this  man." 

"No.  No.  No." 

"Suit  yourself,"  he  told  her.    "I'm  going." 

"But  you  can't  leave  me  here  alone." 

"Then  you  can  come." 

She  started  to  protest,  but  Dick  brushed  her 
protestations  aside,  strode  to  the  door,  took  a 
flashlight  from  his  pocket  and  started  down 
the  long  corridor. 

CHAPTER  VIII 

j\  S  Brent  approached  the  turn  in  the  corri- 
**dor  around  which  Merla  Smith  had  run 
screaming,  she  came  close  to  him,  clung  to  his 
right  arm. 

He  shook  her  loose.  "Listen,"  he  told  her, 
"I  don't  know  what's  down  here  but  I  don't 
want  some  girl  cramping  my  style  if  I  have  to 
go  into  action.  Beat  it.  Why  don't  you  lock 
yourself  in  one  of  the  bedrooms,  close  the 
window,  lock  the  door  and  wait  until  .   .   ." 

"No!"  she  half  screamed.  "I  won't!  I 
won't!  I  tell  you  I  won't!  I  won't  be  left 
alone  in  this  house.  There's  something  awful 
here." 

"  Because  you  saw  a  man  who  didn't  wear 
any  shoes?  "  he  asked.  "  Don't  you  know  that 
was  probably  Frank  Alter?  He  wanted  you 
out  of  the  way,  so  he  made  a  stall    slipped 


down  the  corridor,  took  off  his  shoes  and 
waited  for  you." 

"  Don't  be  foolish ! "  she  exclaimed.  "  Frank 
wouldn't  have  done  that.  This  man  grabbed 
for  my  throat  Look!  You  can  see  the 
scratches  on  my  skin.  See  where  his  nail? 
scratched  down  against  the  flesh!" 

She  pulled  aside  the  torn  blouse,  disclosed 
the  sweep  of  a  perfect  throat,  the  soft_  white- 
ness of  the  rounded  contours. 

Dick  kept  his  eyes  peering  down  the  corri- 
dor. 

"Show  it  to  me  some  other  time,"  he  told 
her.      "I   don't  care   if  he  grabbed   at   your 


Gail  Patrick  and  John  Engstead  who 
appear  together  very  often,  stifle  all 
rumors  by  saying  that  they  are  just 
good     friends     and     nothing     more 

throat  a  dozen  times     I  tell  you  it  could  have 
been  Alter." 

"  You're  no  help  at  a  time  like  this,"  she  said 
bitterly. 

"It  all  depends  on  what  you  call  help," 
Dick  answered,  grinning.  "What  were  you 
doing,    prowling   around    Alter's   bedrooms?" 

"None   of   your   business!" 

"Very  well,  then,"  Dick  agreed  cheerfully 
"it's  none  of  my  business.  So  that's  that 
Now  what'll  we  talk  about?" 

All  the  time  he  was  talking  he  was  walking 
down  the  corridor. 

"Look,"  she  said,  pointing  to  the  lighted 
corridor,  "he  switched  the  lights  back  on.  He 
turned  them  out  when  he  was  chasing  me  and 
then  he  turned  them  on  again." 

Dick  paid  no  attention  to  her  but  raised  his 
voice  and  once  more  shouted,  "Alter!  Frank 
Where  are  you?     Hello-o-o!" 


Once  more  there  was  no  sound  save  the 
scream  of  the  howling  wind  which  sent  moaning 
noises  whistling  from  the  eaves  of  the  house. 

"Look  here,"  Brent  said,  "there's  a  door 
open  somewhere.  You  can  feel  the  wind  com- 
ing down  this  corridor.  Now  tell  me,  was  the 
wind  blowing  down  the  corridor  before  this 
man  grabbed  at  you?" 

"I  don't  think  so." 

"Can't  you  be  certain?" 

"Yes,  I'm  certain  it  wasn't." 

"That,"  he  said,  "would  indicate  the  man 
had  left  the  premises.     I'll  take  a  look." 

He  led  the  way  around  another  bend  in  the 
corridor.  The  huge  house,  built  to  enclose  a 
patio,  had  long  corridors  running  between 
rooms,  which,  on  one  side  of  the  corridor, 
opened  on  the  patio  and  on  the  other,  the 
outer  side  of  the  house. 

"What  does  a  bachelor  want  with  such  a 
big  house?"  Brent  asked  half  musingly. 

"Perhaps  he  had  a  chance  to  buy  it  cheap 
and  is  holding  it  for  speculation.  He's  only 
using  part  of  the  rooms  to  live  in." 

"Is  that  the  reason?"  Brent  asked. 

"I  guess  ...  er  ...  I  don't  know.  I  was 
only  guessing." 

"You  seemed  to  know  what  you  were  talk- 
ing about." 

"Did  I?" 

"Yes." 

"There's  the  open  door,"  she  said,  pointing. 

They  had  approached  the  end  of  the  hall- 
way. The  corridor  broadened  into  a  little 
reception  room  at  the  side  of  which  a  massive 
door  swung  on  its  hinges  while  gusts  of  wind 
swept  rain  in  through  the  opening. 

"Perhaps  it  blew  open,"  she  suggested. 

Brent  indicated  the  huge  bolt  in  the  door, 
the  massive  wrought-iron  catch  and  the  brass 
chain. 

JUST  about  one  chance  in  a  million,"  he 
said,  "that  this  door  blew  open — about 
one  chance  in  ten  million  that  it  was  opened 
from  the  outside.  Whoever  opened  that  door 
opened  it  from  the  inside  and  went  through  it 
in  a  hurry." 

Brent's  flashlight  located  the  light  switch. 
He  clicked  it  on  and  the  little  reception  hall- 
way, the  porch,  and  the  graveled  walk  lead- 
ing across  the  patio  were  flooded  with  light. 

"This  still  isn't  the  front  door,"  Brent  said. 

"No,  the  front  door  is  on  the  other  side, 
across  the  patio.    This  walk  leads  toward  it." 

Brent  indicated  the  moisture  on  the  hard- 
wood floor.  "  You  can  see,"  he  said,  "that  this 
door  hasn't  been  open  long.  The  rain  is 
blowing  in  fast,  yet  there  isn't  very  much  on 
the  floor.  Now  then,  where  the  devil  do  you 
suppose  Alter  went  to?  He'd  hardly  have  come 
out  and  left  the  door  open." 

"Oh,  /  know  what  must  have  happened," 
she  said.  "Alter  must  have  been  chasing  the 
thing  that  grabbed  me.    Isn't  that  logical?" 

Dick  didn't  answer  her.  He  was  bent  for- 
ward examining  the  graveled  walk. 

"Only  one  person  came  out  of  this  door," 
he  said,  "and  that  person  was  running,  and  . . ." 
he  said  slowly,  "running  in  his  bare  feet." 

The  beating  rain  had  moistened  the  ground 
underneath  the  surface  of  the  gravel  so  that 
pounding  feet  had  left  deep  indentations  which 
were  filled  with  water.  Dick  pointed  them 
out,  focused  the  beam  of  his  flashlight  on  a 

[  PLEASE  TURN  TO  PAGE  84  I 


82 


PHOTOPLAY   MAGAZINE   FOR   DECEMBER,    1935 


83 


ik 


Johnny  Dotrns  and  Marsha  Hunt  in  a  scene  from  the  Paramount  picture,  "The  Virginia  Judge" 


■fr 


Not  only  in  Hollywood,  but  wherever  discriminating  men  and  women 
demand    exceptional    smartness,    and    performance,    Auburn    Super- 
Charged  models  have  become  tremendous  favorites.  A  champion  never 
pushes  people  around,  therefore  you  can  ride  in  safety  and  comfort  in 
an  Auburn  Super-Charged  car,  letting  all  cars  go  by,  secure  in  your  knowl- 
edge that  beneath  your  hood  you  have  a  superior  car  which  has  already 
been  proven  and  needs  no  further  demonstrations.  We  invite  you  to 
inspect  and  drive  one  of  these  150  Horse  Power  Super-Charged  Auburns. 

AUBURN    AUTOMOBILE    COMPANY,    AUBURN,    INDIANA 


£ 


AM  BM  RN 


Joe  Penner,  in  the  Paramount  picture  "Collegiate" 


* 


Face  Down 


CONTINUED  FROM  PAGE  82 


place  where  the  man  had  quit  the  walk  and 
cut  across  the  patio.  The  patio  was  paved 
with  stone  flags.  In  between  them  were 
patches  of  ground  soaked  with  rain  until  it 
had  reached  the  consistency  of  soft  putty. 
In  several  of  these  strips  of  earth  there  were 
the  marks  of  bare  feet.  The  heels  had  left  no 
imprints,  but  the  toes  had  dug  deeply  into  the 
ground. 

"Come  on,"  Dick  said,  "we're  going  to 
find  where  this  man  went." 

They  were  both  out  in  the  driving  rain,  both 
equally  unconscious  of  the  downpour  which 
was  drenching  their  clothing. 

"Be  careful,"  Dick  warned,  "only  to  step 
on  these  rocks.  We  don't  want  to  leave  our 
tracks  here." 

"  Why  not?  "  she  asked. 

"Just  a  precaution,"  he  told  her.  "You 
can't  tell  what's  going  to  happen." 

"You  mean,"  she  said  in  an  undertone, 
"what  has  happened." 

"What  was  that?"  he  asked,  turning  toward 
her. 

"Nothing,"  she  answered.  "I  was  just 
talking." 

"Humph,"  he  grunted,  and  shot  the  beam 
of  his  spotlight  to  an  open  window. 

"TATHERE   do   you   suppose   that   window 

*  *  goes?"  she  asked. 

"It  looks,"  he  said,  "as  though  it  went  to  a 
cellar.    I'm  going  through  it." 

"No!  No!"  she  protested.  "It's  dark  down 
there!     You  can't  go  through  it." 

He  thrust  his  flashlight  through  the  window, 
said,  "Yes,  it's  a  cellar.  I'm  going  down. 
You  can  go  back  if  y«u  want  to." 

"I  don't  dare  go  back.     Don't  leave  me!" 

Brent  slid  down  through  the  window  with- 
out bothering  to  make  any  answer. 

"Wait!"  she  cried.  "Take  me  with  you. 
Don't  leave  without  me!" 

Brent,  standing  on  the  floor  beneath  the 
window,  sent  his  flashlight  in  a  sweeping 
circle  about  the  basement.  A  wine  rack,  well 
filled  with  cobwebby  bottles,  sent  back  the 
beam  of  his  flashlight  in  dull  reflections.  A 
pile  of  old  law  books  was  in  one  corner.  There 
were  various  boxes,  barrels,  odds  and  ends, 
but  no  sign  of  life. 

Brent  completed  his  survey,  looked  up 
through  the  window  and  called,  "All  right, 
slide  down  if  you  want  to  come.  Otherwise 
go  back  to  the  house." 

She  tried  to  wrap  her  skirt  tightly  about  her 
legs  and  slide  through  the  window  but,  as  she 
slid,  her  skirt,  moving  upward,  disclosed  a 
perfectly  formed  pair  of  legs. 

After  a  moment  she  stopped  and  said,  "I 
can't." 

"Come  on  if  you're  coming,"  Brent  called. 
"Don't  mind  me.    This  is  business." 

"Damn  you,"  she  said.  "I  hate  you!  You're 
a  beast,"  and,  with  that,  squirmed  through 
the  window,  kicking  with  her  legs  violently  as 
she  slid  through  the  casement. 

Brent  grabbed  her,  eased  her  to  the  floor. 
Then  as  she  readjusted  her  garments,  Brent 
started  exploring  the  cellar.  He  peered  back  of 
the  furnace,  back  of  the  stacked  boxes,  found 
a  light  switch  and  turned  on  the  electric  lights. 

"No  one  here,"  he  said. 

Stairs  led  up  to  the  upper  floor.  Brent 
climbed  those  stairs,  twisted  the  knob  of 
the  door  at  the  top  of  the  stairs  and  frowned. 


"This  door's  locked,"  he  said. 

"Well,  what  of  it?"  she  asked.  "With  all  of 
this  wine  down  here  you'd  think  he  would 
keep  the  door  locked." 

"That  isn't  the  point,"  he  told  her.  "There's 
only  one  window  to  this  cellar.  That's  high 
enough  from  the  floor  so  it  would  be  pretty 
difficult  for  a  man  to  get  out  through  it  unless 
he  put  a  box  or  something  under  it,  and  there's 
no  box  in  evidence.  Now  then,  how  did  this 
bare-footed  man  get  out  through  a  locked 
door?" 

"He  could  have  had  a  key,"  she  observed 
sarcastically. 

"Exactly  the  point  I'm  making,"  Brent 
told  her.  "Whoever  came  down  through  this 
cellar  window  had  a  key  to  this  door,  or  else 
he  must  be  still  in  this  celhr     And  if  he  is — " 


The  golden  voiced  Lily  Pons  peers 
wistfully  through  glass,  not  iron, 
bars  in  a  scene  from  "Love  Song," 
which    marks    her    debut    in    pictures 

"You're  still  trying  to  prove  it  was  Frank 
Alter  who  grabbed  me?"  she  asked. 

"Not  necessarily.  I'm  simply  thinking  out 
loud,"    he    observed. 

He  produced  his  flashlight,  started  examin- 
ing the  walls  of  the  cellar,  checking  over  each 
foot  of  the  concrete.  Abruptly  he  stopped 
and  said,  "Look  here.     What's  this?" 

HE  pried  at  the  concrete,  pushed  and  ham- 
mered. Nothing  happened.  He  searched 
about  with  groping  fingertips,  finally  found  a 
slightly  raised  section  in  the  wall  and  pressed 
it.  The  raised  spot  in  the  wall  receded  under 
the  pressure  of  his  thumb.  A  dull  click 
sounded  from  the  interior.  Slowly,  ponder- 
ously, a  section  of  solid  masonry  slid  inward, 
actuated  by  some  unseen  mechanism  which 
swung  the  heavy  slab  on  noiseless  hinges. 

"Now  then,"  Brent  remarked,  "we're getting 
somewhere." 

The  flashlight  illuminated  an  underground 
chamber  which  had  no  light.  Its  walls  were 
of  mortared  rock.  From  it  came  a  peculiar 
fetid  stench. 

Merla  Smith  grabbed  at  Dick's  arm. 

"The  same  smell!"  she  cried.  "It's  like  a 
caged  lion!    It  .  .  ." 


Dick  shook  her  free. 

The  little  room  contained  an  iron  bedstead, 
mattress,  blankets.  There  was  a  folding  card 
table,  a  water  tap  in  the  side  of  the  wall,  and 
built  into  the  solid  masonry,  two  iron  rings 
from  which  dangled  chains.  Below  the  chains, 
on  the  cement  floor,  lay  twin  bands  of  steel, 
ratcheted  like  padlocks. 

"Look,"  he  said,  "those  are  made  like  hand- 
cuffs, and  you  can  see  where  that  chain  has 
been  filed  or  sawed.  See,"  he  went  on,  his 
voice  high-pitched  with  excitement,  "some- 
one was  held  a  captive  here!  He  was  chained 
by  his  wrists  to  that  wall.  The  chains  allowed 
him  to  lie  on  the  bed  and  to  move  around  a 
little  bit,  but  not  much.  That  person  sawed 
or  filed  through  the  chains  and  escaped." 

"Then  what?"  she  asked. 

Dick  shrugged  his  shoulders  and  said,  "Then 
perhaps  he  tried  to  grab  you  by  the  throat." 

"And  you  mean  to  say  that  Frank  Alter, 
the  lawyer,  kept  a  man  chained  down  here  like 
a  caged  animal?" 

"I  mean  to  say  nothing  of  the  sort,"  he  told 
her.  "I  am  merely  pointing  out  to  you  un- 
mistakable evidence  that  some  man  was  kept 
chained  in  this  room.  There's  another  room. 
Let's  see  what's  behind  thai  door." 

TNICK'S  right  hand  slipped  a  gun  from  his 
^^shoulder  holster  to  a  position  of  instant 
readiness.  His  left  hand  held  the  flashlight. 
Slowly  he  stepped  forward.  The  beam  from 
the  flashlight  illuminated  the  second  room. 

Abruptly  Dick  froze  into  immobility,  the 
gun  thrust  forward  ready  for  instant  action. 

The  beam  from  the  light  had  caught  a  pool 
of  thick  red  which  had  welled  slowly  from  that 
inner  room,  along  a  richly  carpeted  8001-,  until, 
as  the  beams  of  the  detective's  flashlight  struck 
its  surface,  it  sent  forth  a  vague  ruby  reflection 
which  danced  in  crimson  light  upon  the  tinted 
plaster  walls  of  the  inner  room. 

"Keep  back,"  Dick  told  her,  "unless  you 
want  to  be  shocked." 

He  stepped  quickly  forward.  The  beam  of 
his  flashlight  disclosed  a  dead  hand  clutching 
against  the  rug,  the  fingers  covered  with  en- 
crusted red.  Another  step — an  arm  came 
into  view,  stretched  out  at  a  grotesque  angle. 
Another  step  and  Dick  Brent  was  staring 
down  upon  the  dead  form  of  Frank  Alter,  the 
criminal  lawyer — the  handle  of  a  big  knife 
protruding  from  his  back. 

From  the  street  outside  of  the  house, 
sounded  the  blare  of  an  automobile  horn. 

Dick  Brent  whirled  on  Merla  Smith. 

"  You,"  he  said,  "killed  Frank  Alter.'" 

She  shook  her  head. 

"Yes  you  did,"  he  told  her.  "You  were 
having  an  argument  with  him  when  I  came 
He  told  you  to  hide.  You  came  down  to  this 
room.  It's  very  evident  what  sort  of  a  place 
this  is.     Alter  has  kept  it  as  a  hide-out." 

She  tried  to  speak,  but  words  would  not 
come  to  her  quivering  lips. 

From  the  rain-swept  darkness  just  outside 
of  the  house,  there  sounded  once  more  the 
inpatient  blaring  of  an  automobile  horn. 

(Did  Merla  Smith  kill  Frank  Alter?  Who  was 
the  frightful  menace  in  the  dark?  Can  lovely  Vilma 
Fenton,  the  actress,  escape  him?  Tlie  next  in- 
stallment of  "Face  Down"  brings  even  more 
electrifying,  diabolical  events.  In  January 
Photoplay,  out  December  5.) 


84 


PHOTOPLAY   MAGAZINE   FOR   DECEMBER,    1935 


85 


But 

secretly 
she  cried 
over  tier 
pimply 
skin 


WHO? ME?  WHY, 
YOU  KNOW  1  HATE 
BOYS -~  WHY,  I 
WOULDNT  BE. 
SEEM  WITH 
ONE" 


but;  actually;  of  courseshe: 
wants  to  be  pretty  and  popular. 


[NAST^  HORRID  HICKIES/  IF 
L"I  COULD  OMI-ygET15)POF, 

Them/ 


V>00&  CHILD-THOSE  PIMPLES 
HAVE  HURT  HER  LOOKS,  AND 
MADE  HER  MISS  SO  MANY      ™ 
60ODTIME5/ 


Don't  let  adolescent  pim- 
ples cramp  YOUR  style 

From  13  to  25  years  of  age,  im- 
portant glands  develop.  This 
causes  disturbances  throughout 
the  body.  The  skin  becomes  over- 
sensitive. Harmful  waste  prod- 
ucts get  into  your  blood.  These 
poisons  irritate  the  sensitive  skin 
and  make  pimples  break  through. 

Physicians  prescribe  Fleisch- 
mann's  Yeast  for  adolescent  pim- 
ples. This  fresh  yeast  clears  skin 
irritants  out  of  the  blood.  Pim- 
ples vanish!  Eat  it  3  times  a  day, 
before  meals,  until  skin  clears. 


by  clearing  skin  irritants 
out  of  the  blood 


86 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


a 


«?L 


WK  YOUR 
WONWKWL" 


-xV 


# 


use  cosmetics,  of  course 

But  thanks  to  luxToilet 

Joap,  I'm  not  a  bit  afraid 

of  Cosmetic  Skin 


Joan  Blondell 

STAR  OF  WARNER  BROTHERS'  "MISS  PACIFIC  FLEET" 


PHOTOPLAY  MAGAZINE   FOR   DECEMBER.    1935 


87 


comes  to  the  girl  who  guards  against  Cosmetic  Skin 


SWEET,  SMOOTH  SKIN  is  very  hard  to  resist. 
So  don't  risk  losing  this  charm.  You  can 
use  all  the  rouge  and  powder  you  wish!  But  be 
sure  to  remove  stale  cosmetics  thoroughly 
with  the  care  9  out  of  10  lovely  Hollywood  stars 
have  used  for  years — gentle  Lux  Toilet  Soap! 

Cosmetics  Harmless  if  removed  this  way 

Lux  Toilet  Soap  is  made  to  remove  cosmetics 
thoroughly.  It  guards  against  the  dangerous 
pore  choking  that  results  in  tiny  blemishes,  en- 


larged pores,  blackheads,  perhaps  —  signs  of 
Cosmetic  Skin.  Lux  Toilet  Soap  has  an  ACTIVE 
lather  that  frees  the  pores  completely  of  all  hid- 
den traces  of  dust,  dirt,  stale  cosmetics. 

To  protect  your  skin — keep  it  always  smooth 
and  clear — follow  this  easy  rule:  Before  you 
put  on  fresh  make-up  during  the  day — ALWAYS 
before  you  go  to  bed  at  night — use  fragrant, 
white  Lux  Toilet  Soap ! 

You  want  to  have  the  kind  of  skin  that  makes 
men  say,  "I  think  you're  wonderful!" 


BRIEF      REVIEWS      OF      CURRENT      PICTURES 

I  CONTINUED  FROM  PAGE  6  I 


CASE  OF  THE  CURIOUS  BRIDE,  THE— First 

National. — A  mystery  handled  in  the  casual  manner 
movie  audiences  love,  with  Warren  William  as  the 
amateur  sleuth  and  Margaret  Lindsay  the  bride 
whose  curiosity  is  aroused  Murder  thrills  Good. 
(July) 

CHARLIE  CHAN  IN  SHANGHAI— 20th  Cen- 
tury-Fox.— Murder  at  a  dinner  table  gives  Charlie 
Chan  another  opportunity  of  teaching  his  son  more  of 
the  elements  necessary  for  a  good  detective  Worth 
while.     (Nov.) 

CHEERS  OF  THE  CROWD— Monogram— The 
story  of  the  sandwich  man  who  finds  ten  thousand 
dollars  and  returns  it,  made  into  a  confusing  and  in- 
effective movie.     Russell  Hopton,  Irene  Ware.    (Oct.) 

•  CHINA  SEAS— M-G-M.— The  combination 
you  must  enjoy  (Gable,  Harlow  and  Beery)  in 
a  fast  moving  story  crammed  with  thrilling  adven- 
tures and  exciting  situations  of  modern  primes  in 
Oriental  waters.  Lewis  Stone  and  Robert  Benchley 
are  not  to  be  overlooked.     (Oct.) 

CHINATOWN  SQUAD.— Universal.— Speedy  di- 
rection and  a  competent  cast  make  good  entertain- 
ment of  this  mystery  wherein  Lyle  Talbot,  who  drives 
a  sightseeing  bus  through  Chinatown,  solves  two 
murders  and  wins  Valerie  Hobson.    (Aug. ) 

CLAIRVOYANT,  THE— GB.— An  absorbing  film 
with  Claude  Rains  excellent  as  a  fake  fortune  teller 
who  discovers  he  has  real  clairvoyant  powers  when  in 
the  presence  of  Jane  Baxter.  Fay  Wray  good  as  his 
wife.     (Sept.) 

COLLEGE  SCANDAL— Paramount.— A  c.ever 
double  murder  mystery  played  against  a  breezy  col- 
lege backdrop  makes  this  a  great  evening  for  amateur 
sleuths.  Arline  Judge.  Kent  Taylor,  Wendy  Barrie. 
Edward  Nugent.  Mary  Nash.     (Aug.) 

COWBOY       MILLIONAIRE,       THE— Fox.— A 

Western  for  sophisticates,  and  an  hilarious  comedy. 
George  O'Brien  and  Edgar  Kennedy  tops  as  "local 
color"  on  a  dude  ranch  Evalvn  Bostock.  Maude 
Allan      (July) 

•  CRUSADES,  THE— Paramount.— A  colorful 
epic  of  the  familiar  religious  lore  directed  bv  the 
master  of  spectacles,  Cecil  B.  De  Mille,  in  the  typical 
De  Mille  manner.  An  ordinary  story  attempts  to 
supply  the  love  interest,  but  you'll  enjoy  the  colorful 
pageantry  and  heraldic  display.  Loretta  Young. 
Henry  Wilcoxon,  Ian  Keith      (Ocl.) 

DANTE'S  INFERNO— Fox.— Spencer  Tracy  as 
an  unscrupulous  amusement  king  tries  his  hand  at 
materializing  Dante's  verbal  version  of  the  inferno. 
There  is  also  a  brief  glimpse  of  Hades — in  case  you're 
interested.  The  struggles  of  a  good  cast  against  this 
spectacle's  wandering  story  are  colossal.     (Oc>.) 

•  DARING  YOUNG  MAN.  THE— Fox— Re 
freshingly  different  material  and  clever  dialogue 
distinguish  this  picture  about  two  young  people 
(Jimmy  Dunn  and  Mae  Clarke)  who  are  good  re- 
porters on  rival  papers  and  constantly  getting  them- 
selves into  mad  situations  trying  to  outwit  each 
other  on  hot  tips      (July) 

•  DARK  ANGEL,  THE— United  Artists— A 
deeply  moving  narrative  in  which  Merle 
Oberon,  Fredric  March  and  Herbert  Marshall  give 
excellent  and  finished  performances  Fine  supporting 
cast.     (Nov.) 

DIAMOND  JIM— Universal.— Edward  Arnold  is 
outstanding  in  a  brilliant  characterization  of  Broad- 
way's renowned  spender  of  the  colorful  "gay  nine- 
ties," Diamond  Jim  Brady.  Binnie  Barnes  plays  an  in- 
effectual Lillian  Russell.  Jean  Arthur  brilliant  with  a 
supporting  role.     (Oct.) 

DINKY — Warners. — The  youngsters  will  enjoy 
Jackie  Cooper  as  the  boy  who  is  sent  to  an  orphanage 
when  his  mother  (Mary  Astor)  goes  to  prison  falsely 
accused.     Roger  Pryor.   Henry  Armetta      (July) 

DON'T   BET   ON    BLONDES— Warners.— Guy 

Kibbee  allows  the  suave  Warren  William  to  sell  him 
a  freak  policy  insuring  him  against  his  daughter's 
(Claire  Dodd)  marrying  within  three  years.  A  good 
comedy  situation  hampered  by  old  gags.     (Ocl.) 

•  DOUBTING  THOMAS— Fox.— One  ol  the 
best  Will  Rogers'  pictures  This  time  Will's 
wife  (Billie  Burke)  gets  the  acting  bug,  and  Will 
turns  crooner  to  cure  her  Alison  Skipworth.  Sterling 
Holloway.      (July) 

DRESSED  TO  THRILL— Fox.— Despite  lavish 
staging  and  a  good  cast,  the  story  of  the  little  French 
modiste  who  loses  her  lover,  Clive  Brook,  only  to  re- 
discover him  in  Paris  when  she  is  the  toast  of  the 
Continent  is  very  thin  and  unconvincing  but  Tutta 
Rolf  is  charming  in  her  American  picture  debut. 
(Oct.) 

EIGHT  BELLS — Columbia.— A  tairly  entertain- 
ing boat  trip  with  Ralph  Bellamy,  a  demoted  sea 
captain,  saving  the  day  in  a  maritime  crisis  Ann 
Sothern  is  the  romantic  prize      (July) 

ESCAPADE — M-G-M. — Miscast  as  a  lady-killer 
artist,  William  Powell  is  sacrificed  to  the  American 
film  debut  of  Luise  Rainer.  Rainer  is  very  interesting, 
a  new  screen  personality,  and  may  make  you  forget 
the  sex-melodramatics  of  the  weak  storv       (Sept  ) 


•  ESCAPE  ME  NEVER— Brit  sh  &  Dominions- 
United  Artists. — A  magnificent  screen  ver- 
sion of  the  stage  success,  with  Elisabeth  Bergner 
giving  one  of  the  finest  performances  ever  recorded, 
as  the  waif  who  .s  "adopted"  by  a  young  madcap 
musical  genius.  Excellent  support  by  Hugh  Sinclair 
and  Griffith  Jones.     (Aug.) 

EVERY  NIGHT  AT  EIGHT— Paramount.— 
Really  a  photographed  radio  program  with  plenty  of 
pleasant  entertainment  contributed  by  George  Raft, 
Alice  Faye.  Frances  Lanrford  and  Patsy  Kelly. 
(Oct.) 

•  FARMER  TAKES  A  WIFE,  THE— Fox.— It 
takes  farmer.  Henry  Fonda,  a  long  time  to  get 
Janet  Gaynor  off  the  canal  boat  to  become  his  wife, 
but  he  eventually  succeeds  even  against  the  opposition 
of  Charles  Bickford.  The  settings  faithfully  re- 
produce the  early  Erie  Canal  days.  Good  supporting 
cast.      (Oct.) 

FLAME  WITHIN,  THE— M-G -M .— A  triangle 
romance,  with  psychiatrist  Ann  Harding  being  forced 
to  choose  between  a  dipsomaniac  patient  she  has 
cured,  Louis  Hayward,  and  sober,  industrious  Herbert 
Marshall.  Outstanding  performance  by  Maureen 
O'Sullivan  as  a  neurotic  heiress.     (Aug.) 

FORBIDDEN  HEAVEN— Republic— A  simple 
story  which  tells  of  the  banding  together  of  four 
human  derelicts  on  the  night  of  a  heavy  London  fog 
and  how  Charles  Farrell  brings  them  love  and  happi- 
ness. Charlotte  Henry.  Beryl  Mercer.  Fred  Walton 
Fair-ish       (Nov.) 


Something  brand  new  from  Boston 
way — Jean  Rogers,  who  won  a  beauty 
contest,  and  landed  in  the  feminine 
lead     of     Universal's     film,     "Stormy" 


FRONT  PAGE  WOMAN  —  Warners.  —  Crisp, 
crackling  newspaper  drama,  with  the  battle  on  be- 
tween reporter  George  Brent  and  sob  sister  Bette 
Davis.  Rapid  fire  humor  is  helped  by  Roscoe  Karns' 
comedy.     Good  entertainment.      (Sept.) 

•  GAY  DECEPTION,  THE— 20th  Century 
Fox. — A  light,  whimsical  though  preposterous 
tale  in  which  Francis  Lederer  is  a  Graustark  prince 
working  incognito  as  a  bell-boy  in  a  Manhattan  hotel 
Frances  Dee  leads.     (Nov.) 

*G  MEN — First  National. — Government  heroes 
at  work.  Lots  of  shooting  and  excellent 
acting.  Fast-moving  and  packs  a  wallop.  Jimmy 
Cagney  at  his  best.  Ann  Dvorak,  Margaret  Lindsay 
Bob  Armstrong.     Not  for  the  kiddies.     (July) 

GEORGE  WHITE'S  1<B5  SCANDALS— Fox.- 

A  clean  Scandals.  Jimmy  Dunn  and  Alice  Faye  are 
the  small-time  team  who  let  success  go  to  their  heads 
Ned  Sparks  gets  most  of  the  laughs.  And  Eleanor 
Powell  is  a  tap  dancer  so  good  you  can  hardly  believe 
it  I      (June) 

GINGER— Fox.— Jane  Withers,  as  a  little  slum 
girl  who  humanizes  a  Park  Avenue  family,  is  your 
reason  for  seeing  this  one.  Good  cast  includes  0.  P 
Heggie,  Walter  King,  and  Jackie  Searl.     (.4m£.) 

GIRL  FRIEND,  THE— Columbia.— Mostly  a 
burlesque  skit  about  Napoleon,  but  hardly  profes- 
sional stuff.  Has  a  good  song  or  two  but  little  else 
Roger  Pryor    Ann  Sothern  starring      (Nov.) 


GIRL      FROM      10th     AVENUE.     THE— First 

National. — -The  old  story  of  a  drunken  millionaire 
marrying  a  poor  little  shop  girl.  Bette  Davis  is  good 
as  the  girl  who  tries  to  win  her  husband's  love  while 
braving  his  snobbish  friends.  Just  so-so  entertain- 
ment. Colin  Clive.  Aliron  Skipworth.  Ian  Hunter 
(Aug.) 

GLASS  KEY,  THE— Paramount —A  murde. 
mystery  with  George  Raft,  as  the  loyal  Man  Friday 
of  political  boss  Edward  Arnold,  solving  things  in  a 
suave  but  exciting  manner.  Capable  cast  also  in- 
cludes Claire  Dodd.  Ray  Milland   and  others    (Aug.) 

•  GO  INTO  YOUR  DANCE— First  National 
— A  grand  evening  for  those  who  like  singing 
and  dancing  with  a  plausible  story  sandwiched  in. 
Al  Jolson  better  than  ever;  Ruby  Keeler  good  as 
always:   Glenda   Farrell   in  top  support.      (June) 

GOLD  DIGGERS  OF  1935—  First  National.— 
Good  tunes,  talented  cast  make  this  one  enjoyable 
entertainment  for  those  who  like  big,  splashy  musicals. 
Dick  Powell,  Gloria  Stuart,  Alice  Brady,  Adolphe 
Menjou.  Glenda  Farrell.  and  others.     (July) 

GOOSE  AND  THE  GANDER,  THE— Warners. 
— One  of  those  overnight,  marital-infidelity  comedies 
in  which  Kay  Francis  and  George  Brent  make  merry 
in  a  bright,  sophisticated  and  amusing  manner 
Genevieve  Tobin,   Ralph   Forbes.      (Oct.) 

HARD  ROCK  HARRIGAN— Fox— A  virile, 
pleasantly  humorous  drama  with  George  O'Brien  and 
Fred  Kohler,  rock  tunnel  drillers,  shaking  fists  over 
a  job  and  a  girl.   Irene  Hervey.      (Sept.) 

•  HARMONY'  LANE— Mascot.— A  tender  and 
beautiful  screen  story  about  the  life  of  Stephen 
Foster  and  the  beloved  American  melodies  that  he 
wrote.  Douglass  Montgomery  interprets  the  role  of 
Foster  with  sincerity  and  feeling.  William  Frawley, 
Evelyn  Venable,  Adrienne  Ames.     (Nov.) 

HEADLINE  WOMAN,  THE— Mascot— A  well- 
paced,  entertaining  newspaper  yarn  with  Roger 
Pryor,  Heather  Angel,  Jack  LaRue,  old-timer  Ford 
Sterling,  and  others  handling  well  the  amusing  dia- 
logue and  neat  situations      (Aug.) 

HEALER,  THE — Monogram. — A  somewhat  la- 
bored and  obvious  film,  with  Ralph  Bellamy  as  the 
healer  who  works  miracles  with  crippled  children, 
Judith  Allen,  the  villainess  who  tries  to  lure  him  to 
the  big  city,  and  Karen  Morley.  the  heroine,  who 
comes  to  the  rescue      (Aug.) 

HERE  COMES  COOKIE— Paramount.— A  good 
chance  to  lose  your  mind  with  George  Burns  and 
Gracie  Allen  and  to  have  a  hilarious  time  while  you 
are  doing  it.     George  Barbier  plays  papa      (Nov.) 

HERE  COMES  THE  BAND— M  G-M.— A  new 

type  of  musical  with  Ted  Healy  and  Nat  Pendleton 
as  the  ambitious,  musical-minded  taxi  drivers.  Amus- 
ing in  spite  of  the  confusing  plot.  Virginia  Bruce,  Ted 
Lewis.     (Oct.) 

•  HERE'S  TO  ROMANCE— 20th  Century-Fox. 
— A  gay  blend  of  domestic  comedy  and  operatic 
delight  that  introduces  Nino  Martini  and  Madame 
Schumann-Heink  to  the  screen.  See  it  for  its  fun  and 
listen  for  the  thrill  of  Martini's  voice.     (Nov.) 

HOLD  'EM  YALE— Paramount.— A  weak  but 
pleasant  little  picture  about  four  thugs  who  inherit 
a  lady.  Patricia  Ellis  is  the  lady.  Cesar  Romero, 
Larry  Crabbe.  Andy  Devine  William  Frawley. 
George  E.  Stone.  •  (June) 

HONEYMOON  LIMITED  —  Monogram.  —  Neil 
Hamilton's  bright  banter  may  amuse  you,  but  other- 
wise this  adventure  story,  with  Irene  Hervey  and 
Lloyd  Hughes  helping  thicken  the  plot,  fails  to  rise 
above  ordinary  entertainment.      (Sept.) 

HOORAY  FOR  LOVE— RKO-Radio.— A  fuzzy 
carbon-copy  of  the  original  "42nd  Street"  formula 
for  musicals.  Ann  Sothern  and  Gene  Raymond  carry 
the  luke-warm  love  story.  Bill  Robinson  and  "Fats' 
Waller  top  the  talent  in  a  Harlem  song  and  dance 
(Aug.) 

HOOSIER  SCHOOLMASTER,  THE— Mono- 
gram.— Norman  Foster  is  the  schoolmaster  in  the 
screen  version  of  this  old-time  favorite,  with  Charlotte 
Henry  as  the  girl  he  loves.  Fred  Kohler  Jr  .  Wallace 
Reid,  Jr.,  Dorothy  Libaire.     (June) 

HOP-ALONG  CASSIDY— Paramount— William 
Boyd  is  the  hard-riding,  square  dealing  young  ranch 
hand  in  this  first  picturization  of  Clarence  E.  Mul- 
ford's  famous  story.  Filled  with  action  from  start  to 
finish.     (Nov.) 

HOT-TIP— RKO-Radio.— Jimmy  Gleason  and 
ZaSu  Pitts,  the  two  lovable  zanies,  are  at  it  again  in  a 
well  constructed  little  story  of  a  race-mad  cafe  owner 
and  his  non-betting  wife.  Abounding  in  humor  and 
wisecracks.     (Nov.) 

I'LL  LOVE  YOU  ALWAYS — Columbia.— An  un- 
inspired production,  with  Nancy  Carroll  and  George 
Murphy   unable   to  overcome   the  disadvantages  of 
mediocre  material  and  direction.     (July) 
I  PLEASE  TURN  TO  PAGE  90  I 


88 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER.    1935 


89 


"No  more 


*s  forme!" 


mme  na%m£ 


This  talented  actress 
insists  on  handbags  fea- 
turing the  security  of 
the  autoniatic-loeking 
slide  fastener. 


Hollywood  Stars  have  learned  to  avoid  hand- 
bags with  insecure  closings — untrustworthy 
handbags  that  cause  inconvenience  and  loss  of 
money,  compacts  and  other  valuables. 

Ladies  of  the  film  capital  have  found  a  new 
— a  safe  way — of  protecting  handbag  contents. 
They  buy  only  handbags  featuring  the  Talon 
automatic-locking  slide  fastener. 

The   gratifying   thing   about   this    small    fas- 


Here's  your  protec- 
tion—the automatic- 
locking  feature!  Tug 
at  the  sitles  of  your 
bag,  drop  it,  turn  it 
over  ——  the  fastener 
can,t  come  open  un- 
less you  pull  the  little 
slider 


tener  is  that  you  can  close  it  quickly — easily — 
and  it  always  remains  closed.  And  besides  this 
protection,  it  adds  trinmess  and  style. 

It's  worth  your  while  to  look  for  the  name 
TALON  on  every  handbag  you  buy,  because 
then  you  are  always  sure  of  superior  quality  and 
smart  design.  Only  the  best  manufacturers  equip 
their  handbags  with  Talon  fasteners.  And  all  the 
best  stores  sell  them. 


HOOKLESS  FASTENER  CO.,  MEADVILLE,  PA.  .  NEW  YORK  .  BOSTON  .  PHILADELPHIA  .  CHICAGO  .  LOS  ANGELES  •  SAN  FRANCISCO  .  SEATTLE  .  PORTLAND 


BRIEF      REVIEWS      OF      CURRENT      PICTURES 

|  CONTINUED  FROM  PACE  88  I 


*IN  CALIENTE— First  National.— Musical 
comedy  in  a  Mexican  setting,  with  Dolores  Del 
Rio,  Eddie  Horton,  Pat  O'Brien.  Glenda  Farrell. 
Lots  of  laughs,  good  dancing  A  bright  evening's 
entertainment.     (Aug.) 

•  THE  INFORMER  —  RKO-Radio.— Motion 
picture  drama  at  its  best.  Victor  McLaglen 
gives  an  unforgettable  performance  as  the  slow-witted 
Irish  giant  who  betrays  his  pal  to  t lie  British  for  a 
twenty  pound  reward.  Margot  Grahame,  Heather 
Angel,  Preston  Foster.  Wallace  Ford,  Una  O'Connor 
top  excellent  support.     Don't  miss  this  one.     (July) 

•  IN  OLD  KENTUCKY— Fox.— Will  Rogers  in 
one  of  his  best  films  to  date,  handing  out  a 
laugh  a  minute,  against  a  race-track  background. 
Dorothy  Wilson,  Louise  Henry,  Russell  Hardie  top 
support.  And  Bill  Robinson,  colored  tap-dancer, 
does  his  stuff  as  only  he  can  do  it.     (Sep/.) 

•  IRISH  IN  US,  THE— Warners.— There  are 
heart  throbs  and  chuckles  in  this  simple, 
homely  story  that  once  again  proves  blood  to  be 
thicker  than  water.  Mary  Gordon,  as  the  mother  of 
James  Cagney,  Pat  O'Brien,  and  Frank  McHugh 
steals  the  show.     (Oct.) 

ITS  A  SMALL  WORLD— Fox.— Gay  dialogue 
in  a  wisp  of  a  story,  with  Spencer  Tracy  and  Wendy 
Barrie      Lots  of  laughs.     (June) 

JALNA — RKO-Radio. — Mazo  de  la  Roche's  prize 
winning  novel  of  the  loves  and  hates  of  the  White- 
oakes  family  faithfully  screened  with  satisfying  sin- 
cerity. Kay  Johnson,  Ian  Hunter,  Nigel  Bruce. 
Good  supporting  cast.      (Oct.) 

JAVA  HEAD — First  Division. — Joseph  Herges- 
heimer's  famous  story  brought  to  the  screen  makes  a 
slow  moving  picture  but  Anna  May  Wong  as  the  un- 
happy  princess  almost  makes  vou  forget  that  Eliza- 
beth Allan.  John  Loder.     (Oct.) 

KEEPER  OF  THE  BEES,  THE— Monogram  — 
A  satisfactory  screen  version  of  the  Gene  Stratton- 
Porter  story,  with  Neil  Hamilton  good  as  the  ex- 
soldier  who  takes  a  new  lease  on  life  among  the  bee 
hives.  Betty  Furness,  Edith  Fellowes,  Hobart  Bos- 
worth.     For  the  family.      (Sept.) 

KENTUCKYBLUESTREAK— Talisman—  Some 
interesting  photography  of  a  horse  r>ce.  done  with 
a  small  camera,  is  the  highlight  in  this  one.  Eddie 
Nugent.  Junior  Coghlan,   Patricia  Scott.     (July) 

KEYSTONE  HOTEL— Warners  Vitaphone.— A 
revival  of  the  merry  old  slapstick  comedies  with  the 
familiar  faces  of  Ford  Sterling,  Ben  Turpin,  Chester 
Conklin,  and  Marie  Prevost  taking  up  where  they 
left  off  years  and  years  ago.     (Oct.) 

KLIOU — Bennett  Pictures. — A  fresh  and  charm- 
ing travelogue  type  picture  drama,  with  the  primitive 
tribesmen  of  Indio-China  the  main  actors.  It's  the 
film  result  of  the  Marquis  de  la  Falaise's  latest  jungle 
journey.  You'll  enjoy  it.  Gorgeous  scenery  in 
Technicolor.     (Aug.) 

LADIES  CRAVE  EXCITEMENT— Monogram 
— Rapidly  paced,  well  acted,  this  one  gives  the  low- 
down  on  the  news-reel  cameraman.  Norman  Foster 
is  the  specific  dare-devil,  Evalyn  Knapp  the  girl. 
Never  a  dull  moment.      (Sept.) 

LADIES  LOVE  DANGER— Fox— A  murder 
mystery  with  lots  of  fun  sandwiched  between  the 
thrills  Gilbert  Roland.  Mona  Barrie,  Adrienne 
Ames       (July) 

LADY  TUBBS— Universal.— Alice  Brady  excellent 
in  a  part  tailor-made  for  her,  that  of  a  railroad  camp 
cook  who  inherits  a  fortune  and  poses  as  a  lady. 
Douglass  Montgomery,  Anita  Louise,  Alan  Mowbray. 
Heartily  recommended       (Sept.) 

LA  MATERNELLE— Metropolis.—  Reminiscent 
in  plot  and  in  some  respects,  of  "Maedchen  In  Uni- 
form," this  story  of  love-hungry  children  in  a  Paris 
Latin  Quarter  day-nursery  will  appeal  to  discriminate 
theater  goers.     (Nov.) 

LET  'EM  HAVE  IT— Reliance-United  Artists.— 
All  the  thrills  of  the  old  gangster  pictures,  but  your 
sympathy  is  with  the  heroic  G-men  sleuths.  Richard 
Arlen,  Harvey  Stephens,  Eric  Linden  for  bravery, 
Virginia  Bruce  and  Alice  Brady  for  sentiment  and 
comedy.     (Aug.) 

LITTLE  BIG  SHOT— Warners.— Another  child 
star  is  added  to  the  film  firmament.  Sybil  Jason  is 
captivating  in  a  trite  story  of  an  orphan  adopted  by 
a  Broadway  tinhorn.  Robert  Armstrong,  Glenda 
Farrell.      (Oct.) 

LOST  CITY,  THE— Sherman  S.  Krellberg  Pro- 
duction.— If  you  chuck  logic  and  common  sense  over- 
board, you  will  enjoy  this  wild  story  of  an  engineer 
and  his  expedition  to  a  fantastic  city  in  Africa.  I  ine 
Richmond,  William  Boyd  head  the  cast.     (Nov.) 

90 


•  LOVE  ME  FOREVER— Columbia.— A  film 
you  won't  want  to  miss,  with  Grace  Moore 
singing  more  gloriously  than  ever,  and  Leo  Carrillo 
magnificent  as  the  gambler  who  loves  the  beautiful 
song-bird.  Excellently  directed,  photographed  and 
acted.     And  the  music  is  supurb.      (Sept.) 

LOVES  OF  A  DICTATOR— GB.— An  historical 
drama,  well  cast  and  beautifully  presented,  telling 
the  romantic  story  of  Struensee  (Clive  Brook)  who 
was  taken  into  the  Court  of  Denmark  as  dictator 
and  fell  in  love  with  the  bride-queen  (Madeleine 
Carroll).     (June) 


PHOTOPLAYS 

Reviewed  in  the 

Shadow  Stage 

This  Issue 


Save   this   magazine — refer   to   the 

criticisms  before  you  pic\  out  your 

evenings  entertainment.   hia\e  this 

your  reference  list. 

Page 

Affair  of  Susan,  The — Universal 113 

Alias  Bulldog  Drummond  — GB 113 

Barbary  Coast — Sam  Goldwyn — U.  A.  66 
Big   Broadcast   of    1936,   The— Par- 
amount    113 

Bishop  Misbehaves,  The— M-G-M.  .  .113 
Case  of  the  Lucky  Legs — First  National  67 
Crime  of  Doctor  Crespi,  The — Republic  69 

Fighting  Youth — Universal 69 

Freckles— RKO-Radio 69 

Hands  Across  the  Table — Paramount. .  66 

His  Family  Tree— RKO-Radio 114 

I  Live  My  Life— M-G-M 66 

It's  In  The  Air— M-G-M 113 

King  Solomon  of  Broadway — Universal.  1 13 
Last  Days  of  Pompeii,  The — Para- 
mount    68 

Last  Outpost,  The — Paramount 113 

Little  America — Paramount 113 

Melody  Trail— Republic 113 

Midsummer  Night's  Dream — Warners.  67 
Music  Is  Magic — 20th  Century-Fox.  .  .   69 

Navy  Wife— 20th  Century-Fox 69 

O'Shaughnessy's  Boy— M-G-M 68 

Personal  Maid's  Secret — Warners 68 

Red  Salute — Reliance    Picture — U.    A. 

Release 113 

Remember  Last  Night — Universal 113 

She  Couldn't  Take  It — Columbia 69 

Shipmates  Forever — Warners — Cos- 
mopolitan     67 

Stormy — Universal 113 

Three  Musketeers,  The— RKO-Radio..   68 

Two-Fisted — Paramount 68 

Two  Sinners — Republic 113 

Virginia  Judge,  The — Paramount 68 

Wings  Over  Ethiopia — Paramount.  .  .  .114 

MAD  LOVE  —  M-G-M.  —  Tedious  stuff,  with 
Europe's  excellent  actor,  Peter  Lorre,  wasted  in  the 
role  of  a  mad  super-surgeon  who  resorts  to  fiendish 
cunning  to  get  Frances  Drake  from  Colin  Clive.  Ted 
Healy  lightens  the  horror.    Not  for  children.     (Sept.) 

MAKE  A  MILLION — Monogram. — Preposterous 
but  amusing  is  this  film  about  a  professor  (Charles 
Starrett)  who  starts  a  million  dollar  chain  letter  plan 
to  carry  out  his  radical  economic  schemes.  Pauline 
Brooke,  George  E.  Stone.     (Sept.) 

MANHATTAN  MOON  —  Universal.  —  Ricardo 
Cortez  as  the  East  Side  boy  who  becomes  a  night 
club  owner  with  social  ambitions.  A  hackneyed 
story  introducing  Dorothy  Page,  fresh  from  radio. 
Laughs  are  supplied  by  Hugh  O'Connell  and  Henry 
Armetta.      (Oct.) 

MAN    ON    THE    FLYING    TRAPEZE,    THE— 

Paramount. — W.  C.  Fields  is  funny  as  the  meek  man 
who  lies  himself  out  of  an  afternoon  at  the  office  to 
go  to  the  wrestling  matches,  and  gets  in  a  peck  of 
trouble.     But  there  is  no  story.      (Sept.) 


MARK  OF  THE  VAMPIRE— M-G-M.— A  con- 
tused and  incoherent  mystery  which  has  as  its  only 
virtue  some  fine  acting  by  Lionel  Barrymore.    (June) 

MARY  JANE'S  PA— First  National.— Just  aver- 
age. Over-sentimental  entertainment,  with  Guy 
Kibbee  as  Pa  who  deserts  his  family  but  is  eventually 
led  back,  by  a  little  child,  to  rescue  wife  Aline  Mac- 
Mahon.      (July) 

MEN  OF  TOMORROW— London  Films  —Film 
version  of  Anthony  Gibb's  novel,  "The  Young 
Apollo,"  with  Merle  Oberon  and  Robert  Donat.  But 
in  spite  of  cast  and  story  advantages,  this  is  a  jerky, 
incoherent  picture.     (July) 

MEN  WITHOUT  NAMES— Paramount.— Not 
the  best  of  the  G-men  films,  but  good  entertainment. 
Fred  MacMurray  sleuths,  assisted  by  Lynne  Over- 
man, Madge  Evans  and  David  Holt.  Leslie  Fenton 
heads  the  gang  of  crooks.  Good  performances. 
(Sept.) 

MISTER  DYNAMITE— Universal.— Eddie  Lowe 
rides  to  glory  in  this  Dashiell  Hammett  yarn  as  the 
slick  detective  who  is  interested  in  justice  principally 
because  it  pays  htm  fat  fees.  A  beautifully  paced 
story  that  keeps  you  baffled  and  makes  you  laugh, 
lean  Dixon,  Esther  Ralston,  Victor  Varconi.      (June) 

MORALS  OF  MARCUS— G.  B.— Lupe  Velez" 
fiery  temperament  makes  a  delightful  and  amusing 
story  of  a  plot  that  is  not  altogether  new,  but  which 
will,  nevertheless,  afford  you  an  evening's  entertain- 
ment.    Ian  Hunter  opposite  Lupe.     (Nov.) 

MURDER  IN  THE  FLEET— M-G-M— An  un- 
believable yarn  aboard  one  of  Uncle  Sam's  battleships, 
with  Robert  Taylor,  Jean  Parker,  Una  Merkel  and 
others  wasted.  Ted  Healy,  master  comedian,  and 
Nat  Pendleton  lend  the  only  bright  spots.     (Aug.) 

MURDER  MAN,  THE— M-G-M— A  rapidly 
moving,  entertaining  mystery  set  against  a  news- 
paper background  with  Spencer  Tracy  as  the  sleuth 
reporter  and  Virginia  Bruce  adding  charm  and 
loveliness.      (Oct.) 

NIT  WITS,  THE— RKO-Radio.— Wheeler  and 
Woolsey  mixed  up  in  a  murder  case,  at  their  funniest. 
Rowdy,  hilarious,  without  a  dull  moment.  Good 
supporting  cast  includes  Betty  Grable,  Evelyn  Brent, 
Hale   Hamilton.   Fred    Keating  and  others.      (Aug.) 

•  NO  MORE  LADIES— M-G-M— A  perfect 
darb  of  a  flossy  comedy,  with  Joan  Crawford, 
Robert  Montgomery  and  Franchot  Tone  the  wise- 
cracking, sophisticated  triangle.  Charlie  Ruggles, 
Edna  May  Oliver,  Arthur  Treacher,  Reginald  Denny, 
and  the  rest  of  the  brilliant  cast,  cooperate  to  give 
vou  a  laugh  a  minute.     (Aug.) 

•  OIL  FOR  THE  LAMPS  OF  CHINA— First 
National. — This  fine,  sincere  story  of  an  ideal- 
ist's unwavering  faith  in  his  job  will  remain  long  in 
vour  memory.  Pat  O'Brien  is  the  American  oil  com- 
pany's employee  in  China.  Josephine  Hutchinson  his 
wife.  Arthur  Byron.  Jean  Muir.  Excellent  cast, 
A-l  direction.      (July) 

OLD  CURIOSITY  SHOP  —  B.I.P.-Alliance.  — 
Worthwhile  entertainment  as  a  faithful  screen  trans- 
lation of  Dickens'  novel.  Hay  Petrie,  of  English 
stage  fame,  gives  a  magnificent  portrayal  of  the 
villainous  Quilp.     (Sept.) 

ONE, FRIGHTENED  NIGHT— Mascot— Creepy 
music,  banging  doors  and  all  the  usual  fol-de-rol  of 
mysteries.  Charley  Grapewin's  acting  is  the  only 
attraction.      (July) 

ONE  NEW  YORK  NIGHT— M-G-M— A  fast, 
entertaining  mystery-comedy-drama,  played  in  n 
breezy,  highly  enjoyable  manner  by  Franchot  Tone, 
Una  Merkel,  Conrad  Nagel  and  Steffi  Duna.     (June) 

•  OUR  LITTLE  GIRL— Fox.— Made  to  order 
for  Shirley  Temple  fans  with  Shirley  cuter  than 
ever,  and  talented  enough  to  carry  the  trite  story. 
Joel  McCrea  and  Rosemary  Ames  are  the  parents, 
Lyle  Talbot  the  other  man.  A  human,  pleasant 
picture — and  it's  all  Shirley's      (Aug.) 

•  PAGE  MISS  GLORY— Warners.— Marion 
Davies,  at  her  best,  romps  through  half  the 
picture  as  a  homely  little  chambermaid,  then  blos- 
soms out  as  beauty  contest  winner,  Dawn  Glory, 
promoted  by  press  agent  Pat  O'Brien.  Patsy  Kelly, 
Dick  Powell,  Frank  McHugh.  Top-notch  comedy. 
(Sept.) 

PARIS  IN  SPRING— Paramount.— Tunetul  and 
colorful,  this  presents  the  lovely  voice  of  Mary  Ellis 
and  the  Latin  fretfttlness  of  Tullio  Carminati,  in  a 
series  of  lovers  quarrels  and  mix-ups,  which  are 
finally  ironed  out  by  grandmother  Jessie  Ralph 
Good  supporting  cast.     (Aug.) 

PARTY  WIRE— Columbia.— Lots  o;  healthy 
laughs  in  this  little  picture  about  the  havoc  small 
town  gossips  stir  up  by  listening  in  on  party  lines. 
Jean  Arthur,  Victor  Jory.  Charley  Grapewin  head  a 
well  chosen  cast.      (July) 


PHOTOPLAY   MAGAZINE   FOR   DECEMBER,    1935 


91 


PEOPLE'S  ENEMY,  THE— RKO-Radio.— An 
out-dated  melodrama  with  Preston  Foster  as  the 
gangster  sent  up  for  income  tax  evasion  and  Melvyn 
Douglas,  the  attorney,  whom  he  suspects  of  double- 
crossing.      (July) 

PEOPLE  WILL  TALK— Paramount.— One  of 
of  the  most  charming  of  the  Charlie  Ruggles-M;.ry 
Boland  comedies.  Leila  Hyams,  Dean  Jagger.  It's 
deft    human  comedy  for  the  whole  family.     {June) 

PHANTOM  FIEND,  THE— Twickenham.— A 
real  horror  thriller  based  on  England's  famous  "Jack 
the  Ripper"  crimes.  Ivor  Novelld  and  Elizabeth 
Allan.     Not  for  the  children.     (July) 

POWDERSMOKE  RANGE— RKO-Radio.— The 
usuaJ  hard  fought  battle  between  heroic  cattlemen 
and  crooks  keeps  excitement  at  a  high  pitch  in  this 
tried-and-true  Western.  Hoot  Gibson,  Bob  Steele. 
(Nov.) 

PRINCESS  O'HARA— Universal.— Nice  enter- 
tainment, with  Jean  Parker  as  the  girl  who  becomes  a 
hack  driver  after  her  father  is  killed,  and  Chester 
Morris  the  racketeer  boy-friend.     (June) 

•  PRIVATE  WORLDS— Walter  Wangei  Par- 
amount.— A  triumph  in  adult  entertainment, 
this  film  radiates  skill  and  understanding  Claudette 
Colbert  and  Charles  Boyer  give  superb  performances 
as  two  psychiatrists  in  a  hospital  for  mental  cases 
who  suddenly  discover  their  own  lives  tangled  and 
warped.  Excellent  performances,  too  by  Joan 
Bennett  and  Joe!  McCrea.     (June) 

•  PUBLIC  HERO  No.  1— M-G-M.— Another 
G-men  picture  with  a  well  knit  story,  lots  of 
grand  humor  and  plenty  happening.  Chester  Morris 
and  Jean  Arthur  are  excellent  in  the  leads.  Joseph 
Calleia,  Lionel  Barrymore.  Lewis  Stone  and  Paul 
Kelly  top  A-l  support.      (Aug.) 

PURSUIT—  M-G-M.— Chester  Morris  and  Sally 
Eilers  in  an  exciting  attempt  to  smuggle  Scotty 
Beckett,  a  wealthy  child,  across  the  Mexican  border 
to  his  mother.  Henry  T  ravers,  Dorothv  Peterson. 
(Oct.) 

RAVEN,  THE  —  Universal.  —  Absurd  melange 
tacked  onto  the  name  of  Edgar  Allan  Poe  s  great 
poem.  Bela  Lugosi,  Boris  Karloff  supply  plenty  of 
horror,  but  cannot  do  much  with  this  plot.     (Sept.) 

RECKLESS— M-G-M.— The  clever  calents  of 
Jean  Harlow,  William  Powell  and  Franchot  Tone, 
pooled  for  the  story  of  a  show  girl  who  marries  a 
millionaire  and  comes  to  grief  when  his  suicide  leaves 
her  with  a  ruined  reputation  and  a  baby  to  take  ca-e 
of.     (June) 

RETURN  OF  PETER  GRIMM,  THE— RKO- 
Radio. — The  old  favorite  brought  to  the  screen  with 
Lionel  Barrymore  giving  an  intelligent  interpretation 
of  the  old  man  whose  spirit  struggles  to  repair  the  un- 
happiness  caused  by  a  blind,  dying  wish.  Helen 
Mack,  Edward  Ellis.     (Oct.) 

SANDERS  OF  THE  RIVER— London  Films- 
United  Artists. — Paul  Robeson's  singing,  Leslie 
Banks'  acting,  and  the  true  portrayal  of  cannibalistic 
tribes  of  the  African  interior,  make  this  an  interesting 
film.     Lots  of  excitement.    (Sept.) 

•  THE  SCOUNDREL  —  Hecht  -  MacArthur  - 
Paramount- — Noel  Coward  in  the  cold  r61e  of 
a  heartless,  philandering  publisher  gives  one  of  the 
greatest  performances  ever  recorded  in  this  mag- 
nificently executed  character  study.  Julie  Haydon. 
Hope  Williams,  Alexander  Woollcott,  Stanley  Ridges. 
Martha  Sleeper      (July) 

SHANGHAI  —  Walter  Wanger-Paramount.  —  A 
creditable  attempt  to  conceal  the  age  old  plot  of 
East  is  East  and  West  is  West — ,  with  Loretta 
Young  and  Charles  Boyer  taking  sides  in  the  tragic 
romance.     Warner  Oland.     (Oct.) 

•  SHE— RKO-Radio.— Helen  Gahagan  makes 
her  film  debut  as  the  magnificent  immortal 
ruler  of  the  mythical  kingdom  of  Kor.  Randy  Scott, 
Nigel  Bruce  and  Helen  Mack  find  her  when  they 
travel  beyond  the  Arctic  searching  for  "the  flame  of 
life."  Mystical,  eerie,  but  interesting,  and  well  acted. 
(Sept.) 

SHE  GETS  HER  MAN— Universal.— ZaSu  Pitts 
becomes  the  tiger  woman  of  the  hour  when  she 
accidentally  falls  and  thwarts  a  bank  robbery. 
Helen  Twelvetrees,  Lucien  Littlefield.     (Oct.) 

•  SHE  MARRIED  HER  BOSS— Columbia.— 
Claudette  Colbert  in  one  of  her  most  amusing 
roles  since  "  It  Happened  One  Night,"  plays  the  part 
of  the  perfect  secretary  who  finds  it  difficult  to  be  a 
perfect  wife.  Melvyn  Douglass,  Edith  Fellows,  Jean 
Dixon.     (Nov.) 

SPECIAL  AGENT— Cosmopolitan-Warners.— A 
fast  moving,  entertaining  film  about  Federal  men 
warring  on  racketeers  and  securing  their  convictions 
via  the  income  tax  route.  With  Bette  Davis,  Ricardo 
Cortez,  George  Brent.     (Nov.) 

SPRING  TONIC— Fox.— Spotty  entertainment, 
with  Claire  Trevor  running  away  from  Lew  Ayres  on 
their  wedding  eve,  and  getting  mixed  up  with  animal 
trainers  and  bootleggers  in  the  persons  of  Walter 
King,  Tala  Birell,  ZaSu  Pitts  and  others.  Good  cast 
is  whipped  by  unconvincing  situations.      Uuly) 

•  STAR  OF  MIDNIGHT— RKO-Radio.— Wil- 
liam Powell  and  Ginger  Rogers  banter  through 
out  this  sparkling,  guaranteed-to-baffle  mystery. 
Irresistible  wit  eases  the  tension  of  the  drama;  win 
ning  performances  by  all  concerned       (June) 


THOSE  cork  tips  please  your  lips.  The 
fineTurkish-Domestictobaccosplease 
your  palate.  The  mild  menthol  brings  a 
cool  and  thankful  refreshment  to  your 
throat.  Finally,  the  B  &  W  coupon  in  each 
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for  a  choice  of  attractive  items  of  nation- 
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•  STEAMBOAT  ROUND  THE  BEND— Fox. 
— Beloved  Will  Roger?  in  a  dramatic,  laugh- 
laden  love  story  of  a  travelling  medicine  show 
doctor  who  disentangles  his  nephew  from  serious 
legal  complications.  Anne  Shirley  gives  a  splendid 
performance.    John  McGuire.      (Oct.) 

STOLEN  HARMONY  —  Paramount.  —  George 
Raft  and  Ben  Bernie  (with  the  boys)  pool  their 
talents  happily  to  make  this  a  thoroughly  enjoyable 
film.  Breezy  dialogue,  catchy  songs,  snappy  dances. 
Watch  for  newcomer  Lloyd  Nolan.  Grace  Bradley, 
Goodee   Montgomery    Charles   Arnt.      (June) 

STRANDED— Warners.— You're  partly  bored, 
partly  amused,  by  the  struggle  which  ensues  when 
social  service  worker  Kay  Francis  refuses  to  marry 
he-man  engineer  George  Brent  because  he  is  an- 
tagonistic to  her  work  and  its  ideals.  Direction  good, 
but  story  is  unconvincing.     (Sept.) 

STRANGERS  ALL— RKO-Radio.— A  pip  of  a 
simple  little  family  picture.  May  Robson  is  the  mother 
who  has  four  children,  all  as  different  as  the  seasons. 
Preston  Foster,  James  Bush,  William  Bakewell, 
Florine  McKinney.  Bakewell's  performance  is  aces 
high.      (June) 

STREAMLINE  EXPRESS— Mascot.— Dramatic 
incidents  that  occur  on  a  cross-country  record  run  of 
a  streamline  train  constitute  the  basis  for  this  story. 
A  fair  picture,  with  Victor  Jory,  Evelyn  Venable. 
(Nov.) 

STRUGGLE  FOR  LIFE,  THE— Foy  Prod.— A 
spotty  film  with  a  cast  of  native  African  tribesmen 
acting  out  their  struggle  for  existence.  Some  good 
photography.      (.Sept.) 

SWELL-HEAD— Columbia.— Okay  lor  baseball 
fans.  But  aside  from  the  diamond  stuff,  .this  is 
pretty  hackneyed.  Wallace  Ford,  Barbara  Kent, 
and  old-timers  Sammy  Cohen,  the  late  Mike  Donlin 
and  Bryant  Washburn      (July) 

$10  RAISE — Fox. — The  saga  of  the  routine  clerk 
who  can't  get  married  without  a  ten  dollar  raise  is  a 
delightful  story  in  the  capable  hands  of  Edward 
Everett  Horton.  Karen  Morley  is  his  romance; 
Alan  Dinehart  the  villain.     (June) 

*39   STEPS,    THE— GB.  — Exciting   entertain- 
ment  when    Robert   Donat,  falsely  accused  of 
murder,  must  uncover  a  treacherous  spy  ring  in  order 


to  save  himself  and,  by  coincidence,  Madeleine 
Carroll  is  forced  to  accompany  him  on  the  perilous 
adventure.  Grand  acting,  good  comedy,  suspense. 
You'll  like  it.      (Sept.) 

THIS  IS  THE  LIFE— 20th  Century-Fox.— Little 
Jane  Withers,  a  stage  prodigy,  is  mistreated  cruelly 
by  the  couple  who  are  capitalizing  on  her  talents, 
forcing  her  to  run  away  with  a  young  man  falsely 
accused  of  theft.     Fairly  cute.     (Nov.) 

•  TOP  HAT— RKO-Radio.— A  sparkling  and 
entertaining  film  done  in  the  typical  Fred 
Astaire-Ginger  Rogers  tradition  and  what  a  grand 
and  glorious  tradition  that  is!  Enchanting  music  and 
clever  dance  routines,  together  with  chuckling  comedy 
sequences,  make  this  one  picture  you  should  not  over- 
look. Helen  Broderick,  Edward  Everett  Horton,  Eric 
Blore  among  those  present.     (Nov.) 

TRAVELING  SALESLADY— First  National.— 
A  light,  airy  little  comedy  at  which  you  can  just 
relax  and  look  and  laugh.  Joan  Blondell,  Glenda 
Farrell,  Hugh  Herbert,  William  Gargan  and  Ruth 
Donnelly.      (June) 

TUMBLING  TUMBLEWEEDS  —  Republic.  — 
Gene  Autry  deserts  the  radio  and  comes  to  the  screen 
together  with  his  well  known  cowboy  ditties,  which 
help  divert  the  attention  from  a  too-complicated  plot. 
So-so.     (Nov.) 

TWO  FOR  TONIGHT  —  Paramount.  —  Bing 
Crosby  clowns  and  sings  his  way  through  this  one, 
disappointing  his  romanee-in-the-mnonlight  fans,  and 
not  measuring  up  very  favorably  with  his  past  films. 
Joan  Bennett,  Thelma  Todd  are  the  girls.     (Nov.) 

UNDER  THE  PAMPAS  MOON— Fox.— A  last 
romantic  comedy  with  Warner  Baxter  in  Gaucho 
garb  searching  for  a  stolen  race  horse  and  finding 
lovely  Ketti  Gallian  instead.  Jack  LaRue,  John 
Miljan,  Rita  Cansino.  Armida.     (Aug.) 

UNWELCOME  STRANGER,  THE— Columbia. 
— Little  Jackie  Searl  is  the  crippled  child  around  a 
race-track  on  whom  Jack  Holt  blames  a  streak  of 
bad  racing  luck.  Just  so-so  entertainment,  but 
Jackie,  Holt,  and  Mona  Barrie  are  good.     (July) 

•  VAGABOND  LADY— Hal  Roach-M-G-M  — 
A  spirited,  delightfuly  mad,  and  most  enjoyable 
comedy  with  Robert  Young  really  coming  into  his 
own  as  the  captivating  scape-grace  son  of  a  too.  too 


dignified  family.  Evelyn  Venable  is  the  romantic 
prize.  Good  performances,  too,  by  Reginald  Denny. 
Frank  Craven.     (June) 

VILLAGE  TALE— RKO-Radio.— A  somewhat 
sordid  drama  of  rural  hates,  jealousies  and  thwarted 
loves,  with  Randolph  Scott,  Robert  Barrat.  Kay 
Johnson,  and  a  good  supporting  cast.     (July) 

WELCOME  HOME— Fox.— Jimmy  Dunn  is  the 
romantic  grafter  who  feels  the  call  of  home,  and  pro- 
tects the  old  home  town  from  the  hoaxes  of  his  gilt- 
edged  partners.  Arline  Judge  is  romantic  prize. 
Whimsical,  sentimental  and  rather  meager  entertain- 
ment.     (Sept.) 

WE'RE  IN  THE  MONEY  —  Warners.  —  Joan 
Blondell  and  Glenda  Farrell  as  sexy,  blonde  process 
servers  who  mix  Cupid  and  court  summonses  and 
with  the  aid  of  Hugh  Herbert  provoke  much  hearty 
laughter.     Ross  Alexander.     (Oct.) 

WEREWOLF  OF  LONDON.  THE— Universal. 
— If  you  like  blood-curdling  excitement,  chills  and 
creeps,  you'll  enjoy  shivering  to  this  shocker  with 
Henry  Hull  as  the  werewolf  who  becomes  bestial 
when  the  moon  is  full.  Warner  Oland,  Valerie  Hob- 
son,  Spring  Byington.  Leave  the  children  at  home. 
(July) 

WESTWARD  HO!— Republic— A  thrilling  red- 
blooded  Western  concerning  a  group  of  pioneers  (the 
Vigilantes)  who  aim  to  rid  the  West  of  its  notoriou- 
badmen.     John  Wayne,  Sheila  Mannors.     (Oct.) 

WHILE  THE  PATIENT  SLEPT— First  National 
— Just  another  murder  mystery,  thin  in  spots.  Aline 
MacMahon  and  Guy  Kibbee  are  in  top  form;  All  n 
Jenkins,  Robert  Barrat,  Lyle  Talbot  and  Patricia 
Ellis  hold  up  support       But  the  story  sags.      (June'* 

WITHOUT  REGRET  —  Paramount.  —  Kent 
Taylor  and  Elissa  Landi  make  a  pleasant  bit  of  enter- 
tainment of  this  semi-murder  mystery  of  a  young  man 
who  has  but  a  short  time  to  live  and  settles  up  a  nasty 
bit  of  blackmailing  in  that  time.     (Nov.) 

•  WOMAN  WANTED  —  M-G-M.  —  A  swell 
melodrama  packed  with  action,  thrills  and  mys- 
tery and  which  affords  Maureen  O'Sullivan  and  Joel 
McCrea  an  opportunity  to  display  their  comedy 
talents  as  well  as  some  good  emotional  dramatics. 
Lewis  Stone,  Robert  Greig.      (Oct.) 


We  Cover  ihe  Studios 


[  CONTINUED  FROM  PAGE  31 


The  lights  go  on  and  Muni  rolls  slowly  into 
the  scene.  The  movie  doctors  press  about  him, 
their  attitude  reverent,  attendant.  Muni 
reaches  slowly  for  the  phials  on  the  table. 
"This,"  he  says,  giving  a  doctor  some  syrup, 
"is  for  patient  number  one.  This  for  number 
three.  Try  this  on  that  new  case."  Muni's 
voice  is  faded  but  warm,  detached  and  deeply 
touching.  This  is  the  twilight  of  the  great 
career  of  Pasteur.  It  is  also  the  kind  of  scene 
only  Muni  could  play  with  such  sincerity. 

When  the  scene  is  over,  you  go  out  into  the 
bright  sunlight,  surprised  to  find  yourself  in 
Burbank,  California. 

UP  and  over  the  hill  takes  you  not  to  the 
poor  house,  but  to  Paramount  studio. 
Here  Claudette  Colbert,  the  wisest  actress  in 
Hollywood,  is  shooting  "The  Bride  Comes 
Home."  Wesley  Ruggles  is  directing  the  film 
and  that's  a  guarantee  of  entertainment.  If 
advance  signs  mean  anything,  this  should  be 
one  of  the  most  pleasant  pictures  of  the  year. 
In  this  case,  they  do  mean  a  lot  for  Claudette, 
Wesley  and  author  Claude  Binyon  form  one  of 
the  town's  best  actress-director-writer  teams. 
Their  last  joint  product  was  "The  Gilded 
Lily." 

Wes  Ruggles  is  also  producing  the  film  him- 
self. But  it's  really  a  more  or  less  cooperative 
job,  with  everyone  pitching  in  with  all  he  has 
and  having  a  lot  of  fun  doing  it.  It's  the 
smoothness  and  the  efficiency  of  the  group  that 
you  notice  most  of  all.  Not  even  the  gags  that 
are  continually  passing — such  as  having 
grotesque  faces  painted  all  over  the  set  to  try 
and  break  up  Claudette  in  her  love  scene,  and 


Bob  Young  claiming  he  is  an  M-G-M  spy  every 
time  he  misses  a  cue — let  you  forget  that  here 
is  a  bunch  who  knows  its  business  and  knows  it 
well. 

Claudette  wears  a  simple  little  black  and 
white  dress.  She's  supposed  to  be  in  love  with 
Fred  MacMurray  and  Bob  Young,  his  rival, 
is  telling  her  what  a  heel  MacMurray  is. 
MacMurray  sits  off  stage,  studying  his  lines. 
Between  scenes  he  tells  Claudette  what  a 
heller  Young  is. 

"The  Bride  Comes  Home"  is  set  in  Chicago. 
Near  that  city  is  a  town  called  Crown  Point. 
You  may  have  heard  of  it.  Crown  Point  is  the 
place  where  all  Chicagoans  elope.  The  village 
is  plastered  with  signs  like  "  GET  MARRIED 
HERE,"  "TWO  DOLLARS  FOR  QUICK 
MARRIAGE,"  "SEE  THE  MARRYING 
PARSON  FOR  YOUR  WEDDING."  Now 
the  thing  that  worries  Wesley  Ruggles  is  this. 
Will  people  believe  this  if  he  puts  it  in  his 
picture?  Or  will  the  scene  become  more  real 
with  a  little  less  realism?    He  doesn't  know. 

We  left  Wes  to  his  worries  and  dashed  over 
to  the  "Anything  Goes"  set,  where  Bing 
Crosby  and  Ethel  Merman  sing  "You're  The 
Top"  to  Paramount's  greatest  all-star  cast. 
The  all-star  cast  was  on  the  sidelines.  For  the 
whole  studio  had  jammed  itself  behind  the 
camera  for  this  number. 

The  set  is  a  smartly  reconstructed  deck  of  a 
modern  ocean  liner.  Bing  and  Ethel  give  the 
bright  Cole  Porter  song  all  the  dash  and  verve 
of  their  rhythmic  voices.  You  feel  as  if  the 
whole  sound  stage  were  swaying  with  them.  In 
the  story,  Ethel  loves  Bing  but  Bing  loves  some 
other  gal,   but   this  doesn't  have  any  detri- 


mental effect  on  their  vocalizing.  Wait  till  you 
hear  them!    And  the  lyrics  are  all  new,  too. 

Later,  Wes's  brother,  Charlie  Ruggles,  does 
a  scene  with  a  dog.  Charlie  Ruggles  is  sup- 
posed to  be  Public  Enemy  No.  13  and  no 
matter  how  bad  he  tries  to  be  he  can't  improve 
his  rating.  He  was  disguised  in  a  minister's 
black  frocking  when  we  watched  him.  Mr. 
Ruggles  seemed  quite  holy  until  you  looked  at 
his  face. 

Holiness  made  us  think  of  Marlene  Dietrich, 
so  we  went  to  the  "  Desire"  set  to  watch  her 
emote  in  her  first  venture  without  the  arty 
guidance  of  von  Sternberg.  Frank  Borzage 
is  directing  this  one.  We  saw  Marlene,  but  we 
didn't  see  any  costumed,  slow  talking  woman 
of  dark  mystery  The  woman  we  saw  was  as 
modern  as  Myrna  Loy  and  as  vivacious  as 
Ginger  Rogers.  Some  visitors  approached  her 
for  an  autographed  photo.  When  she  gave 
them  the  pictures  and  smiled  good-bye,  they 
said,  "Thanks,  Miss  Dietrich."  So  it  must 
have  been  she.  Next  month  the  electricians 
will  be  calling  her  Toots. 

IN  "Desire,"  Dietrich  wears  her  smartest 
clothes.  They  are  modern,  but  not  extreme, 
the  sort  of  thing  that  well  dressed  women  all 
over  the  world  could  wear.  Travis  Banton, 
Paramount's  stylist,  explained  Hollywood's 
sudden  style  importance  by  saying  the  stars  are 
wearing  the  same  sort  of  clothes  on  the  set  that 
they  wear  off.  With  improved  photography 
and  an  improved  general  taste,  an  actress, 
Travis  declares,  no  longer  has  to  knock  your 
eye  out  to  get  across  the  fact  that  she  is 
wealthy  and  worldly. 


92 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


93 


Marlene  Dietrich  has  changed.  She's  doing 
comedy  now,  and  you're  in  for  an  agreeable 
surprise  when  you  see  "Desire."  In  this  bit, 
she  explains  to  Doctor  Alan  Mowbray  that  her 
husband  wears,  of  all  things,  lace  nighties. 
Don't  ask  us  why — that's  the  scenario  writer's 
idea.  Not  only  that,  but  he  thinks  he's  a  girl 
and  wants  to  play  with  dolls.  Now  this  is  a 
pretty  state  of  affairs  for  any  husband.  But 
for  La  Dietrich's  husband  to  go  around  crimp- 
ing his  hair  is  hardly  cricket.  Not  even  as 
much  fun,  we'd  say. 

Dr.  Mowbray  tells  Miss  Dietrich  not  to 
worry.  He'll  have  her  husband  out  of  lace 
nighties  and  back  in  pyjamas  in  no  time.  The 
scene  is  played  in  a  straight  faced  gravity  that 
has  you  holding  your  sides.  I'm  worried  about 
Mr.  Dietrich,  though. 

VJONE  of  the  desperados  in  M-G-M's 
■^1"  Robin  Hood  of  Eldorado"  wear  lace 
nighties.  This  is  a  rough,  yet  romantic,  out- 
door costume  film  based  on  the  thrilling  life  of 
Marietta,  California's  Robin  Hood  bandit. 
Warner  Baxter  is  the  star.  He  wears  a  hand- 
some black  and  silver  Caballero  outfit,  gun 
hanging  from  his  side  and  his  middle  wrapped 
with  a  twenty-foot  cummerbund. 

The  film  is  completed  when  we  call  except 
for  one  retake.  The  scene  is  the  interior  of  a 
mountain  cabin,  the  exterior  having  been  shot 
in  Sonora,  California,  the  heart  of  the  gold 
country.  Ann  Loring,  getting  her  first  big 
break,  plays  opposite  Baxter.  She  is  a  dark, 
lithe  girl,  poised  and  seemingly  of  great 
promise. 

Wild  Bill  Wellman,  who  cracked  up  so  many 
planes  during  the  war  they  called  him  the 
German  Ace,  directs  this  dramatic  bit.  Baxter 
is  thanking  Miss  Loring  for  having  helped  him. 
"I  am  a  woman,"  she  tells  him.  "Of  course  I 
would  help  you." 

"  But  you  are  deeferent,"  he  accents.  (Sure, 
the  Spanish  use  that  line,  too.)  Before  their 
love  scene  can  get  down  to  facts,  one  of 
Baxter's  screen  friends  breaks  in  to  warn  him 
that  danger  is  approaching. 

It  is  a  highly  exciting  scene  the  way  Baxter 
plays  it.  And  when  he  dashes  out  the  door,  you 
feel  as  if  you'd  like  to  follow  him  and  see  the 
fight.  But  outside  all  is  suavity  and  dated 
elegance.  For  you  have  wandered  onto 
another  set  and  this  is  New  York's  Savoy 
Hotel  of  the  late  nineteenth  century.  It  is,  for 
the  nonce,  whatever  a  nonce  is,  Anna  Held's 
suite. 

Luise  Rainer,  the  screen's  current'discovery 
rave,  plays  Anna  Held  in  "The  Great  Zieg- 
feld."  She's  a  tiny  thing  with  great  big  brown 
eyes  that  dominate  her  mobile,  delicate  face. 
Resting  between  scenes,  she  wears  a  flowered 
kimono.  She  talks  about  her  dog,  which  she 
has  just  acquired  and  of  which  she  is  very 
proud. 

"Have  you  got  a  playmate  for  him  yet?" 
director  Bob  Leonard  asks  her. 

"  What  is  that,  a  playmate?  "  she  asks  in  her 
accented  voice. 

"It's  a — well — I  mean,  did  you  get  him 
another  dog  to  love?" 

"Poof!    He  will  find  one  for  himself." 

The  one  and  only  Bill  Powell  plays  Ziegfeld. 
Maybe  it's  just  admiration,  or  maybe  it's 
gratitude  because  she  co-starred  with  him  in 
"Escapade,"  but  whatever  the  reason,  Miss 
Rainer's  eyes  are  filled  with  more  than  friend- 
ship when  she  looks  at  the  sleek  Mr.  Powell. 

The  scene  we  watch  Powell  do  is  the  one 
wherein  he  tries  to  convince  Anna  HeWs  maid 
that  it  would  be  a  good  publicity  stunt  to  have 
the  French  take  milk  baths.  Mr.  Powell,  the 
smoothie,  could  convince  anyone  of  anything. 


your  costly  perfumes 


Lentheric  Says:  "An atomizer 
is  a  subtle  accomplice  of  fine 
perfumes  .  .  .  Spray  your  favor- 
ite odeur  to  bring  out  its  most 
delicate,  most  enchanting 
qualities." 


With  a  closure-equipped  DeVilbiss  Atomizer,  your 
expensive  perfumes  will  not  evaporate,  or  spill  .  . . 
Spraying  is  recommended  by  leading  perfumers  to 
enhance  the  fragrance  of  the  perfume.  And  the 
fine  spray  prevents  staining  .  .  .  See  the  many 
beautiful  styles  of  DeVilbiss  Atomizers,  in  both 
imported  and  domestic  glass,  at  department  or  drug 
stores.  You  will  be  interested  in  the  smart  Eau  de 
Cologne  Atomizers.    DeVilbiss  prices  start  at  $1.00. 


So  we  left  the  set  certain  all  would  go  properly 
if  they  ever  got  the  lights  adjusted. 

"Ah,  Wilderness,"  the  Eugene  O'Neill  bit  of 
nostalgia,  is  shooting  on  the  next  stage.  The 
scene:  a  high-school  graduation  in  the  early 
part  of  the  century.  All  the  boys  look  like  im- 
mature Herbert  Hoovers  in  their  high  starched 
collars.  The  girls  wear  calf-length  white 
dresses,  white  bows  in  their  hair  and  white 
sashes  around  their  waists.  And  white  cotton 
stockings,  if  you've  forgotten  there  are  such 
things. 

IT'S  a  mystery  where  the  casting  director 
rounded  up  these  faces.  Not  that  they  are  all 
homely,  but  each  one  has  that  unprettied  and 
sometimes  comic  look  that  is  certain  to  bring 
back  your  own  high-school  days,  unless  you're 
still  having  them. 

Lionel  Barrymore  plays  the  part  George  M. 
Cohan  did  in  New  York  and  Will  Rogers  did  on 
the  Hollywood  stage.  Eric  Linden  is  his  son 
and  class  valedictorian.  He  does  a  farewell 
speech.  It's  somehow  very  funny  and  very 
sad.    His  elocution  is  grand. 


desks  while  two  teachers  walked  among  them. 
One  defiant  child,  we  noticed,  would  have  none 
of  this  dull  study.  He  ran  about,  bumping 
into  chairs  and  raising  general  cain. 

"Cornwell!"  the  teacher  called.  "Can't  you 
be  quiet?" 

"No,  ma'm,"  he  answered,  politely,  "I'm 
rehearsing  a  scene." 

And  surely  enough,  he  was.  For  when  we 
followed  him  a  bit  farther,  we  came  upon  a 
fully  lighted  set.  A  waterfront  dance  hall, 
with  hundreds  of  extras  drinking  real  beer 
while  a  dance  band  blared  strident  tunes.  A 
run  down,  badly  dressed  crowd  sat  at  the 
tables.  It  was  the  kid's  part  to  run  among 
them,  amusing  himself  as  he  could. 

Jean  Harlow  and  Spencer  Tracy  stood  in  the 
center  of  the  crowd.  Miss  Harlow  is  now 
called  a  "brownette"  by  the  press  department. 
Actually,  her  locks  are  a  kind  of  dark  gold 
shade  for  the  film.  The  Harlow  figure,  we  are 
happy  to  report,  is  unchanged. 

Tracy  is  smiling  at  Jean  and  shaking  a  pair 
of  dice.  The  idea  seems  to  be  that  Tracy  is 
jealous  of  Miss  Harlow's  Greek   boy  friend. 


Robert  Montgomery  and  Richard  Barthelmess  are  two  of  the  film  colony's 
most  ardent  tennis  fans  who  spend  a  great  deal  of  their  time  at  the  Los 
Angeles    Tennis    Club    indulging    in    tennis    or    food    or,    quite    often,    both 


Before  Linden  does  his  piece  one  talented 
member  of  the  class  recites  "The  Bells."  A 
lisper  gives  a  talk  on  "My  Mythical  Trip 
Through  Switzerland."  If  you  think  it's  easy, 
say  it  fast  three  times. 

This  is  a  film  close  to  director  Clarence 
Brown's  heart.  Generally  he  is  associated 
with  Garbo  and  glamour  affairs,  but  "Ah. 
Wilderness"  touches  much  of  Brown's  personal 
background.  For  the  exteriors,  he  took  the 
company  back  to  his  home,  Grafton,  Mass. 
Which  is  a  pretty  slick  way  to  visit  your  own 
home  town  if  you  ask  us. 

Baby  Peggy  is  so  grown-up  now  that  she 
plays  one  of  the  graduates  and  Cecelia  Parker, 
who  makes  no  disguise  of  her  affection  for  Eric 
Linden,  does  the  lead. 

From  a  high-school  graduation  ceremony, 
we  went  to  a  grammar  school,  a  real  one  on  the 
M-G-M  lot,  with  real  students  hard  at  real 
work.  They  are  the  kids  who  appear  in-"  Riff 
Raff,"  the  Frances  Marion  story  starring  Jean 
Harlow  and  Spencer  Tracy. 

The  kids,  ranging  from  about  five  to  ten 
years  old,  had  their  heads  bent  over  improvised 


played  by  Joseph  Calleia,  and  is  going  to  roll 
the  jittery  dominoes  for  some  sort  of  emotional 
bet.  Jean  begins  ribbing  Spencer  and  while  he 
hesitates  the  crowd  gathers  about.  Tracy 
throws  the  dice,  but  as  the  scene  ends  writh  a 
fade  out,  there  was  no  way  of  knowing  if  Miss 
Harlow  won  or  lost.  We  did  notice,  however, 
that  the  kid  in  the  background  was  still  run- 
ning around  in  circles  after  director  Jack  Rubin 
yelled,  "Cut."  That  kid  should  get  some 
place  if  he  ever  straightens  himself  out. 

THE  next  M-G-M  set  took  us  some  seven  hun- 
dred miles  away,  to  gorgeous  Lake  Tah'oe, 
where  Nelson  Eddy  and  Jeanette  MacDonald 
are  singing  their  way  through  "Rose  Marie." 
This  is  certain  to  be  one  of  the  most  beautiful 
and  melodious  pictures  of  the  year.  It  is 
directed  by  W.  S.  Van  Dyke,  who  by  this  time 
must  be  pretty  tired  of  hearing  about  "The 
Thin  Man." 

The  number  we  saw  is  called  "The  Echo 
Song."  For  this  duet,  Nelson  and  Jeanette 
had  to  climb,  on  burros,  five  miles  up  the  side 
of  a  mountain.    They  sing  their  piece  beside  a 


waterfall  that  trickles  over  an  expanse  of  age- 
worn  rock.  It's  a  lovely  setting.  "Rose 
Marie"  is  the  first  musical  to  be  made  out- 
doors. Van  Dyke,  back  in  his  element  as  a 
location  director,  is  bent  on  making  it  the  best 
musical  of  any  sort.  What  with  Xelson  Eddy 
and  Jeanette  MacDonald  as  the  stars,  he  has  a 
pretty  good  chance. 

The  most  interesting  fact  learned  on  the  trip 
to  "Rose  Marie"  is  this:  Nelson  Eddy  is  not 
the  romantic  type.  He's  a  practical  joker. 
Ask  Jeanette  MacDonald. 

THERE  was  real  snow  in  the  mountains 
above  Lake  Tahoe.  The  set  of  "  Seven  Keys 
to  Baldpate,"  which  stars  Gene  Raymond,  has 
studio  snow,  being  as  how  this  is  being  shot 
right  in  Hollywood  on  the  RKO  lot.  The  press 
department  wouldn't  tell  us  how  the  prop  snow 
was  made,  so  we  felt  and  then  tasted  some.  All 
we  can  say  after  this  experiment  is  that  it  looks 
like  thin  cornflakes  and  tastes  like  chalk. 

"Seven  Keys  to  Baldpate"  is  one  of  those 
perennial  favorites.  It  was  written  by  the  late 
Earl  Derr  Biggers,  whose  name  is  now  more 
famous  for  his  Charlie  Chan  series.  The  set 
that  we  saw  was  one  of  those  deserted  cob- 
webby places  where  nothing  ever  happens.  It's 
the  country  hotel  where  novelist  Gene  Ray- 
mond goes  to  get  peace  and  quiet  so  that  he 
can  write  a  book.  So  much  action  was  popping 
around  our  head  that  we  got  dizzy. 

But  we  don't  forget  that  gruesome  bit  where 
Moroni  (nothing  to  do  with  his  intelligence) 
Olson  pointed  a  gun  at  us  as  we  were  behind 
the  camera.  He  backed  away,  leering  and 
saying,  "Thank  you  for  your  hearty  coopera- 
tion and  fine  fidelity."  Then,  still  pointing  the 
gun,  he  backed  out  into  the  snow. 

This  was  no  healthy  place.  Over  on  the  "It 
Happened  In  Hollywood"  set  everything  was 
much  more  homey.  This  is  a  musical  farce 
about  a  gangster  who  gets  his  face  lifted  and 
tries  to  get  in  the  movies.  Finally  a  publicity 
man  beats  up  the  actor-convict.  A  lot  of  press 
agents  are  going  to  get  a  kick  out  of  that  scene. 

Wally  Ford  and  Molly  Lamont  are  the  stars 
and  the  picture  is  directed  by  Christy  Cabanne, 
one  of  the  old  time  movie  people.  Mr. 
Cabanne  doesn't  look  old,  though.  He  was 
sitting  on  the  set  being  quite  at  ease  and  com- 
fortable while  nothing  at  all  kept  on  happening. 

Since  no  one  seemed  inclined  to  make  news, 
I'll  tell  you  about  the  set.  It's  a  modern,  un- 
pretentious home  done  predominantly  in  white. 
Anyone  planning  to  decorate  a  house  might  see 
"It  Happened  In  Hollywood"  for  the  judicious 
use  of  ornament  and  color  that  is  shown.  The 
property  man  said  that  it  all  cost  no  more  than 
average  small  house  furnishings. 

AJACKHAMMER  is  a  drill  that  shakes  the 
stuffings  out  of  you.  Workingmen  use 
them  to  tear  up  streets  and  to  make  sleeping  in 
the  neighborhood  a  sporting  proposition,  with 
all  the  odds  on  the  jackhammer  user's  side. 
Now  Columbia  is  making  a  picture  by  that 
name.    Victor  Jory  and  Sally  O'Neill  star. 

The  scene  is  an  office  near  a  construction 
camp  and  Miss  O'Neill,  a  newspaper  gal,  is 
trying  to  get  a  story  out  of  Mr.  Jory.  Mr. 
Jory  won't  give  a  story  but  he  tells  Sally  that 
the  dam  is  liable  to  break  any  minute.  Being  a 
movie  dam  it  probably  will.  Mr.  Jory  isn't  a 
meanie,  but  he  tells  the  writer  he  can't  spare 
any  men  to  take  her  home. 

What  the  movies  need  are  a  few  competent 
engineers.  They  all  look  handsome  enough  in 
their  open  shirts  and  riding  boots.  But  why 
can't  any  of  them  construct  works  strong 
enough  to  withstand  the  ravages  of  a  prop 
nature  for  seven  reels? 


94 


PHOTOPLAY   MAGAZINE  FOR   DECEMBER,    1935 


From  the  smallest  lot  in  Hollywood  we  take 
you  to  20th  Century-Fox,  the  largest.  This 
studio  is  so  big  that  men  have  been  known  to 
wander  out  in  its  great  enclosure  and  get  lost 
for  days,  living  on  nothing  but  Shirley  Temples, 
Janet  Gaynors  and  Joan  Bennetts.  We  saw  a 
bunch  of  Northern  soldiers  and  followed  them 
for  a  few  miles  to  "The  Littlest  Rebel"  set, 
where  Southerner  Shirley  Temple  was  doing 
her  precocious  stuff  for  director  David  Butler. 

Between  scenes  Shirley  practices  tap  dancing 
with  Bill  Robinson,  who  is  teaching  her  a  new 
Harlem  routine  called  "The  Trucking."  The 
Temple  infant  is  still  unharmed  by  her  fame, 
still  the  queen  of  her  tiny  realm. 

In  "The  Littlest  Rebel,"  Shirley  wears  a 
pantalooned  outfit  that,  when  modified,  is 
going  to  be  seen  in  all  the  kindergarten  classes 
from  here  to  Siam.    On  Shirley  it's  cute. 

John  Boles  plays  Shirley's  father.  He's  a 
spy  for  the  South.  In  the  scene  we  watched, 
Mr.  Boles  is  standing  outside  the  ol'  plantation 
and  doing  a  farewell  scene,  just  barely  escaping 
before  the  arrival  of  the  Yankees.  The 
rehearsal  seemed  to  go  okay  to  everybody  but 
Shirley.  She  kept  one  nervous  eye  on  Boles 
and  the  other  on  the  inmarching  Northerners. 
Shirley  began  to  jump  up  and  down.  Finally, 
she  could  stand  it  no  longer. 

"Mr.  Butler!"  she  pleaded  to  the  director. 
"You  better  hurry  up  and  get  Mr.  Boles  out  of 
here.    Those  Yankees  are  going  to  catch  him." 

OUR  last  stop  on  the  tour  of  the  sets  is  the 
lavish  Casino  at  Monte  Carlo,  where  Ronald 
Colman  is  happy  again  with  his  moustache. 
Colman's  new  picture  is  called  "The  Man  Who 
Broke  The  Bank  At  Monte  Carlo."  The  only 
way  to  get  that  title  on  a' marquee  is  to  put  it 
up  in  rubber  letters.  Or  write  it  like  this: 
Theman  whobrokethebanka  t  m  o  n  t  ec  a  r  1  o  w  i  t  h 
ronaldcolmanandjoanbennett.  Or  they  might 
just  call  it  Bank  Night. 

In  this  film  (we  refuse  to  mention  the  title 
again),  Mr.  Colman  plays  a  Russian  ex- 
patriate. Then  he  hits  upon  a  system  for  win- 
ning at  roulette.  All  his  friends  raise  what 
little  money  they  have  and  send  their  champion 
to  the  gambling  resort.  Oddly  enough — the 
system  works.  Time  after  time  Colman  wins. 
Finally  the  house  has  no  more  money.  Mr. 
Colman  is  offered  a  check. 

"I  want  cash,"  Mr.  Colman  replies. 

"But  you  can't  carry  that  much  money." 

"Oh,  yes  I  can."  And  Colman  whips  out  a 
trunk. 

"Then  you  knew  you  were  going -to  win?" 

"Yes." 

And  with  that  Mr.  Colman  carries  his  load  of 
money  off  the  elegant  set.  While  we're  quite 
happy  to  see  anyone  so  rich,  we're  just  as  sorry 
that  we  had  no  more  sets  to  tell  you  about. 
But  watch  us  next  month. 


HOLLYWOOD'S  SADDEST 
STORY  COMES  TRUE 
By 
ADELA  ROGERS  ST.  JOHNS 
For    years    Hollywood    has 
prophesied  that  Barbara  Stan- 
wyck's and  Frank  Fay's  mar- 
riage had  to  fail.     For  years 
Barbara  and  Frank  have  said 
that  would  never  happen 

READ    WHAT    HAS    HAPPENED    TO 

THESE      TWO      AMAZING      PEOPLE. 

TOLD     AS     ONLY     ADELA     ROGERS 

ST.   JOHNS   CAN   TELL   IT 

IN  JANUARY  PHOTOPLAY 


Time  alone  will  tell  who  will  be  the  lucky  girl  that  will  emerge 
from  obscurity  to  stardom  in  1936.  fl  The  new  star  in  the  hosiery 
firmament  is  Claussner  Kleer  Sheer  and  by  the  acclaim  of  discrim- 
inating patronage  Claussner's  star  rises  higher  and  higher  each  year.' 
U  Claussner  has  attained  stardom  through  clear  and  sheer  hosiery  offered 
in  a  range  of  styles  so  complete  that  you  may  select  any  style  or 
weight  from  a  clear  1-Thread  "Symphony  in  Silk"  to  the  very  durable 
7'Thread — all  styles  at  just  the  price  you  rhay  choose  to  pay — indeed 
four  star  quality  and   service. 

KLEER-SHEER 


CicumrtLTL 


Exqulsi-he 


HjodiLn^ 


Boos  8  Bouquet 


Read  what  the  public  has 
written  about  the  movies 
and  stars  on  these  pages 


Elizabeth  Allan  is  one 
of  the  screen  colony's 
most  ardent  and  accom- 
plished tennis  players 
as  well  as  a  contender 
for  more  acting  honors 
in  her  new  M-G-M  film, 
"A    Tale    of    Two    Cities" 


[  CONTINUED  FROM  PAGE  9  1 

play  with  Grace  Moore.     Her  voice  is  not  at 
all  comparable  to  Jeanette  MacDonald's. 
Irla  MacIntyre,  Fairview  Village,  O. 

BACKS  HEPBURN 

How  could  anyone  have  the  heart  to  write 
such  an  article,  "Is  Hepburn  Killing  Her  Own 
Career?"  as  appeared  in  Photoplay?  I 
think  it  is  a  perfect  shame.  Katharine  Hep- 
burn is  the  greatest  actress  which  Hollywood 
has  given  the  world.  By  her  own  versatility 
and  genius  in  the  art  of  acting,  her  artistry 
stands  supreme. 

Josephine  B.  Becker,  Cincinnati,  O. 

SHIRLEY'S    PICTURES    POOR? 

I  have  seen  Shirley  Temple  in  each  of  her 
many  pictures  and  I  have  found  that  each 
picture  lessens  in  value.  The  youngster  can 
do  good  work  if  the  right  pictures  are  given  to 
her.  My  suggestion  is  to  let  her  play  "Heidi." 
I'm  sure  this  character  will  suit  Shirley  and 
bring  her  to  the  height  of  her  career. 

B.  B.,  Cambridge,  Mass. 

96 


"ESCAPADE"  BEST  OF  YEAR? 

I  went  to  see  the  picture  "Our  Little  Girl" 
simply  because  Joel  McCrea  and  Shirley 
Temple  played  in  it.  I  came  out  praising 
Rosemary  Ames.  I  also  went  to  see  "Es- 
capade," but  for  no  special  reason.  Luise 
Rainer  is  a  great  actress.  It  has  been  a  long 
time  since  I  have  seen  an  actress  display  so 
much  emotion  on  the  screen.  In  fact  this  was 
the  best  picture  I  have  seen  this  year. 

Ann  McTyer,  Edison,  Ga. 

ANN  HARDING  RUINING  SELF? 

Ann  Harding  is  a  fine  actress  and  a  very 
lovely  woman,  but  she  is  ruining  herself  on  the 
screen.  In  every  picture  she  appears  in  she  is 
mothering  some  good  looking,  capable-appear- 
ing young  man.  This  would  be  all  right  for 
one  or  two  pictures,  but  she  does  it  in  every 
one.  She  gives  the  appearance  that  everything 
is  going  to  come  out  perfectly  if  she  is  there. 
This  monotonous  repetition  and  silly  effect 
has  driven  me  away  from  her  pictures,  even 
though  I  like  Ann  Harding  as  an  actress.    I 


happen  to  know  a  whole  group  of  people  who 
have  stopped  going  to  her  pictures  just  on 
account  of  the  reason  herein  explained,  so  I 
think  it's  time  someone  said:  "For  heaven's 
sake,  stop  being  so  darn  perfect  and  act 
human  once  in  a  while." 

Lennox  Allen,  Glenview,  Ky. 

SHIRLEY  UNLOVELY? 

So  they  say  that  Shirley  Temple  is  approach- 
ing the  "unlovely"  age.  Well,  I  don't  think 
so.  Let's  watch  her  grow.  She's  such  a  lovely 
star.  Jane  Withers  is  a  star  in  one  world  and 
Shirley  in  another.  There  never  could  be  an- 
other Shirley  Temple.  Let's  hope  that  she  will 
always  stay  as  sweet  as  she  is  and  in  the  future 
years  be  a  big  star.  I  always  am  glad  to  see 
a  Temple  picture.  Here's  hoping  to  see  lots 
more! 

A  Shirley  Temple  Fan,  Gabsburg,  111. 

GRACE  MOORE  LOVELY 

I  think  Grace  Moore  is  lovely.     She  is  very 
beautiful,  her  voice  is  exquisite,  and  her  per- 
sonality charming.    Her  naturalness  and  utter 
lack  of  affectation  make  her  doubly  appealing. 
Evelyn  Rogers,  South  Orange,  N.  J. 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER.    1935 


97 


Shirley  Wants 

the  Quintuplets 

for  Christmas 

[  CONTINUED  FROM  PAGE  25  ] 


will  get  more  presents  than  any  other  child 
in  the  United  States — that's  the  only  differ- 
ence. 

"Do  you  let  her  have  all  her  presents?"  I 
asked  Mrs.   Temple. 

She  nodded,  her  hazel  eyes  a  little  wistful. 
Shirley  Temple's  mother  is  a  tall,  slim  young 
woman,  with  a  peculiarly  sensitive  mouth,  a 
gentle  voice,  a  rather  shy  glance.  She  wore 
a  simple  dark  dress  and  a  small  dark  hat  over 
her  smooth  hair.  Her  manner  with  this  famous 
child  of  hers  is  exactly  that  of  any  other  loving 
mother.  She  says,  "Shirley,  don't  talk  with 
your  mouth  full.  Precious,  do  be  quiet  and 
remember  what  Mr.  Butler  tells  you." 

Something,  at  lunch,  was  said  about  Kansas. 
Shirley  said,  "I  want  to  go  to  Kansas.  I  want 
to  see  Dorothy.  Mother,  can  I  go  to  Kansas?  " 
It  turned  out  that  Dorothy  was  the  same 
Dorothy  we  have  all  loved — Dorothy  of  Oz, 
who  was  carried  away  by  a  cyclone. 

Mrs.  Temple  said,  "I  want  Shirley  to  play 
Dorothy."     ■ 

QHIRLEY  said,  "How  can  I  play  Dorothy — 
*^she's  a  real  girl."  The  contemplative  look 
came  back.  Then,  "I  guess  I  could  pretend 
I'm  Dorothy.  I  guess  she  wouldn't  mind.  Do 
you  think  she  would  mind,  mother?"  She 
thought  again,  "But  we  couldn't  have  a  tin 
woodman  and  a  scarecrow  because  there 
aren't  any  tin  woodmen  or  scarecrows  except 
in  Oz."  This  time,  the  smile  flashed  with  her 
inspiration.  "But  we  could  pretend  we  had  a 
tin  woodman  and  a  scarecrow!" 

Mrs.  Temple  explained  about  the  presents. 
"There's  so  much  love  with  them,"  she  said, 
"I  want  her  to  have  them  because  of  that. 
And  I'm  sure  the  givers  won't  mind  if — after 
a  while — she  passes  them  on,  shares  them. 
That  makes  her  almost  happier  than  getting 
them.  I  think  it's  because  there's  so  much 
love  with  them  that  they  never  spoil  her.  We 
let  her  open  the  Santa  Claus  presents  and  our 
own  family  ones  first — and  then  every  day  is 
Christmas  for  a  week.  And  then^she  plays 
Santa  Claus  herself.  I — it's  all  so  strange 
sometimes.  After  my  boys  grew  up,  I  wanted 
a  little  girl  so  badly,  and  I  was  so  happy  when 
she  came.  But  I  never  expected  it  would 
turn  the  whole  world  upside  down  as  it  has. 
But — she's  happy.  I  want  her  to  go  on  as 
long  as   she's   happy." 

Shirley  romped  over  to  say  good-bye  to  me. 

"I  hope  you  have  a  very  Merry  Christmas," 
she  said. 

"I'm  sure  I  will,"  I  said.  "And  I  hope  you 
do,  too." 

"And  all  your  little  boys  and  girls,  too," 
said  Shirley  politely. 

"Thank  you,  darling,"  I  said. 

"  Do  you  think  Santa  Claus  will  bring  me  the 
quintuplets?"  Shirley  asked  breathlessly. 
"I'd  take  very  good  care  of  them." 

I  gulped  a  little.  "Perhaps  he  can't,"  I 
said.  "You  know — they  belong  to  someone 
else." 

The  bright  face  fell  under  a  cloud,  the 
mouth  puckered,  the  little  brows  drew  down. 
Then  again  that  smile  flashed,  "Oh  well," 
said  Shirley,  "I  can  pretend  he  did,  anyhow." 


Frederics  SBICBOiEli^ma.^a 


Ann  Sothern,  Columbia  Pictures 

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City Slate 


The  Glorifying  of  Eleanor  Powell 


CONTINUED  FROM  PAGE  71 


of  hers.  She  looked  about  as  much  like  a 
dancer  as  any  athletically  inclined  co-ed.  She 
looked  clean-cut,  intelligently  nice.  That  was 
the  closest  she  came  to  prettiness. 

Fox,  looking  for  a  dancer,  made  a  screen  test 
of  her  in  the  East.  It  was  her  big  chance. 
Makeup  and  cameramen  did  their  darndest 
and  so  did  Eleanor. 

"And  it  flopped  so  hard,  that  test,"  she  told 
me,  "that  as  far  as  pictures  were  concerned  I 
could  have  gotten  no  further  West  than  Jersey 
City." 

THE  trouble  was  simple  and  evident.  You 
can't  make  a  raving  beauty  out  of  an  ugly 
duckling  any  more  than  you  can  manufacture 
bricks  without  straw.  This  girl,  in  the  eyes  of 
the  camera,  hadn't  even  the  fundamentals  on 
which  an  artificial  beauty  could  be  built.  She 
was  just  plain  hopeless,  and  they  told  her  so  and 
it  almost  broke  her  heart — at  first.  Then  she 
got  mad — and  madder — and  furious.  And 
finally,  one  five  A.  M.,  Eleanor  Powell  ex- 
ploded! 

She  decided  she  was  going  to  be  beautiful. 

"I  did  explode,"  she  told  me.  "It's  some- 
thing that  happens  inside  me  now  and  then. 
I've  never  done  it  but  twice  in  my  life — the 
first  time  was  when  I  determined  I  simply  had  to 
come  to  New  York,  and  the  second  time  was 
when  I'd  lain  awake  all  night  crying  like  a  big 
booby  because  I  wasn't  good-looking  enough 
for  Hollywood. 

"Looks  hadn't  really  mattered  before,  you 
see.  On  the  stage  it  was  my  dancing,  pure  and 
simple.  I  wanted  to  dance  in  pictures  but  I 
found  I'd  have  to  be  lovely  to  look  at  and 
listen  to  as  well  or  my  dancing  wouldn't  be 
worth  anything.  That's  what  hurt.  So  I 
determined  I'd  be  good-looking  if  it  took  ten 
years  and  every  cent  of  money  I  owned." 

There  comes  at  least  one  time  in  the  life  of 
every  girl  when  she  decides  she's  got  to  be 
beautiful.  Usually  the  reason's  a  man. 
With  Eleanor  it  was  a  career.  Maybe  careers 
are  more  compelling  than  love.  Anyway, 
Eleanor  began  from  "the  inside  out,  and  the 
top  down,"  as  she  put  it,  to  deliberately  achieve 
beauty.    And  this  is  what  she  did. 

First  of  all  she  started  with  her  hair,  a  dull 
but  not  unpretty  shade  of  brown.  She'd  al- 
ways worn  it  in  a  short  Dutch  bob,  casual, 
straight,  severely  shingled.  It  flopped  about 
her  head  in  a  pert  fashion  when  she  danced, 
but  off-stage — well,  it  was  just  coarse  enough  to 
give  an  impression  of  stringiness  even  immedi- 
ately after  washing.  She  visited  a  famous 
Fifth  Avenue  hairdresser,  told  him  her  problem 
and  her  plans.  He  moved  her  part  from  the 
side  to  the  middle  to  give  her  face  length,  pre- 
scribed a  good  tar  shampoo  and  advised,  "Let 
your  hair  grow  to  shoulder  length.  Hollywood 
will  do  the  rest." 

So  Eleanor  began  letting  her  hair  grow. 

The  next  problem  was  her  skin.  It  was  nice 
skin  so  far  as  complete  absence  of  blemishes 
went  but  the  pores  in  her  nose  and  chin  were 
enlarged  and  her  cheeks  were  peppered  with 
vari-sized  freckles.  A  dermatologist  took  her 
in  hand  and  through  a  series  of  skillful  violet- 
ray  treatments  which  caused  gradual  peeling 
the  freckles  disappeared.  Then  he  put  her  on 
the  following  skin-care  routine  for  the  reduc- 
tion of  pores: 

After  her  make-up  had  been  thoroughly  re- 
moved with  cold  cream  she  was  to  lather  her 

98 


face  with  a  good  pure  soap  and  lukewarm 
water,  rub  the  lather  well  into  the  skin  and 
allow-  it  to  partially  dry.  She  was  to  follow 
that  with  a  rinsing  in  clear  warm  water,  wrap 
an  ice  cube  in  sterile  gauze  and  gently  move  it 
over  every  portion  of  her  face,  into  all  the 
crevices,  the  hairline,  underneath  the  chin  and 
back  as  far  as  the  ears.  Then  she  could  pat  her 
face  dry  with  a  towel  and  apply  a  good  soften- 
ing lotion  to  prevent  roughness  or  chapping. 

In  less  than  a  month  of  those  treatments, 
Eleanor  told  me,  her  complexion  showed  a 
noticeable  improvement. 

One  of  her  worst  defects,  as  revealed  by  the 
camera,  was  her  teeth.  Odd,  but  in  real  life 
you  never  thought  of  Eleanor's  teeth  as  being 
unattractive  True,  they  were  crooked  and 
they  could  have  been  whiter,  but  she  had  such 
an  infectious,  incessant  grin  you  seldom  noticed 
anything  of  it  but  its  gaiety.  The  camera, 
however,  picked  that  grin  all  apart  and  re- 
vealed badly  crooked,  dull  and  yellow  dents 
And  something  drastic  had  to  be  done  about 
them. 

Her  dentist,  for  whitening  purposes,  put  her 
on  a  sort  of  triple-threat  cleaning  regime. 
Morning  and  night  she  was  to  brush  her  teeth 
with  soda,  then  salt,  then  a  dentifrice;  that  was 
to  be  followed  by  a  thorough  session  with  a 
good  long  piece  of  dental  floss.  Too,  he  put 
braces  on  her — the  awful  gold  and  glisteny 
variety  that  catch  a  spotlight  and  reflect  it 
back  to  the  last  row  in  the  house.  Eleanor  had 
her  choice  of  those  or  another  type  which  can 
be  easily  removed  for  stage  appearances.  She 
took  the  former  because  they  worked  faster, 
and  Hollywood  was  to  be  only  a  year  away. 
She  could  stand  it  for  a  year — for  results. 

There  was  the  little  item  of  eyelashes,  too. 
Hers  were  thick  and  curly  but  short  to  the 
point  of  stubbiness.  An  actress  friend  sug- 
gested an  upward,  outward  rub  of  them  each 
night  with  plain  old  Number  One  Yellow 
Oxide.  If  I  told  you  that  Eleanor's  lashes  are 
almost  an  inch  long  now  you  wouldn't  believe 
me  Look  at  her  closely,  for  proof,  in  "  Broad- 
way Melody  of  1936."  While  the  ones  she 
wears  as  Mile.  Arlelte  are  of  course  artificial, 
the  ones  she  displays  in  the  character  of  Irene 
Foster  are  the  bona-fide,  home-grown  product. 

Concerning  eyebrows  Eleanor  decided,  after 
much  thought,  that  she'd  leave  hers  strictly 
as  was.  She  liked  them  that  way.  They  were 
wide  but  they  had  a  good  natural  arch  in  them, 
and  besides  there  hadn't  been  a  tweezer  in  the 
Powell  family  for  generations. 

NEXT  came  her  voice.  Nobody'd  ever  criti- 
cized her  near-Boston  accent  before,  and 
she  hadn't  had  to  sing  any  solos.  Trust  the 
sound-track,  though,  to  amplify  three  faults 
that  would  have  to  be  rectified  before  she  could 
make  a  successful  screen  test:  her  diction,  her 
voice  quality,  her  singing. 

So  there  was  a  dramatics  teacher  and  a  vocal 
instructor  who  took  an  hour  apiece  out  of 
every  single  day.  At  the  end  of  a  year  Eleanor 
could  read  lines  with  or  without  feeling, 
breathe  from  the  diaphragm  like  an  old-timer, 
and  trill  a  much  more  melodious  scale  in  G. 

The  problem  of  her  figure  really  was  a 
problem  Lots  had  to  be  done  about  her  legs, 
chest  and  hips.  Until  she  was  sixteen,  you  see, 
she  had  never  done  any  tap  dancing.  It  had 
been  ballet,  acrobatic  and  interpretive,  which 
develop  the  short  muscles  in  the  legs.     Have 


you  ever  seen  a  toe  dancer's  legs  off-stage? 
Eleanor's  were  like  that — knotty,  bunched 
muscles  at  the  calf  and  thigh.  Until,  from  six- 
teen on,  she  concentrated  almost  solely  on 
tapping,  which  develops  the  long  muscles. 

As  a  result,  at  twenty-one,  her  legs  were  not 
the  roundly-developed,  shapely  things  they 
might  have  been  had  she  exercised  both  sets  of 
muscles  equally.  Her  knees,  while  not  actually 
large,  seemed  very  much  so  in  their  setting 
"So  darn  much  so,"  Eleanor  confided,  "that 
one  of  Walter  Winchell's  pet  similes  was  'As 
homely  as  Eleanor  Powell's  knees'."  The 
general  leg  effect,  if  she  wore  shorts  for  dancing 
was  pretty  poor  showmanship. 

So  she  put  herself  on  a  strict  two-houi 
schedule  of  short-muscle  exercises  every  day 
Bar  and  toe  work,  somersaults,  twists  and 
splits.  It  helped.  Too,  she  discovered  that 
very  high  heels  could  work  wonders.  Tapping 
heels  are  seldom  taller  than  an  inch  and  a  half. 
But  let  her  put  on  some  four-inch  spikes  (Note: 
she  wore  them  in  the  picture  where  her  legs 
were  prominently  black-silk-stockinged)  and 
the  up-thrust  of  the  ankle  threw  a  certain  full- 
ness forward  into  the  leg.  Eleanor  donned 
teetering  heels  whenever  she  could. 

Her  chest  and  hips,  by  virtue  of  background 
for  each  other,  were  deadly  enemies,  since  each 
made  the  other  look  more  the  way  it  shouldn't 
be.  Aside  from  a  slight  tendency  to  slump 
when  she  stood,  which  affected  a  thorax  cave- 
in,  her  chest  was  naturally  small  anyway.  And 
"dancer's  hips,"  well  developed  and  propor- 
tioned, can  make  a  chest  like  that  look  prac- 
tically minute  and  at  the  same  time  make 
themselves  look  enormous. 

ELEANOR  went  to  her  favorite  costume  com- 
pany, designed  and  had  them  execute  one  of 
the  trickiest  little  foundation  garments  I  ever 
saw.  It's  gossamer-thin  of  a  sort  of  lastex 
material,  but  if  it  gives  one  iota  when  you  yank 
on  it  I'll  eat  my  hat.  Very  tightly  it  molds  her 
hips  and  tummy  and  fluffy  rosettes  of  tulle 
inside  the  brassiere  give  a  beautifully  con 
toured  build-up.  To  further  improve  that 
portion  of  her  figure  she  began  holding  her 
shoulders  arrow-straight,  using  on  her  clothes 
and  costumes  plenty  of  big  frilly  collars,  liberal 
Mousing  or  tucks  around  the  shoulders,  flowers 
at  a  low  neckline  and  all  the  other  things  that 
can  add  height  to  a  slight  chest.  It's  clever 
guimpery  and  it  works.  Her  hips,  which 
happen  to  be  perfect  thirty-sixes,  no  longer 
look  out  of  proportion  by  comparison. 

For  a  long  time  Eleanor  Powell  worked  hard 
on  herself,  longer  and  harder  than  most  girls 
would  have  the  perseverance  to  hold  out 
When  finally  the  day  came  on  which  she  was  to 
go  to  the  Astoria  studios  for  her  second  screen 
test  she  was  a  different  person.  Not  perfect, 
not  ravishingly  beautiful — neither  of  those. 
But  she  had  so  improved  that  the  cameraman 
who  "shot"  her  a  year  before  failed  to  recognize 
her  at  all.    She  was  greatly  pleased. 

And  the  test — well,  M-G-M  leaned  back- 
wards over  it.  The  girl  showed  great  possi- 
bilities. "American  Girl — Outdoor  Type" 
they  hailed  her.  And  that  time  they  paid  heis 
and  her  mother's  transportation  to  the  coast. 

"  I  haven't  any  idea,"  Eleanor  told  me,  "  how 
many  people  actually  had  part  in  changing 
me  for  the  screen.  There  seemed  to  be  every- 
body from  Mr.  Mayer  on  down  to  my  maid, 


PHOTOPLAY   MAGAZINE   FOR  DECEMBER,    1935 


making  suggestions,  trying  different  things." 
They  kept  her  hair  at  shoulder  length,  gave 
her  a  permanent  wave,  combed  wispy  little 
curls  around  her  cheeks  and  forehead  until  her 
whole  face  was  unbelievably  softened.  Every 
morning  the  hairdresser  applied  a  lightening 
rinse  to  her  hair — not  a  dye,  a  mild  preparation 
that  photographs  like  lustre.  The  effect  of  a 
new,  very  feminine  hair-do  made  as  much 
change  in  Eleanor  as  almost  everything  else 
they  did  put  together. 

THEN  they  made  neat  little  white  porcelain 
caps  to  cover  three  of  her  crooked  teeth.  A 
skillful  mouth  makeup  cut  off,  from  the 
camera's  eye,  a  thin  slice  of  her  lower  lip.  They 
plucked  her  eyebrows  into  a  narrow  line  then 
shaved  them  vertically  in  two  so  that  the  outer 
halves  might  be  drawn  on  to  suit  each  makeup, 
each  costume. 

They  made  her  rest  and  gain  twelve  pounds. 
It  filled  in  her  legs,  her  neck  and  shoulders.  It 
was  a  becoming  improvement.  Eleanor  had 
always  been  a  little  on  the  thin  side. 

In  two  places  they  padded  her  screen  clothes 
to  perfect  her  figure.  At  the  chest,  of  course, 
and  also  over  the  shoulder  blades.  Hips,  side- 
view,  shrink  to  proper  proportions  when  the 
shoulder  blades  are  filled  in.  It's  a  smart  dis- 
covery of  Adrian's. 

They  fashioned  her  nails  (Eleanor  had 
loathed  fancy  manicures  before)  into  feminine 
rounded  points  and  lacquered  them  to  bright 
red  perfection.  They  taught  her  how  to  do  the 
right  things  with  her  hands — broad  gesticula- 
tion was  a  habit  she  had  to  be  broken  of.  There 
was  a  time  when  I  could  not  have  imagined 
Eleanor's  telling  anything  without  an  energetic 
shuttling  of  arms  and  fingers  through  the  air. 
Hollywood  calmed  that  down. 


They  encountered  another  difficulty  with 
their  new  star  too  She's  such  a  one  for 
dancing  all  over  that  after  two  steps  of  a 
routine  her  carefully  coiffed  hair  would  be  just 
so  much  mop  flopping  around  her  head.  So 
they  put  a  large-meshed  invisible  net  over  her 
finished  coiffure,  pulled  a  thin  layer  of  hair 
through  each  section  and  waved  it  over  the  net 
The  results  were  swell — only  a  froth  of  waves 
went  bobbing  and  you  couldn't  see  the  net 
holding  down  the  rest  of  her  hair. 

Smart,  this  Hollywood. 

And  they  decreed  that  no  matter  what, 
glamorous  pedicures  notwithstanding,  nothing 
but  long  shots  should  be  taken  of  her  bare  feet 
Eleanor  wears  a  size  6  shoe.  Her  feet  are 
generously  proportioned  and  well  shaped  but 
she  has  "toe  dancer's  toes"  which  are  greatly 
oversized.  A  pair  of  clever  beach  sandals  or 
mules  could  nicely  conceal  them  in  any 
emergency. 

When  Hollywood  was  done  with  the  tricks 
of  its  trade  it  leaned  back  beaming  with  pride 
over  the  transformation  of  Eleanor  Powell. 
Justly  so,  for  she  walked  away  with  honors  in 
every  one  of  her  scenes  in  "Broadway  Melody 
of  1936."  The  greatest  beaming  of  all,  though, 
was  Eleanor's  to  do.  She  returned  to  Broad- 
way a  very  different  person  from  the  tweeded, 
wholesomely  homely,  plain,  boisterous  young- 
ster she  used  to  be.  She's  few  me,  she's  grown- 
up, sophisticated  in  a  more  becoming  way. 

And  she's  radiantly  lovely  to  look  at.  Her 
skin,  her  smile,  her  clothes,  her  figure  and  her 
eyes  are  practically  perfection.  She  kept  the 
movie  coiffure  and  manicure.  She's  letting  the 
outer  halves  of  her  eyebrows  grow  back  in  again 
while  she's  starring  in  "At  Home  Abroad." 
She's  keeping  the  twelve  pounds  by  virtue  of 
cream  between  meals  and  ten  hours  sleep  every 


99 

night.  And  despite  the  fact  that  Hollywood 
gave  her  a  "being-tall  complex,"  as  she  calls  it 
(since  she  discovered  herself  a  fraction  lengthier 
than  Kay  Francis  and  an  almost  tie  with 
Garbo),  she's  still  holding  her  shoulders  and 
head  high  for  the  sake  of  her  chest. 

There's  much  to  keep  doing  and  to  accom- 
plish over  a  periodof  years.  The  braces  must 
go  back  on  her  teeth,  she  must  continue  her 
short-muscle  exercises,  the  business  of  bobby- 
pinning  uncteen  waves  in  her  hair  each  bed- 
time, her  skin  treatments  and  voice  les?ons. 

"It  takes  me  two  hours  every  night  to  get 
ready  for  bed,"  she  told  me,  "but  it's  worth 
it."  In  addition  to  the  aforementioned  items 
she  must  also  include  an  eyewash,  the  doctor- 
ing and  bandaging  of  her  frequently  irritated 
and  blistered  dancing  feet,  a  hand-softener, 
twenty-five  splits  all  the  way  to  the  floor,  a 
saucer  of  hot  milk  toast,  an  alcohol  rub  and  a 
final  flop  into  bed.  Which,  all  except  the 
latter,  is  no  girl's  idea  of  fun. 

TJROADWAY,  usually  indifferent,  is  happy 
^for  the  change  in  its  Baby,  for  the  healthy, 
natural  looking,  improvement-on-nature  love- 
liness she's  acquired.  People,  she  tells  me,  have 
exclaimed,  "Eleanor,  not  yon!"  at  her  until 
she's  beginning  to  feel  miserably  Exhibit  A-ish. 
Well,  she  needn't.  The  only  thing  that  could 
really  justify  her  feeling  like  that  would  be  for 
her  to  have  gone  and  gotten  prissy,  fol-de-rol, 
doll-beauty  beautiful.    She  hasn't. 

The  last  time  I  saw  her  she  had  on  an  old 
green  Hoover  apron  and  those  "grandma" 
laced  black  practice  shoes  of  hers,  going 
through  her  exercises  on  the  deserted  stage  of 
the  Winter  Garden.  Her  hair  was  a  big  brown 
tangle,  her  face  scrubbed  clean  of  cosmetics. 

And  she  still  looked  pretty. 


cientists  have  found  the  mildness 
of  cigarette  smoke  depends  not  on 
the  tobacco  but  on  its  preparation. 
The  smoke  from  your  Philip  Morris 
cigarettes  has  been  proven  defi- 
nitely and  measurably  milder  than 
from  ordinary  cigarettes.  This  fact 

has  been  presented  to,  and  accepted 

by,  the  medical  profession. 


America's  Finest    fit**     .,   f 
1 5<  Cigarette  Call  tOT 


PHILIP  MORRIS 


The  Voice  from  the  Grave  thai  Guides  Hollywood 

[  CONTINUED  FROM  PAGE  16  1 


The  fateful  years  1924  and  1925  had  gotten 
in  their  work.    And  what  work! 

The  months  that  followed  told  the  story.  In 
January,  his  pictures  were  howled  off  the  screen 
in  his  native  Italy.  That  same  month,  his  wife 
won  her  divorce  in  the  Paris  courts.  In  July 
he  ran  into  that  "powder  puffs  for  males"  at- 
tack which  threatened  to  wreck  forever  his 
popularity  with  the  American  public.  On 
August  16th,  he  was  operated  on  for  gastric 
ulcers — and  on  August  24th,  he  was  dead. 

You  don't  have  to  take  my  word  for  that 
one.  Evangeline's  exact  words  about  Rudy 
were  printed  over  her  own  signature  in  this 
very  magazine  three  years  before  he  died,  and 
the  facts  in  regard  to  Valentino  are  written  in- 
delibly on  the  pages  of  cinematic  history. 

But  to  turn  to  more  cheerful  subjects,  Evan- 
geline always  insisted  that  Grace  Moore,  who 
was  at  that  time  merely  a  musical  comedy  ar- 
tist seeking  to  be  a  grand  opera  prima  donna, 
would  become  "sometime  in  the  early  Thir- 
ties"— meaning  the  early  Nineteen  Thirties — 
a  motion  picture  star  of  the  first  rank. 

I  NEVER  did  know  vdiat  it  was  that  led  Miss 
Adams  to  have  such  absolute  confidence  in 
Grace  Moore's  success  at  this  time,  but  I  sus- 
pect that  she  saw  in  the  opera  singer's  chart 
that  the  planet  Uranus  which  rules  the  unex- 
pected and  thumbs  its  planetary  nose  at  all 
rules  laid  down  by  men  or  stars,  was  coming 
into  a  favorable  position  which  would  open  up 
a  new  road  to  popularity;  and,  inasmuch  as 
Miss  Moore  had  already  tried  the  stage  and 
the  opera,  that  road  must  almost  surely  lead 
across  the  motion  picture  screen. 

P.  S.  and  FLASH:  I  have  checked  this  up 
with  one  of  my  astrological  friends,  and  I  find 
it  to  be  absolutely  according  to  the  stars. 
Moreover,  the  particular  kind  of  favorable 
aspect  of  Uranus  which  happened  to  the  her- 
oine of  "One  Night  of  Love"  was  one  that  in- 
dicated that  the  man  in  her  life  would  have 
much  to  do  with  achieving  this  unexpected 
success— and  those  of  us  who  think  we  know 
our  Hollywood  credit  Valentin  Parera,  the 
dashing  husband  Grace  Moore  married  in  1931 
("the  early  Thirties,"  you  will  note),  with  per- 
suading his  beautiful  bride  to  forget  an  earlier 
unsuccessful  attempt  to  storm  the  Hollywood 
heights,  and  once  more  to  try  her  fortunes  be- 
fore the  singing  camera. 

Her  most  outstanding  reading  of  this  cheer- 
ful variety  was,  however,  of  a  boy  who  had 
not  then  appeared  on  the  screen,  but  who  was 
becoming  known  throughout  the  land  because 
of  his  intriguing  failure  to  remember  the  words 
of  the  songs  he  sang  to  the  ladies  and  gentle- 
men of  the  radio  audience. 

"Bing  Crosby,"  she  told  me  in  one  of  those 
intimate  meetings,  the  minutes  of  which  I  kept 
as  faithfully  as  if  they  were  the  monthly  ses- 
sions of  the  board  of  directors  of  World,  In- 
corporated, "is  one  of  the  few  people  whose 
charts  I  have  read,  who  just  cannot  help  having 
a  happy  marriage.  He  may  not  be  so  easy  to 
live  with.  He's  stubborn,  Bing  is.  But  he  has 
the  kind  of  chart  that  brings  the  right  kind  of 
wife  and  children — plenty  of  children." 

Of  course,  I  asked  Evangeline  about  Garbo. 
She  foresaw  even  in  the  days  when  Greta  was 
posing  in  bathing  suits  and  sports  suits  to 
please  the  publicity  boys,  that  she  must  in- 
evitably adopt  the  policy  of  secrecy  and  mys- 
tery which  is  with  her  not  a  pose  but  a  true 

100 


expression  of  her  real  character.  She  also 
prophesied  that  there  would  be  no  diminution 
of  her  financial  fortunes  up  to  the  date  of  her 
death — which  ought  to  silence  some  of  the 
calamity-howlers  who  have  been  prophesying 
that  Greta  would  soon  go  home  for  good. 
Evangeline  also  said  that  she  did  not  see  any 
romance  ever  in  Garbo's  private  life. 

Regarding  Dietrich,  she  was  less  committal. 
However,  I  find  notes  on  one  significant  point 
affecting  recenttHollywood  history.  The  year 
1935,  so  Evangeline  said,  was  a  time  when 
people  born  under  Marlene's  stars  should  not 
test  their  popularity  with  the  public,  unless  it 
was  absolutely  necessary  to  do  so.  Poor  Mar- 
lene!     I  daresay  she  wishes  she  had  followed 


Sally  Eilers  affects  a  new  set  of  bangs 
in  her  latest  for  Universal.  "Remember 
Last  Night,"  which,  you  may  recall, 
was  tagged,  "The  Hangover  Murders" 


that  advice  and  waited  until  1936,  which  looks 
so  much  more  promising  for  her  motion  picture 
career.  Incidentally,  1935  was  one  of  those 
years  in  which  Marlene's  favorite  director, 
von  Sternberg,  was  due  to  take  it  on  the  chin. 

And,  speaking  of  Garbo,  Evangeline  told  me 
back  in  1928,  and  later  repeated  the  statement 
in  print,  that  the  other  member  of  the  famous 
"team,"  Jack  Gilbert,  would  never  attain  in 
the  talkies  the  same  high  position  which  he  had 
achieved  in  the  silent  pictures  for  the  very 
good  astrological  reason  that  in  his  chart,  the 
sign  Taurus,  which  rules  the  voice,  was  what 
astrologers  call  "afflicted."  She  also  said  that 
Jack  ought  to  turn  to  writing  scenarios — which 
is  interesting  in  view  of  the  fact  that  that  is 
the  way  he  started  in  the  movies,  as  scenario 
man  and  assistant  director. 

I  suppose  you  would  also  like  to  know,  too, 
if  Evangeline  said  anything  about  a  romance 
between  Mary  Pickford  and  Buddy  Rogers. 
Well,  I  remember  being  in  the  broadcasting 
studio  one  night  when  she  read  the  latter's 
horoscope  on  the  air.  Before  we  left,  Buddy, 
who  had  been  listening  with  a  group  of  friends, 


called  up  on  the  telephone.  He  had  never  met 
Evangeline,  but  he  wanted  to  right  away. 

"Was  what  I  said  true?"  modestly  asked 
the  great  astrologer. 

"True!"  exclaimed  Buddy.  "It  was  so  true 
it  was  embarrassing." 

Well,  you  might  as  well  know  that  the  bur- 
den of  Evangeline's  delineation  of  Buddy 
Rogers'  horoscope  was  that,  according  to  as- 
trology, he  was  the  kind  of  person  who  would 
be  attracted  to  a  woman  somewhat  older  than 
himself,  probably  a  married  woman,  and  that 
he  would  exercise  a  powerful  influence  over 
this  woman — so  powerful  that  it  might  bring 
both  him  and  her  into  the  limelight. 

As  a  general  thing,  Evangeline  was  a  prophet 
of  good  rather  than  evil,  but  of  course  it  was 
her  duty  to  warn  people.  She  told  Norma 
Shearer  in  one  of  her  broadcasts  that  although 
she  had  a  most  fortunate  chart  for  success  in 
the  movies  and  in  home  life,  it  was  almost  in- 
evitable that  her  husband  would  be  unfairly 
criticized  in  connection  with  her  work.  It  was 
interesting,  in  view  of  this  statement,  that  of 
all  of  the  producers  in  Hollywood,  the  highly 
intelligent  and  artistically  ambitious  Irving 
Thalberg  was  singled  out  for  criticism  in  the 
recent  censorship  drive  because  he  had  per- 
mitted his  wife  to  play  the  roles  of  divorced, 
and  hence  censurable,  women. 

Incidentally,  Evangeline  told  Freddie  March 
— at  least  she  would  have  told  him  if  he  had 
been  sitting,  as  I  was,  in  her  studio  one  evening 
in  the  early  days  of  the  great  March  march  to 
fame — that  he  should  be  careful  at  just  this 
time,  1936,  to  see  that  Old  Lady  Grundy  didn't 
throw  a  spoke  into  his  matrimonial  wheels, 
the  said  spoke  being  a  married  woman  or  a 
widow.  This  would  be  too  bad  because  Fred- 
ric  March,  in  spite  of  his  attraction  for  women, 
has  very  little  interest  in  them  outside  his  own 
family,  and  is,  according  both  to  the  stars  and 
real  life,  a  most  devoted  husband.  Look  out, 
Florence  and  Freddie,  for  the  widow's  mite! 

EVANGELINE  always  said  that  Warner  Bax- 
ter's horoscope  was  such  that  he  might  never 
command  as  much  critical  acclaim  as  his  really 
great  acting  deserved,  but  that  with  Jupiter 
and  the  Sun  in  conjunction,  he  would  survive 
business  earthquakes  and  cataclysms  which 
would  wreck  the  ordinary  man.  I  smiled  re- 
cently at  the  memory  of  this  statement  when 
I  read  that  of  all  of  the  celebrities  on  the  old 
Fox  roster  Warner  Baxter  was  the  first  to  be 
assigned  a  starring  vehicle  under  the  new 
20th  Century  regime. 

Evangeline  did  a  good  job,  too,  on  Bebe 
Daniels.  Way  back  in  the  middle  Twenties, 
when  Bebe's  movie  star,  which  had  risen  at  the 
age  of  seven,  seemed  about  to  go  into  perma- 
nent eclipse,  Evangeline  said  that  in  1928  she 
would  again  come  into  power  in  her  chosen 
profession.  We  know  now  what  '28,  the  year 
of  the  talkies,  did  for  Bebe's  glorious  voice. 

And  speaking  of  comebacks,  which  is  always 
pleasant — especially  in  anticipation! — there  is 
Clara  Bow.  Another  voice  from  the  grave,  you 
say?  Perhaps,  since  memory  in  the  picture 
business  is  so  short-lived.  But  it  won't  be 
long  now — Evangeline  placed  it  in  1937 — when 
the  Bow  may  have  produced  an  arrow  that  will 
be  shot  around  the  world. 

Alas!  The  great  astrologer  is  dead.  If  she 
were  here,  we  would  ask  her: 

"Is  it  another  Shirley  Temple?" 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


101 


A  New  Career  at  62 


[  CONTINUED  FROM  PAGE  37  ] 

American  men,  Will  Rogers  and  Fred  Stone. 

This  is  the  story  of  a  man  old  now,  as  some 
measure  age,  in  years,  but  young,  as  others 
measure  it,  in  spirit,  who  tumbled  and  danced 
and  joked  and  sang  his  way  from  prairie  tent 
shows,  circuses  and  minstrels  to  the  high 
priced  palaces  of  Broadway.  This  is  the  story 
of  a  man  sturdy  in  the  timber  of  character, 
solid  of  the  foundation  of  faith  in  the  goodness 
of  the  world,  rich  in  the  drapings  of  humor; 
the  story  of  a  man  who,  like  Mr.  Britling,  saw 
it  through  when  the  wave  of  a  new  age  swept 
over  what  he  had  built. 

This  is  the  story  of  Fred  Stone  who  now 
sees  his  reward  in — of  all  places — Hollywood. 

To  this  day  the  proudly  titled  town  of 
Wellington,  Kansas,  holds  a  celebration  every 
Fourth  of  July.  For  many  years  the  city 
fathers  of  Wellington  convened  before  each 
celebration  and  dispatched  a  telegram  to  Fred 
Stone  in  New  York  asking  him  to  join  the  fun. 

Business  always  seemed  to  keep  Fred  away, 
but  he  always  answered  the  telegram  with  a 
check  to  help  out  the  festivities,  and  an  extra 
ten  dollars  "for  the  boy  who  climbs  the 
greased  pole." 

And  that  was  because  fifty-three  years  ago 
at  just  such  a  Fourth  of  July  celebration  in 
Wellington,  two  tousled  boys  stood  on  the 
inner  edge  of  the  crowd  and  watched  ten  lads 
like  themselves  assault  the  slithering  sides  of  a 
pole  larded  like  a  potato  ready  for  baking. 

THE  Stones  had  just  settled  in  Wellington. 
They  had  settled  several  places  before,  in 
little  towns  in  Colorado,  Fred's  native  state. 
They  had  settled  in  Halstead,  and  Burton 
and  Nickerson,  in  Kansas,  where  Fred's 
father  had  known  Jesse  James. 

In  fact,  the  Stones  were  always  "settling" 
somewhere  in  that  rough  and  ready,  politically 
troubled  Jayhawk  country  of  the  '70s. 

Fred  will  tell  you  with  a  grin  that  as  soon  as 
they  settled  down  in  some  new  place,  the  place 
they  had  just  left  would  write  and  invite  them 
to  come  back  and  settle  up! 

It  seemed  now  to  the  Stone  boys  that  it 
was  time  to  establish  themselves  in  the  com- 
munity of  Wellington.  So  the  eleventh  boy  who 
shinnied  up  the  greased  pole  toward  the  flag 
at  the  top  was  Eddie  Stone,  and  in  the  back 
pocket  of  his  "britches"  he  carried  a  load  of 
sand  which  he  wisely  sprayed  ahead  of  his 
advance.  When  he  slipped  to  earth  in  defeat 
he  said  to  his  little  brother, 

"I  think  you  can  make  it  now,  Fred." 

Fred  made  it.  He  brought  back  the  flag 
and  held  out  his  hand  for  the  five  round  dollars 
while  his  nine  years  reasoned  that  you  can 
climb  pretty  high  with  a  little  sand  to  help. 

Fred  Stone  has  never  lacked  that  sand.  Not 
in  all  the  fifty-three  years  of  hard,  active 
trouping  that  have  hoisted  him  to  a  new 
career  at  sixty-two  in  Hollywood.  Not  since 
the  day  he  walked  the  high  wire  in  a  visiting 
circus  and  dragged  the  impressed  show  boss 
over  to  his  dad  at  the  barber  shop. 

"You  say  you  want  to  join  the  circus, 
Fred?"  said  his  father. 

"I  sure  do,"  said  Fred. 

"All  right,"  said  his  father,  "go  on." 

Fred  Stone  started  his  professional  career 
bedecked  in  a  flouncy  skirt  and  a  parasol  on 
the  high  wire  of  that  visiting  circus  in  Welling- 
ton.    He  was  billed  as  "Mile,   de  Octego  de 


Something  or  Other."  The  ringmaster  pro- 
nounced the  French  prefix  "Millie"  and  one 
stern  Kansas  sister  exclaimed  as  Fred  teetered 
across  the  tightrope, 

"What  a  shame!  Sending  that  poor  little 
girl  away  up  on  that  dangerous  rope." 

Fred  paused  in  his  prancing  and  leaned  on 
his  parasol.  His  nine-year-old  cheeks  flaming, 
he   yelled    indignantly: 

"I  ain't  no  girl — I'm  a  boy!" 

He  felt  that  he  left  Wellington  in  disgrace. 
But  years  later  on  one  of  his  early  flights 
across  the  country  to  see  his  pal,  Will  Rogers, 
out  in  Hollywood,  Fred  landed  at  Wichita, 
Kansas.  The  folks  at  Wellington  forty  miles 
away,  proud  of  the  boy  who  had  started  his 
path  to  glory  in  the  town,  even  if  he  had 
disguised  his  sex,  urged  him  to  fly  up  for  a  visit. 
Fred  accepted  and  landing  on  the  golf  course 
was  surprised  to  discover  a  large  crowd 
formed  for  a  parade  with  a  brass  band. 

Th?y  marched  back  through  town,  band 
blaring.     It  was  a  fine  parade.     Fred  said  so. 

"But,"  he  observed  in  puzzlement,  as  they 
passed  down  empty  streets,  "where  is  every- 
body?    Nobody's  watching  it." 

"There  ain't  anybody  left  to  watch  it," 
explained  the  grand  marshal,  "they're  all  in 
the  parade!" 

YOU  read  the  rise  of  Fred  Stone  from  a  color- 
ful page  of  the  history  of  American  variety. 
Tent  shows,  circuses,  traveling  vaudeville 
troupes,  stock  theaters,  novelty  stands,  black 
face  minstrels,  show  boats — all  stream  through 
those  early,  rough,  precarious  trouping  days. 
Often  he  ran  across  an  Oklahoma  rope  spinner 
with  a  shy  smile  and  wise  eyes,  who  called 
himself  Will  Rogers. 

While  Fred  did  one  thing,  he  learned  another. 
When  he  tumbled,  he  learned  acrobatics  on 
the  side;  when  he  danced,  he  learned  to  sing 
and  do  comic  antics.  He  took  up  Australian 
whip  cracking  and  became  an  expert.  He 
carried  a  bicycle  with  him  in  a  bicycle  trunk; 
for  a  time  his  only  suit  besides  his  costume 
was  a  cycling  outfit.  He  found  hardships 
all  the  way,  but  he  thought  they  were  fun, 
even  when  he  had  to  live  off  free  oysters  in 
New  Orleans  although  he  hated  oysters. 

Two  things  stand  out  in  the  early  kaleido- 
scope of  Fred  Stone's  story-packed  early  ad- 
ventures. One  was  the  day  he  saw  the  parade  of 
Haverly's  minstrels  in  Galveston,  Texas,  and 
shouted  to  an  old  friend,  Dave  Montgomery. 

Montgomery  wanted  him  to  quit  his  job  in 
the  variety  show  and  join  the  minstrel. 

"You  ought  to  go  Fast,  Fred,"  Montgomery 
told  him.     "Fver  been  East?" 

"Sure,"  said  Fred,  "to  Chicago." 

"I  mean  clear  East,"  explained  Dave, 
"how  much  you  making?" 

"Twenty-five  dollars,"  said  Fred. 

"Well — we  don't  pay  salaries,"  said  Mont- 
gomery, "but  we  can  promiseyou  twenty-five." 

From  then  on  for  over  a  score  of  years  the 
team  of  Montgomery  and  Stone  was  a  tradi- 
tion in  the  show  world.  It  ended  only  when 
Dave  Montgomery  passed  away  in  the  third 
year  of  the  run  of  "Chin  Chin."  There  was 
never  any  business  arrangement — it  was  al- 
ways fifty-fifty. 

The  second  significant  event  took  place 
some  time  after  their  teaming  in  a  Boston 
burlesque  house,  whare  Fred  and  Dave  had 
been  booked  by  their  contractors,  "Gus  Hill's 
World  of  Novelties." 

Montgomery  and  Stone  went  through  their 
black  faced  song  and  dance.  They  couldn't 
see  the  audience  for  the  tobacco  smoke.  The 
audience  couldn't  see  Montgomery  and  Stone 
for  anything.    They   wanted   off-color  jokes. 


"We'll  keep  our  act  clean,"  said  Fred  Stone 
to  his  partner,  "no  matter  what  they  want. 
Let's  go  back  to  New  York." 

For  all  the  years  that  Fred  Stone  captured 
Broadway  there  was  a  saying  around  town 
that  Fred  Stone's  shows  were  the  kind  that 
"parents  could  take  their  children  to  see." 

Or  as  Fred  wittily  warped  it,  "the  kind 
children  could  take  their  parents  to  see." 

"The  Wizard  of  Oz"  started  Fred  Stone's 
unique  reign  on  Broadway.  Fred  played  the 
scarecrow;  Dave  the  tin  man.  It  ran  four 
years.  There  was  a  little  girl  from  Denver  in 
the  show.  She  was  Mrs.  Stone  before  the  show- 
closed — and  she  still  is,  by  the  way,  and  the 
mother  of  Dorothy,  Paula  and  Carol  Stone, 
three  as  talented  girls  as  you've  ever  seen. 

"The  Red  Mill,"  "The  Old  Town."  "Lady 


Lovely  Anita  Louise,  the  youthful 
Warner  Brothers'  star,  radiates  a 
glowing  animation.  "Enemy  of  Man" 
is    her    latest    starring     production 

of  the  Slipper,"  "Chin  Chin,"  "Jack  O' 
Lattern,"  "Tip  Top,"  "Stepping  Stones," 
"Criss  Cross" — the  very  names  that  spell 
Fred  Stone's  saga  seem  different  somehow 
now — as  of  a  past  age.    They  were. 

They  were  fanciful,  gay,  delightful  shows 
telling  whimsical  stories  of  make-believe. 
They  were  before  the  hardboiled,  clanging 
sarcastic  revues,  the  sexy,  sadistic  and  path- 
ological spectacles  staged  for  a  desperate 
generation. 

It  was  the  week  before  rehearsals  started  for 
"Three  Cheers"  that  Fred  Stone  took  off  in 
his  latest  love,  his  own  airplane.  Restlessly 
active,  he  had  always  fiddled  on  the  side  in 
polo,  ice  skating,  trap  shooting,  baseball. 
Aviation  was  his  pet.  He  had  practically 
pioneered  it  in  the  show  world.  He  had  his 
pilot's  license  and  hours  to  his  credit.  He 
could  do  spins  and  loops  and  wing  overs. 

Over  New  London,  Connecticut,  Fred 
leveled  off  too  close  to  the  ground  that  day. 
They  picked   him  up  with   "everything  that 


could  break"  in  his  body  broken.  Thigh, 
legs,  shoulder,  ribs,  ankle,  jaw.  They  carried 
him  gently  to  the  hospital.  One  foot  was 
badly  shattered.  The  doctor  thought  it 
might  have  to  come  off.  Perhaps  he  read  the 
terror  in  Mrs.  Stone's  eyes. 

"Is  he  a  drinking  man?"  he  asked.  "Be- 
cause if  there's  any  alcohol  in  his  system,  I 
won't  dare  leave  that  foot  on." 

"The  only  thing  he  ever  drinks,"  said  Mrs. 
Stone  with  a  sigh  of  profound  relief,  "is  milk." 

Fred  Stone  lay  for  months  in  the  hospital 
mending  his  broken  frame.  His  old  friend, 
Bill  Rogers,  came  back  from  out  West  to 
pinch  hit  for  him  in  "Three  Cheers."  They 
decided  to  ship  Fred  to  Florida  to  get  well. 
Before  he  left  he  asked  the  doctor: 

"How  bad  am  I  hurt?" 

The  surgeon  was  frank.  "You'll  never 
dance  again,"  he  informed  him,  "and  I'm 
afraid  you'll  never  walk." 

"When  I  come  back,"  said  Fred  Stone. 
"  I'll  run  up  these  stairs  to  your  office." 

You  can  bet  that  it  was  the  most  astounded 
physician  in  the  country  some  months  later 
who  watched  his  patient  actually  race  up  the 
stairs  to  grasp  his  hand.  Fred  had  made  a 
special  trip  up  from  Florida  just  to  make  good 
his  promise! 

It  was  a  miracle  of  grit  and  courage  and  faith 
and  patience  that  allowed  the  comeback  of 
Fred  Stone.  He  had  spent  days  of  tedious 
effort  regaining  the  use  of  his  limbs.  Even 
while  he  was  still  on  crutches  he  was  so  im- 
patient to  dance  that  he  hobbled  out  a  routine 
on  the  props. 

In  "  Ripples,"  his  comeback  show  on  Broad- 
way with  his  daughters  Dorothy  and  Paula, 
he  featured  "the  crutch  dance"  and  the 
audience  thundered. 

BUT  "Ripples"  didn't  run  for  three  and  four 
years  as  the  old  shows  had  done.  Things  had 
happened  to  Broadway.  Ziegfeld  was  gone, 
the  Erlanger  theaters  were  breaking  up.  The 
days  of  his  old  producer,  Charles  Dillingham, 
for  whom  he  had  worked  since  1906,  were 
numbered.  The  old  order  had  changed.  And 
the  new  swift,  brazen,  sophisticated  era  of 
Broadway  wasn't  for  Fred  Stone.  When 
"Ripples"  closed  he  went  to  his  home  in  Forest 
Hills  and  stayed  there. 

They  called  him  for  vaudeville  and  for 
radio.  But  it  wasn't  the  same.  He  couldn't 
tolerate  the  passiveness  of  the  microphone. 
He'd  make  gestures  at  it,  shake  his  fist  and 
dance  before  it.  But  that  didn't  register.  It 
was  funny  to  watch  him  broadcast — funny 
and  sad. 

The  years  had  slipped  by  somehow — but  not 
enough  of  them  to  let  him  sit  in  peace  at 
home.  Here  was  Carol  now  going  to  dramatic 
school  and  seeing  producers  about  parts.  One 
day  she  went  to  see  about  a  part  in  "The 
Jayhawker,"  a  play  about  early  Kansas  that 
Sinclair  Lewis  had  just  written. 

"You  know,  I  think  Daddy  might  be 
interested  in  a  part  in  a  play,"  she  ventured. 

"Do  you  mean  that?"  asked  Lewis.  He 
called  up  Fred  Stone.  "Let  me  come  out 
tonight  and  read  this  play  to  you." 

"All  right,"  said  Fred. 

Sinclair  Lewis  came  out  ft)  Forest  Hills. 
He  read  his  drama  of  Ace  Burdelle  and  early 
Kansas  politics  to  Fred  Stone. 

"I  don't  know,"  said  Fred,  "I've  never 
done  any  real  acting.  It  sounds  pretty  heavy 
for  me." 

"Heavy?"  cried  Lewis.  "Why  man,  you 
are  the  Jayhawker." 

Yes,  come  to  think  of  it,  Fred  Stone  was  the 
Jayhawker,    if    anybody    was.       Wasn't    he 


102 


PHOTOPLAY   MAGAZINE   FOR   DECEMBER,    1935 


reared,  didn't  he  grow  up  in  post-bellum 
faction-torn  Kansas?  Wasn't  his  father  a 
member  of  the  Oklahoma  Hoomers?  Hadn't 
he  ruffled  the  drums?  Hadn't  he  marched 
with  the  flambeau  paraders,  blowing  a  torch 
into  the  black  prairie  skies? 

He  chuckled  to  himself  as  he  remembered 
standing  one  night  with  Bill  Rogers  in  a  plains 
town  and  looking  out  over  the  crowd. 

"See  all  those  people  there?"  he  had  said, 
"well — they're  all  my  cousins." 

"No  they  ain't,"  Bill  had  cracked,  "they're 
all  mine." 

Yep,  he  was  of  the  Jayhawk  breed  if  ever 
anyone  was. 

"Tell  you  want  I'll  do,"  Fred  Stone  told 
Sinclair  Lewis,  "I'll  ask  my  brother-in-law 
and  let  you  know." 

Rex  Beach  read  the  play  and  laid  down  the 
law  to  his  marriage  relative. 

"You  play  this,  or  I'll  kick  you  square  in 
the  pants,"  he  said. 

And  that  is,  of  course,  how  Fred  Stone 
happened  to  come  to  Hollywood  as  a  dramatic 
actor,  that  and  a  few  other  hows — including 
the  fact  that  a  lot  of  his  friends  had  moved 
out  thisaway — one  in  particular  named  Bill 
Rogers. 

The  fullsome,  mature,  rounded  Broadway 
characterization  of  the  Kaw  country's  Ace 
Burdette  woke  up  the  talent  scouts.  They 
shot  nine  thousand  feet  of  film  testing  Fred 
Stone,  then  they  signed  him  up  on  a  five  year 
contract  with  Paramount. 

At  least  that's  where  Fred  Stone  sent  his 
trunks — to  Paramount  studios.  But  they've 
never  been  opened.  The  studio  set  apart  a 
beautiful  dressing  room  for  him,  too,  but  he 
hasn't  been  it  in  yet.  He  spent  most  of  his 
time  riding  with  Bill  Rogers  and  playing  golf 
with  Will,  caddying  for  him — until  right 
recently. 

TJ  E  did  call  Paramount  a  few  times  and  say, 
**"Gee  whiz,  don't  you  want  me  to  work? 
All  I'm  doin's  playin',"  and  they  said: 

"That's  all  right,  Fred,  go  ahead,  enjoy 
yourself,  we'll  call  you." 

And  they  did  call  him  to  loan  him  to  RKO- 
Radio  for  a  picture  with  Miss  Hepburn,  the 
one  that  Bill  saw  at  the  preview,  "Alice 
Adams." 

He  really  enjoyed  making  it.  He  felt 
right  in  the  part. 

And  he  felt  much  better  when  Bill  liked  it 
that  night. 

He  doesn't  want  to  be  a  star.  LeJ.  the  young 
folks  be  the  stars.  He  just  wants  to  keep 
busy. 

Of  course,  most  people  feel,  after  knowing 
Fred  Stone  and  feeling  somehow  that  same 
spark  of  affection  that  they  felt  for  Will 
Rogers,  after  seeing  him  on  the  screen  and 
seeing  that  something  registered  there — 
most  people  feel  that  if  there  is  anyone  who 
could  help  fill  that  numbing  absence  left  when 
Will  flew  away  to  the  unfenced  range  up  there, 
it  is  Fred  Stone. 

But  Fred  Stone  doesn't  think  so. 

Fred  Stone  thinks  there  will  never  be  any- 
one who  can  fill  Bill  Rogers'  boots — and 
maybe  he's  right. 

Only  I  can't  help  feeling  that  if  he  could — 
that  up  there  behind  those  mists  which  are 
always  so  close  to  Fred  Stone  and  to  us  all, 
a  bronzed  hand  would  reach  out  from  broad 
shoulders  to  rest  an  approving  slap  on  his 
knee,  as  it  did  that  night  at  the  preview  of 
Fred's  first  picture. 

And  a  familar  voice  would  whisper,  as  a 
wink  pulled  a  wide  grin  wider: 

"Okay,  Fred — okay." 


103 


Hit  vmidok  °m  ka/uMmu 

MATCHED 
MAKEUP 


Life  is  no  longer  so  complicated!  For 
Frances  Denney  has  eliminated  all  the 
trouble  and  guesswork  in  selecting  make-up 
by  assembling  the  five  most  important 
accessories  in  the  perfect  harmonizing  shade 
for  you  .  .  .  and  identifying  them  all  by  the 
same  name.  You  only  have  to  select  one  item 
to  blend  with  your  skin  .  .  .  the  other  four 
are  already  made  up  to  match  the  particular 
shade  you  choose. 

Matched  Make-Up  comes  in  four  exclusive 
shades  .  .  RUSSET  ,  PARIS  BLEND, 
CASTILIAN  and  CHAMPAGNE. 


Miss  Denney's  Preparations  are  sold  in  fine 
stores  nearly  everywhere.  Write  her  for  a 
Trial    Box    of  Matched    Make-Up,    $1.00 

FRANCES    DENNEY 

of  Philadelphia 


FRANCES  DENNEY  Salon.  Philadelphia 
Dear  MISS  DENNEY: 

Kindly  send  Trial  Box  of  Matched  Make-Up 
containing  creme  rouge,  lipstick,  foundation  lotion,  powder 
and  powdet  base.  The  shade  checked  is  my  selection. 


D  Russet  [Naturalness) 
□  Castilian  [Medium) 


□  Paris   Blend  (Light) 

□  Champagne  (Rachel) 


Name- 


Address.- 


L_very  month  famous  Hollywood 
stars,  executives  and  other 
film  celebrities  make  the 
Savoy- Plaza  their  New  York 
home.  To  attribute  the  popular- 
ity of  this  distinguished  hotel 
to  any  one  feature  would  be 
difficult.  It  is  the  combination  of 
luxurious  living,  supreme  service, 
unexcelled  cuisine,  and  the  most 
beautiful  outlook  in    New  York 

Single  rooms  $5,  $6,  $7  .  .  .  Double 
rooms  $7,  $8,  $9  .  .  .  Suites  from  $10 

• 
THE    CAFE    LOUNGE    and  SNACK    BAR 

For  tuncheon,  theCocktail  Hour,  Dinner,  Supper. 
Air-conditioned  ...  A  gay  and  charming 
atmosphere  with    dancing    and    entertainment 

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

5AV0Y-  PLAZA 

OVERLOOKING  CENTRAL  PARK 
FIFTH  AVE  •  58th  to  59th  STS  •  NEW  YORK 


The  Chester  Morris  Plan 


[  CONTINUED  FROM  PAGE  75 


OS 


E.  H.  Sothern  and  Julia  Marlowe  were  gorg- 
eous, romantic  figures  he  never  forgot.  Chester 
and  Adrian  and  Gordon  and  WilheLma  pulled 
down  the  plush  curtains  and  borrowed  the 
plumes  from  their  mother's  new  bonnet  for  a 
homemade  version  of  "Romeo  and  Juliet." 
Any  part  with  a  sword  and  a  duel  was  heaven 
for  Chester. 

Jane  Cowl,  the  lovely  Jane  Cowl,  was  the 
most  beautiful   woman   in   the  world  in   the 
Morris  children's  eyes.     Chester  fell  in  love 
with    her    when    she    played    with    his    dad. 
William  Morris  thought  it  would  be  a  nice 
gesture  if   Chester  and   Gordon  took  her  to 
dinner  one  night.    Placing  the  money  in  their 
hands  he  instructed  them  how 
to  knock  atthe  door,  bow  and 
ask  Miss  Cowl  to  dine.      (It 
was  all  pre-arranged  of  course, 
although  Miss  Cowl  was  to 
be  taken  by  surprise  and  de- 
lighted no  end.) 

They  marched  to  the  Her- 
mitage Hotel.  Chester  and 
Gordon,  seven  and  nine, 
with  their  dream  lady  to 
dine.  But  when  the  check 
came  around  Chester  man- 
aged to  forget  the  money. 
Love  was  one  thing,  and 
money  was  another.  Jane 
Cowl  paid  the  check. 

"  I'm  going  to  be  an  actor!" 
How  many  times  father  Wil- 
liam Morris  heard  that  state- 
ment from  his  offspring,  es- 
pecially Chester,  would  be 
hard  to  estimate. 

"No  you're  not,"  he  in- 
variably informed  Chester, 
"you're  going  to  have  a  col- 
lege education,  then  you'll 
know  what  you  want  to  be." 

But  there  was  that  matter 
of  acting  blood. 

At  sixteen  the  issue  reached 
a  climax.  Something  had  to 
be  done.  William  Morris 
stuck  to  his  guns.  It  was  his 
duty,  he  thought,  to  dis- 
courage his  children  from 
sampling  the  fatal  lure  of  the 
footlights.  Chester  vetoed 
college,  but  having  a  talent 
for  drawing,  consented  to  go 
to  art  school  and  learn 
magazine  illustration. 

He  went  one  month.  Most 
of  that  was  spent  in  theaters 
across  from  the  school.     One  day  he  couldn't 
stand  it  any  longer.     Secretly  he  stole  into  an 
agent's  office. 

"I'm  William  Morris'  son,"  he  said,  "and  I 
want  a  part  in  Augustus  Thomas'  play." 

'  'The  Copperhead'?"  said  the  agent.  "Sure, 
Mr.  Thomas  will  give  you  a  little  part,  I  know, 
for  your  dad's  sake."  Chester  was  afraid  to 
explain  it  wasn't  for  his  dad's  sake,  by  any 
remote  interpretation. 

But  he  put  blue  on  his  face  for  a  beard  and 
donned  a  sergeant's  uniform  and  stumbled 
around  in  a  few  scenes  behind  Lionel  Barry- 
more. 

When  William  Morris  found  it  out,  he  boiled 
indignantly.     Chester  came  on  the  carpet,  for 


the  rebuke  of  his  life.  But  somehow  he  knew 
that  the  old  man  was  secretly  pleased.  He 
knew  it  because  his  father  started  giving  advice. 

"If  you're  going  to  act,"  he  said,  "play 
good  parts.    You'll  never  be  good  in  poor  ones. 

"Another  thing,"  he  said,  "always  keep  your 
credit  good  at  your  tailors.  You  might  be 
out  of  work  for  six  months  and  then  have  a 
chance  at  a  part.  When  you  need  a  wardrobe, 
you  want  to  be  able  to  get  one. 

"Make  acting  a  business — keep  your  salary 
up." 

Years  later,  after  William  Morris  had  bowed 
to  the  inevitable  with  subconscious  pleasure 
and  written  "All  the  Horrors  of  Home"  to  take 


DAILY  ARGUS,  WEDNESDAY,  QCTOBKK  15.  1924 


=8 


ROCTOKS 

L  die  haskS&rd.  bs~.       ^, 

.  Vaudeville  &^hixaePichxB^> 


Thursday 

Friday 

Saturday 


'Almost  an  All  Mount  Vernon  Bill  of  Stars  Who  j 
Formerly  Resided  In  This  City 

WILLIAM  MORRIS  &  FAMILY 

FORMERLY  (IF  MOUNT  ^  CRN  OX  


II 


MR.  AND  MRS.  WM.  MORRIS 

WILHELMA  MORRIS 

CHESTER  MORRIS 

ADRIAN  MORRIS 

IN  A  NEW    COMET)  Y 

"ALL  THE  HORRORS  OF  HOME" 


WILLI  VM    MuRfcb 


FORMERLY  OF  MOCNT  VERNON 

GRACE  LARUE 

The  Irit«rnati<Hif>»  Star  at  flong 


FORMERLY  OF  MOI  NT  VERNON 

NOVELTY  CLINTONS 


A  KesKfenl  of  I'ertuua  Who   la 


HARRY    ROSE 


THE  BROADWAY  JESTER 


VU?GJM\ 

and  WATSON 

YOl'TH  TIME" 


[RENE  k 

MARTIN  and  FRANCIS 

tn  -VOrTHFLL  IDEAS" 


"WINE" 

Clara  Bow  -  Forrest  Stanley  -  Myrtle  Stedman 


WITH  A  CAST  OF 
I.IVE.Wir.E  STARS 


Huntley  Gordon 


The  Morrises,   naturally,   were   the   sensation   in   Mt.   Vernon, 
N.   Y..   their   old   home   town,   in    1924.     Top  billing,   no   less 


the  whole  family  on  the  road  together,  he 
would  stop  Chester  when  he  came  home  after 
seeing  a  producer. 

"How  does  it  look?"  he  would  ask. 

"Good." 

"Talk  money?" 

"No." 

"Then  you  won't  play  it,"  William  Morris 
would  say. 

"Oh  yes,  they  said  they  wanted  me.  It's 
all  set." 

"You  won't  play  it,"  Father  William  would 
repeat.  "Unless  they  talk  money,  they  aren't 
interested." 

Too  many  times  Chester  found  this  all  too 
true. 


While  he  was  playing  on  Broadway  in 
"Yellow,"  and  after  he  had  attained  a  measure 
of  success  which  seemed  to  predict  a  reasonably 
successful  future,  Chester  Morris  met  a  girl 
named  Sue  Kilborn.  She  was  in  stock  with 
Paramount  in  New  Y'ork.  He  met  her  at  a 
dress  rehearsal,  and  whether  that  theatrical 
setting,  or  the  fact  that  her  father  was  a 
theatrical  man,  and  her  mother  an  actress  hud 
anything  to  do  with  it,  they  fell  in  love. 

The  precarious  warnings  of  his  father  had 
seeped   into   Chester  by  now.     He  and   Sue 
agreed  to  wait  until  "Yellow"  looked  like  a 
hit  before  they  said  it  to  the  preacher.     But 
Harry  Bannister,  who  was  in  the  cast,  married 
a  girl  named  Ann  Harding, 
and  Chester  and  Sue  talked 
themselves  into  believing 
that  "Yellow"  was  going  to 
be  a  hit.    They  got  married. 
On  their  way  back,   they 
passed  the  theater  and  pop- 
ped in  to  break  the  news.    On 
the  bulletin  board   a  notice 
glared  mockingly:  The  show 
closed  in  two  weeks. 

And  to  make  matters  worse 
Sue's  Paramount  contract 
had  been  automatically  can- 
celled when  she  said  "I  do"! 
Perhaps  it  is  the  "strictly 
business"  teachings  of  Wil- 
liam Morris  which  Chester 
Morris  and  the  other  Mor- 
rises have  adopted  after  a 
few  slaps  by  the  world  that 
have  kept  them  out  of  the 
public  awareness  as  an  acting 
clan. 

Whenever  you  mention 
theatrical  families,  there  is 
prone  to  rise  in  the  vision  of 
the  ordinary  mortal  the  some- 
what terrifying  picture  of  an 
esoteric  breed,  apart  from  the 
normal,  whose  apparently  in- 
nate exhibitionism  plants 
them  consistently  on  front 
pages. 

The  whole  Morris  family 
dwells  out  in  spotlighted  Hol- 
lywood. But  you  never  hear 
anything  sensational  about 
any  of  them. 

Gordon  Morris  writes  for 

the  movies.    His  last  scenario 

was  "Under  the   Pampas 

Moon."     Adrian  Morris  is  a 

free-lance   actor   around   the 

studios.    Wilhelma  Morris  acts  over  the  radio. 

William  Morris  couldn't  stand  the  confusion 

of  making  pictures  after  his  years  on  the  stage. 

After  a  few  tries  he  gave  it  up.    Now  he  writes 

plays.    The  last  acting  he  did  was  with  Billie 

Burke  in  the  Los  Angeles  stage  production  of 

"The  Vinegar  Tree." 

Apart  from  the  screen  no  one  is  more  of  a 
plain,  ordinary  unexciting  Mr.  Citizen  than 
Chester.  Let  him  alone  by  the  swimming 
pool,  in  his  backyard  gym  or  workshop  and 
all's  right  with  the  world.  Sue  played  in  one 
picture,  "  She  Had  to  Say  Yes,"  and  then  had 
to  say  no.  Now  she's  just  a  housewife,  and 
prefers  it  to  practically  everything. 

But  three  concessions  to  theatrical  standing 


104 


PHOTOPLAY   MAGAZINE   FOR   DECEMBER,    1935 


105 


does  Chester  make:  he  dresses  well,  looks  well, 
drives  a  smart  car. 

For  four  years  he  was  under  contract  to 
United  Artists.  He  was  driving  an  old  heap 
of  doubtful  worth.  Every  morning  the  gate- 
man  waved  him  back.  He  parked  across  the 
street  and  walked  in. 

One  day  he  remembered  a  story  his  dad 
had  told  him.  It  was  about  a  down-and-out 
actor  on  Broadway  who  "touched"  William 
Morris  for  a  small — er — advance.  "  I  haven't 
had  anything  to  eat  today,  Mr.  Morris,"  he 
said,  "I  spent  my  last  quarter  for  a  boutton- 
niere." 

Chester  wasn't  down  to  his  last  two-bits, 
nor  was  he  hungry.  But  he  went  out  and 
bought  a  nice,  shiny,  blue  Cadillac.  Next 
morning  he  drove  it  to  work. 

The  gateman  bowed  low  with  a  flashing 
smile.  "Good  morning,  Mr.  Morris,"  he 
beamed.    The  gates  swung  open  hospitably. 

But  that's  the  extent  of  his  "front" — and  I 
might  add,  there's  a  back  to  it.  A  very  solid, 
democratic,  sensible  back. 

Brooks,  aged  seven,  and  Cynthia,  aged  four, 
are  the  young  hopes  of  the  Many  Morrises. 

BROOKS  was  going  to  the  fashionable  Carl 
Curtis  School,  where  so  many  of  the  little 
movie  angels  learn  their  ABC's.  A  bus  was 
picking  him  up  each  morning  at  the  Morris 
Beverly  Hills  home. 

One  day  he  came  to  Chester. 

"I  don't  want  to  ride  on  the  bus  any  more, 
Daddy,"  he  declared. 

"What's  wrong  with  the  bus?"  asked 
Chester. 

"Nothing,"  said  Brooks,  "but  I  want  to 
ride  up  with  a  chauffeur  like  the  rest  of  the 
kids." 

"  Wh-h-h-o-a! "  gasped  Chester  Morris.  "  I'm 
glad  you  told  me.     Chauffeurs,  eh?" 

Now  Brooks  goes  to  public  school  and  has  a 
swell  little  Filipino  pal. 

Naturally  there  are  moments  when  it  is  in- 
evitable for  fond  parents  and  fond  grand- 
parents to  speculate  upon  the  future  careers  of 
the  third  generation  of  Morrises. 

"Don't  worry,  Dad,"  Chester  reassured 
him  one  day,  "neither  one  of  them  shows  the 
least  bit  of  talent.    Look,  I'll  show  you." 

Brooks  was  called  in. 

"Now,  Brooks,"  said  Chester,  "go  out  of 
the  room  and  make  an  entrance.  I'll  say, 
'How  do  you  do?  I'm  the  man  to  see  you  about 
that  dog.'  Then  you  shake  my  hand  and 
say,  'Oh  yes,  sit  down,  won't  you?'j-  Go  on 
now." 

Brooks  came  in. 

"How  do  you  do,"  said  Chester,  "I'm  the 
man  to  see  you  about  that  dog." 

"What  dog?"  said  Brooks. 

"We're  just  making  believe,  Brooks,"  ex- 
plained Chester. 

"Oh,"  said  Brooks,  "but  what  dog?" 

"You  see,"  said  Chester  to  his  perturbed 
father,   "not  a  chance — no  talent  at  all." 

The  next  week  William  Morris  came  out 
on  his  usual  visit.    He  toted  a  huge  package. 

"Just  a  little  toy  I  made  for  the  children," 
explained  William  Morris  gruffly. 

Chester  took  the  package,  unwrapped  it. 
There  was  a  complete  miniature  theater, 
backdrops,  curtains,  scenery,  actors  and  all. 

"Urn-hum,"  um-humed  Chester  Morris, 
nodding  his  head,  "and  you  don't  want  them 
to  grow  up  to  be  actors!" 

There  may  be  no  "theatrical  blood"  in  the 
veins  of  the  Morrises,  as  William  Morris  in- 
sists, but  in  their  hearts,  as  in  the  hearts  of 
every  great  footlight  family,  there  is  a  love 
for  the  stage  that  has  a  hard  time  dying  out. 


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For  the  First  and  Last  Time  Marlene  Dietrich  Talks 

I  CONTINUED  FROM  PAGE  43  I 


saying,  "Where's  the  old  Marlene.''  Why  is 
she  jumping  around!" 

She  told  of  her  recent  trip  to  New  York 
She  wanted  badly  to  see  "  Point  Valaine"  with 
Noel  Coward,  Alfred  Lunt  and  Lynn  Fon- 
tanne.  By  the  time  she  had  arrived  in  New 
York,  the  play  was  closed.  That  array  of  great 
talent  was  not  enough  to  fill  a  theater  in  New 
York,  where  tastes  are  pretty  high  and  well 
delineated. 

"Yet  they  ask  us  to  please  the  audiences  of 
every  theater  in  the  world,"  she  smiled; 
"  I  don't  think  you  can  do  that  unless  you  keep 
right  at  the  average  line." 

I  wondered  if  that  wasn't  her  job. 

"That's  a  question,"  she  replied  thought- 
fully. "I  don't  know.  It  may  be  my  job- 
but  it  isn't  what  I  want  to  do 

"TF  I  were  a  film  actress  at  heart,  if  1  could 
•not  live  without  making  a  picture — that 
would  be  different,"  she  explained.  "  I  have 
always  made  pictures  because  I  wanted  to 
work  for  Mr.  von  Sternberg — not  because  1 
wanted  to  be  a  film  star 

"I  only  came  to  Hollywood  to  work  with 
him.  I  only  stayed  to  work  with  him.  I  have 
always  admired  him.  I  think  he  is  a  great 
artist.  I  had  had  offers  to  come  to  Hollywood 
before  he  called  me,  but  I  said  no  to  them 
I  did  not  want  to  leave  my  family  and  my 
country  just  to  be  a  screen  star." 

That  is  true.  Both  Fox  and  B.  P.  Schulberg 
tried  to  talk  Marlene  Dietrich  into  a  contract. 
She  wouldn't  listen.  After  von  Sternberg  had 
finished  "The  Blue  Angel,"  made  in  Germany 
Dietrich  gave  him  a  book  to  read  on  the  boat— 
"Morocco." 

"I  think  it  will  make  a  good  film  for  you,'' 
she  had  said,  but  there  was  no  idea  of  herself 
in  the  part. 

"From  the  boat  he  cabled  me  to  come  to 
Hollywood,"  she  told  me.  "When  he  told  me 
to  come,  I  came  I  would  have  come  to  work 
with  him  if  he  were  in  Australia." 

If  that  sounds  as  if  Marlene  Dietrich  holds 
no  particular  love  for  Hollywood,  then  cer- 
tainly she  can't  be  blamed  for  that. 

It  is  hard  to  feel  sorry  for  anyone  as  beau- 
tiful as  Marlene  Dietrich.  It  is  always  hard 
to  feel  sorry  for  a  motion  picture  star  who 
apparently  has  everything  in  the  world 

Yet  there  is  no  doubt  that  Dietrich  has  been 
treated  shamefully  here.  She  was  greeted— 
few  could  explain  just  why — more  like  an  in- 
truder than  a  visitor  when  she  arrived.  Imme- 
diately the  Svengali-Trilby  legend  was  spun 
to  invest  her  with  an  unholy  aura.  She  was 
accused  of  imitating  Garbo. 

Of  course,  what  no  one  knew  or  bothered  to 
find  out  was  that  Marlene  Dietrich  was  not  a 
recluse  by  nature,  nor  was  she  interested  in 
drawing  herself  into  a  shell  to  create  a  legend. 

She  was  merely  alone  in  a  strange,  aggres- 
sive, frightening  country  with  but  one  friend 
She  was  desperately  lonely  without  her  hus- 
band, her  adored  little  girl,  her  family. 

She  heard  preposterous  stories  about  her- 
self, but  soon  learned  there  was  no  use  talking 
back.  No  one  wanted  to  believe  her.  They 
could  make  up  much  better  stories.  So  she 
said  nothing. 

Only  recently  on  her  trip  to  New  York,  she 
went  down  to  the  boat  to  see  her  husband, 
Rudolf  Sieber,  off.  News  cameramen  were  all 
over   the  place  and   snapped   them   from   all 


angles.     But  not  a  picture  was  used  in  the 
newspapers. 

With  Sieber  sailing  for  Europe,  and  Marlene 
returning  to  Hollywood,  a  separation  story  was 
much  more  intriguing,  and  pictures  showing 
them  together  at  the  boat  didn't  help  that  out 
very  much! 

"  I  have  been  miserable  often  here  in  Holly- 
wood," she  told  me.  "  During  those  first  two 
years,  when  I  was  without  my  husband  and 
Maria,  I  was  terribly  depressed.  For  the  first 
two  years  when  I  lived  in  Santa  Monica 
I  saw  no  one.  I  had  no  friends  to  see.  When 
I  returned  to  Europe  for  my  family  the  crowds 
actually  frightened  me,  I  became  hysterical 
f  had  been  so  alone  in  Hollywood." 


For  little  Sybil  Jason's  debut  picture, 
Warners  built  a  whole  story  about  her, 
"Little  Big  Shot."  The  reports  were  so 
good  that  they  now  have  cast  her  in 
the  important  "I  Found  Stella  Parrish" 

Recently,  of  course,  Marlene  Dietrich  has 
found  a  few  friends  in  Hollywood.  She  pals 
around  a  lot  with  Carole  Lombard  and  she 
advised  me  that  the  Richard  Barthelmesses 
were  steady  customers  for  the  bee's  nest  cake. 

But  few  of  her  friends  are  close.  She  still 
feels  as  she  has  always  felt — like  an  expatriate, 
and  there  are  no  interests  of  any  importance 
outside  her  work  with  von  Sternberg,  of  which 
she  says  reverently,  "the  experience  of  work- 
ing all  these  years  with  his  beautiful  brain  is 
something  I  would  not  have  missed  for  all  the 
world." 

But  now,  of  course,  that  is  ended.  Not 
because  Marlene  Dietrich  wanted  it  to  end 
and  not  because  the  studio  wanted  it  to  end. 

When  she  knew  it  was  ended,  when  she  saw 
that  to  insist  longer  was  to  harm  him,  she  said: 

"All  right,  I  shall  go  back  to  Germany." 

"You  mustn't  do  that,"  von  Sternberg  told 
her.  "They  won't  think  you're  sincere.  They 
will  call  it  a  publicity  gesture  No  one  will  be- 
lieve you.  You  should  stay  and  make  two 
pictures  at  least  with  someone  else 

"It  will  be  good  for  you,"  he  went  on,  "and 
it  will  be  easier  for  you  It  is  so  easy,  after 
what  we  have  been  doing  on  the  screen  to  show 
emotions  in  the  natural,  average  way.  You 
must  stay." 


It  was  some  time  before  Marlene  Dietrich's 
new  contract  was  signed.  She  wanted  to  go 
back  to  Europe,  but  she  saw  that  if  she  did,  it 
would  make  von  Sternberg  out  as  the  bad  man 
— the  Svengali.  They  would  blame  it  on  him 
They  would  say  he  told  her  to  go 

One  day  she  called  him  up  from  her  dressing 
room.    The  contract  was  on  her  dressing  table. 

"  Shall  I  sign  or  not?  "  she  asked  him.  "  You 
are  always  right.  Tell  me — because  I  really 
don't  want  to  sign." 

"Sign,"  said  von  Sternberg. 

"So  I  signed,"  smiled  Marlene  Dietrich. 
"But  I  shall  go  home  in  the  winter. 

"My  plans?"  she  repeated  slowly.  "Oh 
yes,  my  plans  are  definite."  Then  in  the  next 
breath  she  said,  "I  never  make  plans." 

It  didn't  sound  as  absurd  as  it  reads.  It 
wasn't  even  contradictory  to  me,  for  I  knew 
she  was  talking  about  two  different  things — the 
plans  which  were  to  complete  the  new  con 
tract  she  had  just  signed — they  were  definite 
Beyond  that — who  knows? 

"Yes,"  she  said,  "everything  is  decided." 
Although  her  voice  is  always  soft  and  her 
manner  deliberate,  there  now  seemed  but 
little  spirit  in  her  voice  Like  champagne  that 
has  kept  its  bouquet  but  lost  its  bubbles 
Perhaps  she  was  tired 

'  T  SHALL  make  two  pictures  here.  The  first 
™  is  '  Desire,'  an  original  story  written  for  me 
— one  that  Ernst  Lubitsch  was  to  direct  me  in 
before  he  became  production  head  of  the 
studio.  I  play  a  French  adventuress.  Gary 
Cooper  plays  with  me  and  Frank  Borzage 
directs  it. 

"The  second  is  to  be  'Hotel  Imperial' — you 
remember? — the  picture  Pola  Negri  made 
years  ago  with  Maurice  Stiller.  Lewis  Mile 
stone  will  direct  it. 

"The  first  is  light  and  adventurous.  The 
second  is  dramatic  and  thrilling  They  are 
regular  film  stories,"  she  explained. 

Her  slow  smile  widened 

"  But  my  contract  will  be  up  soon  and  then 
I  shall  go  to  Europe.  I  think  I  shall  stay  quite  a 
long  time.  There  are  many  places  I  want  to  go 
—England,  Italy,  Austria  I  want  to  see  my 
family,  my  sister  and  my  mother  in  Berlin 
and  my  husband  who  is  now  in  Paris.  Maria 
is  ten  now.  She  adores  America,  but  I  want 
her  to  be  educated  in  Europe.  It  is  time  she 
started  in  school  there  I  can't  think  of  being 
separated  from  her. 

"Pictures?  I  don't  know.  Perhaps  I  may 
make  pictures  in  England  or  France  or  Ger- 
many— perhaps  not.  Perhaps  Mr  von  Stern- 
berg will  come  to  Europe.     I  hope  he  does. 

"Miss  Hollywood?  Yes,  I  probably  shall 
I  may  want  to  come  back.  But  I  will  not  sign 
a  contract — any  contract — just  to  be  signing 

"It  would  have  to  be  like  the  one  I  have 
now  You  know,"  she  smiled,  "in  my  contract 
I  have  my  choice  of  story,  cameraman — " 

"And  director?"  I  asked 

"And  director,"  she  confirmed 

"Then  you  could  have  Mr  von  Sternberg 
again?" 

"Yes,"  she  smiled,  "if  he  would  direct  me.' 

I  remembered  the  Paramount  decree  I  had 
read  in  the  newspaper.  "We  are  going  to  re 
make   Marlene   Dietrich — " 

But  I  don't  think  you  ever  remake  someone 
like  Marlene  Dietrich.  You  don't  remake  an 
idealist  without  remaking  the  ideal. 


106 


PHOTOPLAY  MAGAZINE   FOR  DECEMBER,    1935 


107 


The  Facts  of  Hollywood  Life 


HERE  COMES  THE  BRIDE 

Helen  Vinson  and  Fred  Perry,  world's  Num- 
ber One  Racqueteer,  made  it  love  match  fol- 
lowing Perry's  startling  defeat  in  the  national 
tennis  finals. 

Honeymooned  in  Hollywood. 

Conchita  Montenegro  and  Raul  Roulien  car- 
ried a  Latin  love  from  Hollywood  to  an  altar 
in  Paris. 

John  Warburton  and  Lucille  Morrison,  Los 
Angeles  society  eminent,  became  one  in  Ti- 
juana, Mexico. 

Katherine  Cornwall  Williams,  1934  Wampas 
Baby  Star,  changed  her  name  to  Mrs.  Daniel 
E.  Vandraegan,  and  her  vocation  to  that  of  a 
Washington  University  professor's  wife. 

Sam  Coslow,  the  tunesmith,  (Cocktails  For 
Two)  made  a  Mexican  marriage  with  Esther 
Muir  safe  and  sound  by  repeating  in  California. 

Inez  Courtney  and  Luigi  Filiasi  toasted  their 
union  in  the  bridegroom's  wine. 

Kay  Sutton,  "Roberta"  model,  and  Edward 
Cronjager  followed  through  on  a  set  romance. 
Cronjager  ground  the  camera.  Found  her  in 
the  finder. 

Sylvia  Sidney  and  Bennett  Cerf,  Manhattan 
publisher,  proved  at  Phoenix,  Arizona,  they 
weren't  fooling  with  that  golden  band. 

John  Joseph  Quillan,  brother  of  Eddie  Quil- 
lan  and  Anita  Thompson  took  the  vows  to- 
gether. 

Sally  Blane  and  Norman  Foster,  Claudette 
Colbert's  real  recent  ex,  in  Hollywood. 

Franchot  Tone  and  Joan  Crawford,  at 
Englewood  Cliffs,  N.  J.  Joan  reversing  her 
opinion  that  an  actress  should  never  marry, 
made  after  she  divorced  Doug  Fairbanks,  Jr. 

OH.   PROMISE  ME 

Josephine  Dunne  will  become  Mrs.  Carroll 
Case  as  soon  as  her  divorce  from  Eugene  J. 
Lewis  is  final.    Case  writes  for  a  living. 

Jacqueline  Wells  and  Walter  Brooks,  Phila- 
delphia blue-blooder,  have  it  all  arranged  for  a 
quick  wedding. 

Dorothy  Appleby  and  Sidney  Korshak,  her 
attorney  in  a  breach  of  promise  suit  against 
Sidney  M .  Spiegel,  found  common  interests  in 
court. 

They'll  make  it  legal  around  Christmas. 

Carol  Pradeau,  private  secretary'and  com- 
panion to  Myrna  Loy,  answers  the  mating  call 
soon  with  Carlee  Hood,  New  York  business  man. 

LITTLE   STRANGERS 

A  five  pound  boy  raised  the  family  to  five 
for  Director  Joseph  Santley  and  Mrs.  Santley. 

Fred  Astaire  and  Mrs.  Astaire,  the  former 
Phyllis  Potter,  New  York  social  registrite,  will 
dance  for  joy  around  about  February  when  the 
heir  arrives. 

FORKS  IN  THE  ROAD 

Joan  Blondell  got  her  melting  papers  from 
George  Barnes  and  custody  of  nine-months-old 
Norman  Scott  Barnes. 

Nancy  Carroll  divorced  her  already  re-wed 
husband,  Bolton  Mallory,  in  Reno. 

Ben  Bernie  won  his  freedom  from  Rose  H. 
Anzelevitz  (the  maestro's  real  monicker)  in  a 
secret  hearing  in  Chicago. 

Roscoe  Ates  failed  to  stutter  a  protest  to 
Mrs.  Clara  Ates  divorce  suit.    Granted. 


Lona  Andre,  for  the  second  time  asked  an- 
nulment of  her  marriage  to  Edward  Norris, 
writer.    First  time,  she  backed  down. 

Mrs.  Jean  Bello,  mother  of  Jean  Harlow, 
sought  to  drop  husband  Marino  Bello,  via  the 
courts. 

Dorothy  Lee  packed  off  to  Reno  to  end  it  all 
with  Marshall  Duffield,  former  U.  S.  C.  football 
ace. 

Dorothy  Gish  asked  for  restoration  of  her 
maiden  name  in  her  divorce  suit  against  James 
Rennie. 

TELL  IT  TO  THE  JUDGE 

Busby  Berkeley,  coryphee  mentor,  faces  two 
manslaughter  indictments  and  a  suit  for  $150,- 
000  following  a  doubly  fatal  auto  accident  on 
the  Coast  Highway  near  Santa  Monica. 

Bryant  Washburn,  Jr.  arraigned  on  a  man- 
slaughter charge  after  fatally  injuring  a  pedes- 
trian. 

Erskine  Gwynne,  Vanderbilt  scion,  former 
playboy  of  Paris,  and  present  Hollywood  scen- 
arist, paid  fifty  dollars,  pledged  abstinence  for 
ninety  days  on  a  drunk-in-auto  charge. 

Baroness  Carla  Jenssen,  titled  scenarist,  filed 
plagiarism  suit  against  RKO  studios. 

Charles  Spencer  Chaplin  won  the  right  to 
direct  the  investment  of  the  $200,000  trust 
fund  established  for  his  two  sons,  Charles,  Jr., 
and  Sidney  Earl. 

Geneva  Mitchell's  press  agent,  George  Talbot, 
went  to  jail  and  Geneva  was  questioned  when 
a  fake  hold-up  publicity  gag  was  exposed. 

Rosetta  and  Vivian  Duncan  failed  in  a  motion 
to  discharge-  their  bankruptcy  status.  They're 
still  insolvent. 

Alice  White  settled  a  $30,000  damage  suit 
based  on  a  traffic  accident,  for  $2,000. 

QUIET.  PLEASE 

Charles  Bickford  looked  good  to  a  lion,  got 
bit  in  the  neck.  Fangs  narrowly  missed  jugular 
vein,  severed  a  muscle.    Doing  nicely. 

Gertrude  Michael  recovering  speedily  from  a 
near  fatal  auto  smash  on  way  home  from  Ar- 
rowhead. Broken  leg,  cracked  spine,  cuts  and 
bruises. 

David  Holt  cheated  death  in  an  infantile 
paralysis  attack.   Well  now — no  bad  effects. 

Ruth  Donnelly  set  a  record  for  an  appendec- 
tomy. Up  in  six  days.  Fiji  D'Orsay's  divorce 
from  her  appendix  took  longer. 

Mary  Pickford  sent  to  bed  after  curious  crowd 
mauled  her  as  she  autographed  copies  of  her 
book  "Demi-Widow"  in  a  Los  Angeles  store. 

Bette  Davis  left  "Hard  Luck  Dame"  with 
ptomaine  poisoning. 

Darryl  Zanuck,  Little  Napoleon  of  films,  cut 
up  when  his  horse  threw  him  into  a  barbed 
wire  fence. 

Erik  Rhodes  got  in  the  way  of  a  polo  mallet. 
Horse  danced  on  him.    Arnica  and  liniment. 

Claire  Trevor  held  off  pneumonia  in  a  severe 
influenza  siege. 

BIRTHDAY  CANDLES 

For  Greta  Garbo — thirty  of  them — at  her 
birthday  party  in  her  villa  near  Nyokoping, 
Sweden. 

FAREWELL 

To  Sam  Hardy,  who  died  in  Hollywood, 
after  an  emergency  operation. 


BEAUTY 
NEED  NOT  BE  COSTLY 

How  it  will  delight  her  . .  .  this  Silverware 
of  Today...  wrought  in  designs  of  Sterling- 
like loveliness...  protected  against  wear 
by  an  overlay  of  purest  silver .  .  .  yet  how 
surprisingly  little  it  costs.  Your  dealer  will 
gladly  show  you  the"Madelon"and  other 
Tudor  Plate  designs.  What  could  he 
more   appropriate   for    Christmas   giving! 


108 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


TEST.. .the  PERFOLASTIC  GIRDLE 
.  .  .  at  our  expense  ! 


The  Private  Life  of  Fred  Asiaire 


CONTINUED  FROM  PAGE  28 


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Fred  is  that  way  about  stores;  but  usually 
it's  hardware  stores.  He  likes  to  wander 
around  them  and  try  out  the  new  gadgets 
— he's  probably  looking  for  a  necktie-chooser 
— but  he  seldom  buys  anything  himself.  Before 
his  marriage,  his  mother  bought  even  his  ties. 

I  never  knew  him  to  go  wild  on  pop-corn 
before,  but  he  has  a  sweet  tooth.  He  used  to 
send  Walter  out  for  vanilla  ice  cream  on 
matinee  days  at  five  o'clock,  when,  if  he  were 
as  English  as  some  people  think  he  is,  he'd  be 
having  tea.  Fred's  favorite  viand,  as  you  may 
have  read,  is  noodle  soup.  But,  of  course,  he 
didn't  send  Walter  out  for  that  at  five  in  the 
afternoon;  not  because  he  wouldn't  gladly  eat 
it  then — he'd  eat  it  for  breakfast — but  be- 
cause he  knew  Walter  couldn't  find  the  kind 
he  liked  in  any  of  the  Forty-second  Street  soup 
kitchens.  Freddy's  noodles  must  be  flat  and 
broad  like  his  neckties,  the  kind  of  noodles  he 
used  to  get  at  Alfredo's  in  Rome. 


TA7ALTER,  as  you  may  have  gathered,  is 
*  »  Fred's  dresser,  valet,  handy-man,  errand- 
boy  and  butt.  He  is  of  the  same  color  per- 
suasion as  Mandy  and  Louise,  but  he  has  a 
much  harder  time.  His  master  has  a  quick 
temper  and  a  quicker  sense  of  humor,  and 
Walter  never  knows  when  he  is  going  to  run 
afoul  of  one  or  the  other.  Of  the  two,  he'll 
take  the  temper  any  day.  It  is  less  of  a  strain 
on  the  Ethiopian  mentality. 

Walter  causes  Fred  plenty  of  trouble,  too. 
Five  times  he  has  been  to  Europe,  and  five 
times  he  has  had  to  be  sent  back  home — for  no 
other  reason  than  that  he  was  lonesome  for 
the  Cotton  Club  of  dear  old  Lenox  Avenue. 

"The  world  to  Walter,"  his  master  once 
said,  "is  Harlem  surrounded  by  a  lot  of  un- 
important territory." 

But  Fred  doesn't  dare  fire  Walter,  for  the 
dresser  is  the  only  human  being  who  knows 
where  the  Bridgeport  bath  robe  is  kept.  On 
the  first  night  of  every  show  and  the  first  day 
of  the  shooting  of  every  picture,  Walter 
solemnly  produces  this  funny  old  red-and- 
green  dressing  gown,  which  Fred  bought  many 
years  ago  in  Bridgeport,  Connecticut.  During 
that  night  or  day,  Fred  dutifully  wears  it. 
Neither  acknowledges  the  incident  by  word  or 
look.  It  is  not  considered  good  form.  Then, 
Walter,  solemnly  packs  the  robe  away,  and 
nobody  sees  it  again  until  it  is  time  for  it  to 
be  dragged  once  more  out  of  the  woodwork. 

This  sort  of  thing  has  been  going  on  for 
about  fifteen  years,  during  which  Fred  has 
had  many  more  successes  than  failures,  so, 
although  he  insists  he  isn't  superstitious,  he'd 
kind  of  hate  to  open  without  the  bathrobe — 
and  Walter. 

The  brightest  spot  in  the  latter's  life  are  days 
when  he  is  mentioned  in  the  papers.  For 
instance,  this — with  an  accompanying  des- 
cription of  Fred's  dressing  room  during  the 
run  of  "The  Band  Wagon" — from  the  late 
Graffic: 

"Over  at  the  New  Amsterdam,  one  flight 
up,  you  find  Fred  Astaire  tenanting  the  star's 
quarters. 

"You  are  apt  to  find  a  Whitney  or  a  Van- 
derbilt  in  Astaire's  place.  The  youthful 
dancing  star  claims  most  of  the  younger  social 
set  as  bosom  pals,  or,  perhaps  I  should  twist 
that  around  and  point  out  that  they  claim  him. 

"Fred's    droll    colored    dresser    provides   a 


lighter  note  for  the  guests  here,  providing 
he  knows  them.  If  he  likes  them,  he  will 
even  go  out  of  the  theater  to  get  them  a  glass 
of  Fred's  favorite  after- performance  beverage, 
milk." 

This  "quote,"  although  substantially  ac- 
curate, omits  one  or  two  characteristic  details 
about  Fred's  dressing  room  at  the  New  Amster- 
dam. On  the  dressing  table,  in  a  prominent 
position,  stood  the  china  horse  and  jockey 
with  which  a  grateful  management  presented 
him  the  night  he  opened  in  "Funny  Face." 
Above  the  mirror,  also  in  a  prominent  posi- 
tion, was  the  sign,  "No  singing"or  dancing 
around  this  dressing  room."  And  stuck  in  the 
side  of  the  mirror,  were  invariably  to  be  found 
a  collection  of  magazines  and  newspaper 
clippings — showing  that  the  boy  is  human, 
and  does  care  what  people  say  about  him! — a 
postcard  or  two,  and  always  a  cable  from 
Europe  telling  of  the  condition  or  performances 
of  his  prize  colt,  Nick  the  Greek. 

Fred  had  become  by  1931  a  real  figure  in  the 
racing  world.  Besides  Nick  the  Greek,  he 
owned  Mavis,  Objection,  High  Hat  and 
Topsy  Turvy.  In  England  Nick  was  con- 
sistently successful,  and  crowned  his  noble 
career  by  bringing  home  the  buff-and-blue 
Astaire  colors  in  front  of  the  rich  Glasgow 
Plate.  Fred  sold  all  the  horses  when  his 
American  engagements  began  to  make  his 
stays  in  England  shorter  and  rarer;  but  if  he 
ever  starts  to  race  his  own  stable  at  Santa 
Anna,  he'll  show  Hollywood  some  race  horses 
that  are  race  horses.  Fred  knows.  It  has  cost 
him  a  lot  to  find  out.    But  he  does  know. 

He  knows  about  dogs,  too.  Adele  had  five 
in  "The  Band  Wagon"  period:  a  golden 
retriever  and  a  Dachshund  in  London,  and 
two  West  Highlanders  and  a  Scotty  in  New 
York.  She  called  the  Dachshund  Freddy, 
because  he  looked  like  her  brother.  Fred 
himself  had  about  a  dozen  of  assorted  breeds. 
At  one  time  the  Astaire  family  had  over 
twenty. 

.."Puppies  were  always  expected,"  Fred  ex- 
plained, "which  made  life  very  interesting." 

DOG  days  continued  in  the  Astaire  family, 
even  after  Fred's  marriage  to  Phyllis 
Potter.  Phyllis'  cocker  spaniel,  Scamp,  won 
at  this  year's  show  in  San  Francisco. 

You  might  know! 

If  Phyllis  Astaire  had  a  dog,  it  would  be  a 
prize-winner.     She's  the  blue  ribbon  type. 

"The  Band  Wagon"  was  the  last  show  Fred 
and  Adele  did  together,  and  there  was  "Lady 
Be  Good"  and  "Funny  Face"  in  between,  not 
to  mention,  out  of  respect  for  the  dead,  Mr. 
Ziegfeld's  wry  "Smiles." 

"Lady  Be  Good" — remember  the  song  of 
that  name! — was  another  "For  Goodness 
Sake,"  only  immeasurably  better.  The 
Astaires  took  this  show  to  England,  too, 
after  its  run  on  Broadway,  and  duplicated, 
perhaps  even  exceeded,  their  previous  success. 
It  was  a  heavy  English  joke  during  this  period 
that  whereas  the  Astaires'  first  show  had  had 
almost  as  long  a  run  as  the  British  Museum, 
their  second  threatened  to  become  a  career. 

Fred  tells  some  swell  stories  about  their 
European  experiences,  but  characteristically 
they  mostly  featured  Adele  in  the  leading  role. 
There  was,  for  example,  the  classic  one  about 
Bernard  Shaw. 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


109 


"  What  do  you  think  of  actors?  "  asked  Adele 
in  a  desperate  effort  to  make  small  talk  with 
the  most  brilliant  mind  in  Europe. 

"Nothing,"  replied  Shaw.  "If  it  wasn't  for 
us  authors,  there  wouldn't  be  any." 

Silence.  Then  Adele  said  with  a  meekness 
she  seldom  experienced: 

"I'm  a  dancer,  you  know,  Mr.  Shaw." 

The  Astaires  became  great  friends  with 
Shaw  after  that,  and  with  John  Galsworthy 
and  Sir  James  Barrie,  of  "Peter  Pan"  and 
"What  Every  Woman  Knows"  fame,  and 
Hugh  Walpole,  the  novelist  who  recently 
helped  adapt  "David  Copperfield"  for  the 
screen,  and  acted  the  part  of  the  curate  in 
that  hugely  successful  production.  But  none 
of  them — least  of  all,  Fred  Astaire — ever 
thought    then   of   writing   or   acting   for   the 


AS  a  matter  of  fact,  the  Fred  Astaire  of  that 
day — it  was  about  1926when  he  went  abroad 
with  "Lady  Be  Good" — was  not  a  very  likely 
candidate  for  cinematic  honors.  Sixteen  years 
trooping,  supported  by  means  of  doubtful 
frequency,  had  reduced  the  fat  little  boy  of 
the  Omaha  period  to  a  gangling  lad  of  twenty- 
five,  whose  one  hundred  and  thirty-four 
pounds  were  spread  sparsely  over  five  feet, 
nine  inches  of  bones  and  joints.  He  had  more 
of  that  sand-colored  hair  above  his  long, 
lantern-jawed  face  than  he  has  now,  but  not 
enough  to  start  a  riot  at  a  barber's  conven- 
tion. He  had  the  same  large  ears  and  the  same 
curiously  shaped  head — like  an  inverted  Bart- 
lett  pear — but  somehow  the  ears  and  the  head 
hadn't  gotten  together  then  on  such  a  good 
working  basis.  In  short,  he  was  no  Rudolph 
Valentino. 

Some  years  later,  a  wise  observer  said  that 
Fred  was  physically  a  combination  of  Jimmy 
Walker  and  Ichabod  Crane.  Well,  in  1922,  he 
was  definitely  on  the  Ichabod  side. 

Nevertheless,  he  was  already  becoming 
something  of  a  man  of  the  world.  He  could 
play  most  games  fairly  well,  especially  golf. 
He  had,  as  we  have  seen,  acquired  a  racing 
stable,  and  sat  up  in  bed  every  night  after  the 
show,  reading  the  form  sheets.  He  was  ready 
to  gamble  on  anything — and  is  now:  if  you 
don't  find  him  on  the  set,  he's  shooting  craps 
with  the  electricians  in  the  alley  outside.  And 
he  had  already  graduated  from  fifteen  dollar 
ready-mades  to  the  products  of  the  best  Bond 
Street  tailors,  plus  monograms  on  his  shirts, 
pajamas,  dressing  gowns  and  underwear. 

Sister  handled  the  society  end  in  those  days. 
Nobility,  then  royalty  took  her  up  —  and 
Little  Brother,  as  in  the  old  Omaha  dancing 
school  period,  went  along  to  see  her  perform. 
Altogether,  the  two  kids  from  the  com  belt 
did  very  well  for  themselves. 

"Columbus  may  have  danced  with  joy  at 
discovering  America,"  unbent  the  London 
Times,  "but  how  he  would  have  cavorted  had 
he  also  discovered  Fred  and  Adele  Astaire!" 

It  was  during  these  long  periods  of  residence 
abroad  that  Freddy  Astaire  acquired  that 
English  way  of  dressing  and  that  slightly 
English  way  of  talking  which  leads  so  many 
people,  even  native  born  Britishers,  to  take 
him  for  English-born. 

Fred,  who  is  just  as  American  as  you  or  I 
or  the  Mississippi  River,  thinks  this  is  a  great 
joke — on    the    British. 

It  isn't  a  pose  with  Freddy,  this  hang-over 
from  his  protracted  theatrical  spree  in  England. 
Long  before  he  went  abroad,  he  had  realized 
that  the  sloppy  London  style  of  tailoring  was 
more  becoming  to  his  rangy  type  of  chassis 
than  the  tight-fitting  American  style.  And 
as  for  talking  British,  I  dare  any  perfectly 


American  to  stay  four  months  in  the 
British  Isles,  let  along  four  years,  without 
talking   like   a    blooming    Englisher. 

It  is  interesting,  though,  that  the  English  in 
the  air  did  seep  in  so  much  deeper  with 
Freddy  than  with  his  sister,  who  doesn't  look 
one  bit  English.  (As  a  matter  of  fact,  she 
looks  amazingly  like  our  new  songbird  of  the 
screen,  Lily  Pons.)  Frankly,  the  only  thing 
British  about  Adele,  except,  of  course,  Lord 
Cavendish,  is  an  English  oath,  which  sounds 
simply  devastating  on  her  child-like  lips. 
Incidentally,  she  used  to  play  piccolo  with 
those  lips,  but  she  had  to  give  it  up  because 
it  swelled  them. 

"  Funny  Face"  was  notable,  not  only  be- 
cause it  derived  its  name  from  Fred  Astaire's 
brotherly  characterization  of  his  sister,  but 
because  in  its  music  it  was  the  fulfillment  of 
a  pledge  made  more  than  ten  years  before: 
that  someday  Fred  Astaire  would  be  starred 
in  a   George   Gershwin   musical   show. 

It  sounds  too  good  to  be  true — like  some  of 
those  press  agent  yarns  about  Fred  that  come 
out  of  Hollywood — but  it  is  true  that  George 
Gershwin,  now  America's  foremost  composer 
but  then  a  piano  player  in  Remick's  Music 
House,  was  one  of  Fred  Astaire's  earliest 
friends  in  New  York,  and  it  is  highly  probable 
that  when  gangling  Fred  went  up  to  Tin  Pan 
Alley  to  try  out  some  new  songs,  he  and 
George  entered  into  some  Horatio  G.  Alger 
agreement. 

"  Funny  Face"  was  in  1927  and  New  York 
was  catching  up  with  London  in  its  apprecia- 
tion of  the  master.  A  more  tangible  evidence 
of  the  same  thing  was  the  fact  already  chron- 
icled: that  Florenz  Ziegfeld,  the  greatest 
musical  comedy  impressario  of  them  all, 
offered  Fred  and  his  sister  $4,000  a  week  to 
star  with  Marilyn  Miller  in  his  ill-fated 
"Smiles." 

While  some  of  these  things  were  happening 
to  Fred  Astaire,  his  future  dancing  partner, 
Ginger  Rogers,  late  of  Independence,  Missouri, 
was  trying  out  a  few  new  steps  across  the 
street  in  another  Gershwin  show,  "  Girl 
Crazy."  Ginger  had  just  won  a  Charleston 
contest  in  Fort  Worth,  Texas,  and  had  moved 
in  on  New  York  for  a  little  professional  train- 
ing— first  in  the  stage  show  at  the  Para- 
mount with  the  then  reigning  maestro,  Paul 
Ash,  and  later  in  "Top  Speed"  and  the  afore- 
said "Girl  Crazy" — and  it  is  a  mighty  good 
thing  she  got  it,  because  future  events  were 
already  casting  their  shadows  before  them  in 
the  dressing  room  gossip  at  the  New  Amster- 
dam. 

DELLY,  Ginger's  brown-eyed,  black-haired 
predecessor  as  Fred's  dancing  partner,  was 
getting  tired.  It  was  fun  to  be  the  toast  of 
two  continents,  to  pick  up  her  Vanity  Fair 
and  read  that  "without  doubt  the  Astaires 
are  the  reigning  family  of  Broadway,"  to  be 
kissed  by  Mr.  and  Mrs.  John  Galsworthy  and 
have  her  hand  held  by  Sir  James  Barrie,  but 
what  she  really  wanted  was  to  have  a  good 
time.  According  to  most  standards,  she  had 
managed  to  have  a  fairly  good  one  as  she 
went  along,  but,  after  twenty  years  of  nearly 
continuous  trouping,  she  was  hardly  to  blame 
for  wanting  to  give  up  all  her  waking  hours 
to  the  supposedly  pleasanter  things  of  life. 

There  wasn't  a  drop  of  theatrical  blood  in 
either  of  the  Astaires.  They  had  gone  on  the 
stage  because  they  had  to,  and  had  stayed 
there  because  it  was  the  only  way  they  knew 
to  earn  a  living.  They  had  never  really  been 
a  part  of  the  theater.  As  Adele  used  to  say, 
"It  was  an  acquired  taste  like  olives."  Fred 
had  a  driving  ambition  to  keep  him  going, 


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Italian  Balm  is  recognized  as  one  of  the 
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In  one  of  the  nation's  largest  cities  a  recent 
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no 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


JUNGLE  MADNESS 
FOR  CULTURED  LIPS 


EEra 


IS* 


Here's  a  freshly  dif- 
ferent, more  alluring 
lipstick  shade  that  brings 
to  lips  the  sublime  madness 
of  a  moon-kissed  jungle  night — 
the  new  Jungle  shade  of  Savage 
Lipstick!  It's  a  brilliant,  vivid, 
brighter  red — the  most  exotic  color 
ever  put  into  lipstick — and  a  truly 
adventurous  hue!  And  is  Jungle  in- 
delible? So  much  so  that  its  intense 
color  becomes  an  actual  part  of 
you  .  . .  clinging  to  your  lips  ...  all 
day  .  .  .  or,  all  night  .  .  .  savagely! 
There  are  four  other  Savage  Lip- 
stick shades:  Tangerine  (Orangish) 
.  .  .  Flame  (Fiery)  .  .  .  Natural  (Blood  Red) 
.  .  .  Blush  (Changeable).    20c  at  all  10c  stores. 

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DID  TRICK 

They  were  getting  on  each 
other's  nerves.  Intestinal 
sluggishness  was  really  the 
cause — made  them  tired 
with  frequent  headaches, 
bilious  spells.  But  that  is  all 
changed  now.  For  they  dis- 
covered, like  millions  of 
others,  that  nature  provided 
the  correct  laxatives  in 
plants  and  vegetables.  Tonight  try  Nature's 
Remedy  (NR  Tablets).  How  much  better  you 
feel — invigorated,  refreshed.  Important — you 
do  not  have  to  increase  the  dose.  They  con- 
tain no  phenol  or 
mineral  deriva-  . 
tives.  Only  25c —  ^  ■  ' 
all  druggists. 


the  zeal  to  excel.  If  he  had  been  in  the  plumb- 
ing business,  he'd  have  felt  the  same  urge. 
Adele  had  none  of  that.  It  was  common 
gossip  that  she  wanted  to  quit. 

She  had  had  plenty  of  opportunities  to  do  so. 
The  British  peerage,  as  we  have  seen,  had 
fallen  en  masse.  Since  her  triumphant  return 
to  this  country,  American  millionaires  had 
been  equally  precipitate.  It  was  a  dull  month 
when  Adele  wasn't  reported  engaged.  There 
was  William  Gaunt,  Jr.,  who  went  broke, 
allegedly  because  he  was  paying  more  atten- 
tion to  Adele  Astaire  than  to  his  financial 
affairs.  There  was  John  Hay  Whitney,  angel 
of  Technicolor,  with  whom  marriage  seemed 
any  day  imminent.  (She  ended  up  by  being 
a  bridesmaid  at  his  wedding.)  And  there  was 
the  far-famed   Billy  Leeds. 

BILLY,  as  all  the  world  once  knew,  was 
married  to  Princess  Xenia  of  Greece.  In 
fact,  the  Leedses,  mother  and  son,  married 
a  considerable  segment  of  the  Greek  royal 
family,  only  to  have  Greece  go  a  republic  on 
them.  Then,  when  Billy  was  all  washed  up 
with  royalty,  he  bought  himself  a  series  of 
fast-going  yachts.  Things  were  always  hap- 
pening on  Billy's  yachts.  You  remember 
what  happened  to  our  own  Claire  Windsor! 
But  the  nearest  to  a  fatality  happened  to 
that  delectable  imp,   Delly  Astaire. 

A  few  weeks  after  their  engagement  was 
rumored  in  the  Broadway  and  Park  Avenue 
hot  spots,  Adele  and  Billy  were  speeding  along 
the  shore  of  Long  Island  in  the  latter's  new 
oil-burner,  when  something  went  wrong  with 
the  works.  There  was  a  fearful  explosion, 
a  geyser  of  burning  oil,  a  blinding  cloud  of 
smoke  and  soot,  and  out  of  the  reeking  vapors, 
they  pulled  the  bedraggled  body  of  little 
Adele  Astaire.  Her  head,  face  and  shoulders 
were  badly  burned. 

She  was  nearly  thirty  when  all  this  happened 
to  her,  but  she  still  had  the  body  of  a  child. 
Only  the  summer  before,  she  had  been  refused 
admission  to  the  casino  at  Le  Touquet  be- 
cause she  was  believed  to  be  under-age, 
whereas  an  English  sub-deb  of  seventeen,  who 
was  with  her,  was  passed  through  the  portals 
unquestioned.  She  never  weighed  more  than 
a  hundred  and  six  pounds,  and  wore  a  size 
fourteen  dress.  The  last  day  she  reported  at 
the  theater,  the  old  doorkeep  muttered  to 
his  buddy: 

"Miss  Delly,  she  looks  like  a  baby  coming 
to  her  first  day  at  the  kindergarten." 

And  now,  so  the  Broadway  wiseacres  said, 
she  would  never  act  again.  But  the  resources 
of  modern  medicine  and  surgery  are  inex- 
haustible when  you  can  afford  to  tap  them  as 
Adele  Astaire  could.  For  a  time  she  did  re- 
tire from  the  public  eye.  Speculation  became 
hot  as  to  what  Fred  would  do  without  her 


whether  he  could  stand  on  his  own  ambling 
feet  as  an  individual  star.  Then,  suddenly, 
in  the  spring  of  1931,  Max  Gordon  astounded 
the  theatrical  world  by  announcing  that  he 
would  present  Fred  and  Adele  Astaire  in 
Howard  Dietz'  and  George  Kaufman's  "The 
Band  Wagon." 

This  was  the  show  Frank  Morgan  was  in 
and  also  the  attenuated  Helen  Broderick, 
who  made  such  a  comedy  hit  in  "Top  Hat." 
Fred  is  great  for  taking  his  favorite  people 
along  with  him.  The  two  priceless  Erics, 
Rhodes  and  Blore,  were  with  him  in  the  stage 
production  of  "Gay  Divorcee"  in  the  same 
parts  they  later  played  on  the  screen;  and  they, 
too,  were  with  him  in  "Top  Hat." 

In  "The  Band  Wagon,"  Adele  was  the  same 
vivacious,  electric  personality  she  had  always 
been.     The  difference  was  in  Freddy. 

When  "Funny  Face"  was  produced,  there 
had  been  critical  rumblings  to  the  effect  that 
the  artistic  pulling-away  progress  that  we 
have  already  noted  during  their  London 
performances  was  still  proceeding  apace. 
Neither  brother  nor  sister  could  help  it.  They 
still  danced  together  like  "twin  souls  creating 
perfect  harmony."  But  the  years  of  con- 
tinuous practice  on  Fred's  part  and  the  years 
of  continuous  refusal  to  practice  on  Adele's 
part  were  beginning  to  tell. 

Before  every  performance  in  all  those 
twenty  years,  Fred  Astaire  had  arrived  early 
and  had  spent  minutes,  sometimes  hours, 
limbering  up  his  muscles,  perfecting  himself 
in  his  routines.  Adele  Astaire,  after  the  first 
night  of  the  show,  never  practiced.  As  a 
result,  Fred  had  become  by  far  the  better 
dancer  of  the  two.  He  was  ready  for  a  partner 
who  would  match  his  ambition  with  her  am- 
bition, his  energy  with  her  energy. 

He  was  ready  for  Ginger  Rogers. 

"The- Band  Wagon"  settled  it,  as  we  shall 
see.  And  the  year  that  followed,  as  we  shall 
also  see,  put  the  final  seal  on  the  brother-and- 
sister  act  of  Fred-and-Adele  Astaire. 

Adele  fell  in  love  with  a  clerk  in  J.  P. 
Morgan's  office,  an  upstanding  young  English- 
man known  thereabouts  simply  as  Cavendish, 
but  who  turned  out  to  be  the  son  of  the  richest 
duke  in  the  British  Empire.  And  Fred — well, 
Fred  found  the  only  girl  with  whom  he  had 
ever  thought  he  could  find  happiness. 
There  was  only  one  flaw  in  this  situation 
so  far  as  Fred  was  concerned.  The  "only  girl" 
was  married,  very  much  married  to  a  another 


Don't  fail  to  read  how  Fred  Astaire  felt 
when  he  came  to  Hollywood  and  found  out 
that  few  there  had  ever  heard  of  him! 
You'll  learn  about  this  and  the  many  details 
of  his  personal  life,  never  before  published, 
in  PHOTOPLAY  for  January. 


mometerwith  the  purchase  of  a  25c  box  ofNRor 
a  10c  roll  of  Turns  (For  Acid  Indigestion).  At  your  druggist's. 


THE  MIDNIGHT  RIDE 

OF 

ROBERT  MONTGOMERY 

It  happened  one  night  in  old  England.  It  was  on  a  motorcycle, 
and  Mr.  Montgomery  was  trying  to  keep  both  his  seat  and  his 
dignity.  But  let  Mr.  Montgomery  tell  you  in  his  own  waggish 
words.  It  is  just  as  lunatic  as  most  of  the  roles  Bob  plays  on  the 
screen,  and  we  don't  know  of  any  other  actor  who  would  tell 
such  a   crazy  story   about  himself.     In   the   January   Photoplay. 

ON  SALE  NOVEMBER  5TH 


PHOTOPLAY  MAGAZINE  FOR   DECEMBER,    1935 


Cal  York's  Gossip  of  Hollywood 


[  CONTINUED  FROM  PAGE  41 


HEREAFTER  one  15-year-old  Ruth  Krist 
of  Chicago  isn't  going  to  take  anybody's 
word  for  anything  in  Hollywood. 

She's  discovered  that  seeing  needn't  be 
believing. 

The  girl  was  in-  California  on  a  visit.  Eddie 
Lowe,  who's  starring  in  Columbia's  "Grand 
Exit,"  is  her  favorite  star,  it  seems,  and  she 
followed  the  company  on  a  location  trip  in 
hope  of  snapping  his  picture  with  her  camera. 
She  saw  a  handsome  man  lounging  in  a  studio 
chair  not  far  away.  Beside  her  stood  a  dirty, 
tousled  villain. 

"That's  Edmund  Lowe  over  there,  isn't  it?" 
she  asked  him,  indicating  the  h.m.  "Do  you 
think  he'd  care  if  I  took  his  picture?" 

"He'd  be  flattered,  I'm  sure,"  the  villain 
grinned. 

So  with  shaking  hands  she  snapped  merrily 
away,  using  all  but  one  on  her  roll  of  films. 
It  was  only  when  she  turned  to  go  that  Ann 
Sothern,  who  had  watched  the  episode,  re- 
vealed to  the  girl  that  the  handsome  man  was 
an  extra  and  the  dirty  villain  was  Lowe. 

To  make  up  for  it,  Eddie  made  sure  little 
Ruth  got  a  good  posed  picture  of  himself  on 
her  one  remaining  film. 

THEY'RE  scurrying  around  out  at  20th  Cen- 
tury-Fox, scratching  heads,  having  long 
conferences  and  delving  through  piles  of 
photographs  trying  to  decide  who  they'll  get 
to  play  Dr.  Allan  R.  Dafoe,  physician  of  the 
Dionne  quintuplets,  in  the  dramatized  version 
of  his  life  to  be  called  "The  Country  Doctor." 
Offhand  I'd  say  they  might  give  the  doctor 
a  break  and  let  him  play  himself.  He's  reported 
willing  and  the  stipend  undoubtedly  would  be 
welcome  to  the  Dafoe  exchequer,  country 
doctors'  pay  being  what  it  is. 

JANE  FROM  AN  will  be  plenty 
glad  when  Christmas  rolls 
around  this  year,  for  it  will  mark 
the  end  of  a  practical  joke  that's 
been  driving  her  nutty  once  a 
week  for  the  past  year. 

Seems  Donald  Ross,  her  hus- 
band, caught  her  furtively  perus- 
ing an  old  copy  of  The  Police 
Gazette.  He  at  once' entered  a 
year's  subscription  to  the  maga- 
zine for  her — and  persuaded 
seven  other  friends,  Gertrude 
Niessen,  James  Melton,  Lanny 
Ross  and  Paul  Whiteman  among 
them,  to  do  the  same. 

For  almost  a  year  now  eight 
copies  of  that  classic,  pink  and 
gaudy,  have  arrived  for  Jane 
each  week. 

THEY  were  getting  set  to  shoot  one  of  Ro- 
chelle  Hudson's  big  emotional  scenes  in 
"Snatched"  the  other  day  when  a  resounding 
crash  was  heard.  A  studio  truck  had  backed 
into  a  brand  new  gray  coupe  parked  by  the 
stage  and  the  whisper  quickly  went  around 
that  it  was  Rochelle's  new  car  which  had  been 
damaged. 

"Don't  tell  her!"  Director  George  Marshall 
implored.    "Not  till  after  this  scene." 

After  the  scene  was  shot,  Marshall  broke  the 
sad  news  and  led  her  outside  to  view  the  re- 
mains. 

As  they  approached  the  crumpled  mass, 
Rochelle  broke  into  wild  laughter.  The  smashed 
coupe  was  Marshall's. 


T\AVID  BUTLER  was  directing 
Ua  scene  in  which  actors  were 
driving  spirited  teams  of  horses. 
The  scene  lacked  punch  and 
Butler  put  on  the  steam. 

"Come  on  you  horses  and 
actors!"  he  stormed.  "Give  me 
some  real  excitement  this  time." 

One  of  the  drivers  threw  down 
his  reins  and  glared  at  Butler. 

"Well,  well,  and  what's  the 
matter  with  you?"  Butler  asked. 

The  driver  drew  up  haughtily. 

"You  might  at  least  mention 
the  actors  first!"  he  rebuked  him. 

7V  LOT  of  water  has  run  under  that  well 
*"*  known  bridge  since  Esther  Ralston  and 
Dick  Arlen  were  starring  on  the  same  lot — 
Paramount. 

The  two  met  again  the  other  day.  This  time 
it  was  at  Republic  where  Esther's  making 
"Forced  Landing"  and  Dick  is  doing  "Legion 
of  the  Lost." 

YOU'D  think  it  would  be  absolutely  im- 
possible, but  Fanny  Brice  actually  forgot 
the  words  to  the  song  that  has  always  been 
closely  identified  with  her. 

She  had  to  get  the  music  and  bone  up  on — 
need  we  tell  you? — "My  Man,"  the  other  day 
when  the  number  was  scheduled  before  the 
mike. 

JDOB  MONTGOMERY  and  his 
JUperennial  pal,  Chester  Mor- 
ris, fished  for  three  solid  days  in 
the  briny  blue  for  Marlin  sword- 
fish.  They  came  back  with  a  big 
string  of  nothing. 

Then  Ruth  Etting  sailed  forth 
and  proceeded  to  hook  a  peach — 
way  over  100  pounds.  She  reeled 
it  in  herself.  Bob  and  Chet  heard 
the  news. 

"I  know,"  Bob  sighed,  "she 
sang  it  to  sleep." 

IT'S  getting  to  be  almost  an  axiom  that  a 
songstress  doesn't  mix  business  with  kisses. 

First  of  all  it  was  Gladys  Swarthout,  who 
was  due  for  a  necking  scene  with  John  Boles. 
She  admitted  she  hadn't  done  anything  like 
that  before,  right  in  front  of  the  cameras  and 
everybody,  but  they  talked  her  into  it,  with 
hubby  looking  on. 

Everybody  blushed,  and  Miss  Swarthout's 
complexion  was  red  as  paint. 

Then,  just  the  other  day  Jane  Froman,  the 
radiocanary,  stamped  her  pretty  French  heels 
down  firmly  and  said  "no  kisses." 

"I  don't  kiss  anyone  but  my  husband." 

WITH  the  Bing  Crosbys  forsaking,  or  at 
least  planning  to  desert  their  Toluca  Lake 
manor  and  build  themselves  a  much  larger 
edition  out  in  fashionable  Bel-Air,  it  seems  all 
the  more  pertinent  to  point  to  the  Pat  O'Briens 
who  have  remained  in  their  small  Brentwood 
cottage  now  for  many  many  moons. 

Most  stars  manage  to  do  just  what  Bing  is 
planning  to  do — move  into  a  large  place  as 
their  fortunes  and  family  increased,  but  Pat 
always  compromises  by  building  on  a  room. 
Already  he's  built  on  three,  and  his  argument 
is  that  when  you  build  a  house  around  you  it's 
a  real  home,  because  all  of  it  has  been  well 
lived  in  and  the  new  parts  are  born  of  necessity. 


ACCEPT  FREE 

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PERFUME! 


To  introduce 

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Y 


Combats  shiny  nose,  conspicuous 
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OU  can't  possibly  have  a  lovely  skin  if  face 
powder  mixes  with  natural  skin  moisture 
and  lets  shine  through,  clogs  pores  and 
makes  them  conspicuous,  or  forms  pasty-look- 
ing blotches. 

So  change  at  once  to  Luxor,  the  moisture- 
proof  face  powder.  Prove  it  yourself.  It  won't 
even  mix  with  water  in  a  glass.Thus.it  won't 
mix  with  similar  moisture  on  your  skin  and 
make  a  harmful  paste. 

More  than  6,000,000  women  stick  to  Luxor 
because  it  is  moisture-proof.  It  comes  in  a  range 
of  smart  new  shades,  scientifically  blended  in 
our  vast  laboratories  to  flatter  brunettes, 
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Nopowder  at  any  price,  contains  finer,  purer 
ingredients.  Insist  on  Luxor  by  name,  and  get 

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fume together  in  a  bright  new  Christmas  wrap- 
per at  all  cosmetic  counters  for  the  price  of 
Luxor  powder  alone. 


P. 

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AMAZING  HAND  SOFTEN- 
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By  all  means  try  this  spectacular  new 
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I  12 


PHOTOPLAY  MAGAZINE  FOR   DECEMBER,    1935 


But  he  changed  his  yi 
mind.  For  she  puzzled  [mt 
him.  She  was  glamor- 
ous, tantalizing,  unpredictable — a  mystery 
he  could  never  solve.  No  wonder  she  occu- 
pied his  every  thought.  No  wonder  other 
women  seemed  dull  and  uninteresting  com- 
pared to  her.  The  strange  thing  was  that 
she  had  learned  to  create  this  effect.  She 
had  acquired  the  art  of  appealing  to  men's 
psychology.  And  now,  in  his  eyes,  no  other 
woman  in  all  the  world  had  such  charm. 
You,  too,  may  learn  this  necessary  art. 
You,  too,  may  be  popular,  have  hosts  of 
friends,  and  win  the  reverent  devotion  of 
the  man  of  your  choice.  Our  home-study 
course  in  Charm  and  Fascination  tells  how 
to  use  the  simple  laws  of  psychology  and 
human  nature  to  make  yourself  charming, 
glamorous,  fascinating.  It  tells  how  to  play 
upon  the  imagination  of  men,  how  to  build 
up  in  their  minds  a  captivating  picture  of 
yourself.  If  you  wish  to  achieve  distinction 
in  a  world  ruled  by  men,  you  must  learn 
how  to  influence  them.  In  social  life  or 
in  business,  this  is  the  road  to  success.  Ask 
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yours  for  the  asking.  Just  send  your  name 
and  address  to  PATRICIA  PAIGE,  5226 
Santa  Monica  Boulevard,  Los  Angeles, 
Calif.    Dept.  18.  ©1935. 

FADED      H   A  R 

Women,  girls,  men  with  gray.  laded,  streaked  hair  Sha  m  pco 
and  color  your  hair  at  the  same  ti  me  with  new  French 
discovery  "SHAMPO-KOLOR,"  takes  few  minutes,  leaves 
hair  soft,  elo.ssy,  natural.  Permits  Dermanent  wave  and  curl. 
Free  Booklet,  Monsieur  L.P.Valligny.Depl  .43,254  WJlSt.New  York 

T«Mon  Desir"T 

A  NEW  PERFUME—  thrilling,  exciting,  lasting! 
$5.00  an  ounce — a  50c  bottle  is  in  the 

Redwood 

Treasure  Chest. 

Also  50c  bottle 

Persian  Night 

$3.00  an  ounce 

Hollywood 

$2.00  an  ounce 

Monte  Carlo 

$2.00  an  ounce 

Chest  is6in.x  3in. 

made   from   the 

Giant  Redwoods 

of  California. 

Send    only    $1.00 

check,  stamps  or 

currency  for  chest 

with  4-50c  bottles. 

PAUL  RIEGER  (Est.  1872)    151  Davis  St.,  San  Francisco 


MercolizedWax 


Keeps  Skin  Young 


Absorb  blemishes  and  discolorations  using 
Mercolized  Wax  daily  as  directed.  Invisible 
particles  of  aged  skin  are  freed  and  all 
defects  such  as  blackheads,  tan,  freckles  and 
large  pores  disappear.  Skin  is  then  beauti- 
fully clear,  velvety  and  so  soft — face  looks 
years  younger.  Mercolized  Wax  brings  out 
your  hidden  beauty.  At  all  leading  druggists. 
Phelactine  removes  hairy  growths 
— takes  them  out — easily,  quickly 
and  gently.  Leaves  the  skin  hair  free. 

i— Powdered  Saxolite — i 

I  deduces  wrinkles  and  other  age-signs.  Sim-  I 
I  ply  dissolve  one  ounce  Saxolite  in  half -pint  I 
|  witoh  hazel  and  use  daily  as  face  lotion.  I 


AND  speaking  of  Bing — 
'Twas  distinctly  nice — and  clever — the 
way  Bing  and  Mrs.  Crosby  handled  the  recent 
situation  of  the  young  girl  who  arrived  in  Hol- 
lywood chanting  her  infatuation  for  Bing  and 
bellowing  her  determination  to  tell  him  of  her 
love,  even  if  it  was  a  hopeless  one. 

Bing  and  Dixie  invited  the  gal  to  their  home 
for  dinner,  showered  gracious  attentions  on 
her  and  then  bundled  her  back  to  her  hotel, 
cured  of  her  silliness  and  doubly  enthusiastic 
about  Bing. 

But — don't  come  storming  the  Crosby  gates 
for  dinner,  gals.    That  was  a  special  case. 

/T  ALL  depends  on  the  point 
of  view — or  contact. 

A  15-foot  boa  constrictor  was 
to  coil  dangerously  above  Victor 
Jory's  head  in  a  scene  in  Colum- 
bia's "Sons,  of  the  Damned."  As 
the  cameras  ground  and  the 
snake  moved  closer  and  closer  to 
Vic's  top-knot,  Director  Al  Rogell 
was  moved  to  words. 

"There's  beauty!"  he  breathed. 

"Beauty,  my  eye!"  Jory  re- 
turned.    "There's  jitters!" 

OTTO  KRUGER  seems  to  have  got  the 
jump  on  the  fond  father  and  the  Christ- 
mas-present-for-the-kid  gag.  While  little  Ot- 
tilie,  his  daughter,  was  in  the  East,  Kruger  had 
a  swell  little  three-foot  motor  boat  made  for 
her  to  use  in  their  swimming  pool.  He's  had 
so  much  fun  playing  with  it,  it's  now  practically 
a  second-hand  present. 

DOING  it  up  brown,  I  calls  it. 
Michael  Bartlett,  being  one  of  the  f.f. 
of  New  England,  chose  a  Connecticut  farm- 
house theme  for  his  new  home  in  Hollywood 
and  landscaped  it  completely  in  transplanted 
New  England  shrubs  and  flowers. 

THE  Jean  Harlow-Bill   Powell  romance  is 
turning  out  to  be  a  family  affair.     No  one 
can  say  they  aren't  well  chaperoned. 

Jean's  ma,  Mrs.  Marino  Bello,  has  been  do- 
ing most  of  the  honors  so  far,  accompanying 
the  coo-ers  on  all  of  their  trips  and  excursions. 
And  now  Bill's  family  has  moved  out  from 
Kansas  City  and  settled  down  in  the  new 
Powell  mansion. 


FOR  weeks  Gloria  Stuart  and  Hubby  Art 
Sheekman  planned  big  doings  for  the  first 
wedding  anniversary. 

Came  the  night.  They  dressed  up  in  their 
very  finest  rags,  made  reservations  at  the  Troc, 
ordered  champagne. 

They  toasted  each  other  with  the  cham- 
pagne. They  toasted  each  other  again  with 
the  champagne.     They  toasted — 

At  eleven  o'clock  the  champagne  was  a  little 
low  and  Gloria  and  Art  decided  they  were 
sleepy.    They  went  home. 

That's  being  married. 

A  CERTAIN  Hollywood  pro- 
ducer (we  won't  give  him 
away)  sallied  forth  to  view  a  play 
in  one  of  those  little  theaters. 

He  drove  up  resplendent  in  his 
big  shiny  limousine  and  told  his 
chauffeur  to  wait  out  front. 

The  play  turned  out  to  be  one 
of  those  crusading  Communistic 
things,  fairly  dripping  with  red. 
The  producer  squirmed  in  his 
seat. 

Halfway  through  the  third  act 
he  arose  quietly  and  soft  shoed 
it  out  the  door. 

"Drive  that  big  car  around  the 
block,"  he  ordered  his  chauffeur 
"I'll  meet  you  there." 

BOB  ARMSTRONG  has  lost  his  best  friend. 
His  mother,  Mrs.  Mina  Armstrong,  died 
last  month. 

For  years  Bob,  a  confirmed  bachelor,  wor- 
shipped his  mother.  No  one  was  ever  a  better 
son.  The  happiest  day  of  Bob's  life  was  when 
he  had  installed  his  mother  in  her  own  home. 
No  matter  how  hard  his  work  or  how  pressing 
his  affairs,  he  never  failed  to  have  dinner  with 
her  at  least  once  a  week — usually  oftener. 

Theirs  was  a  fine  relationship,  and  Bob's 
heavy  heart  must  be  lightened  somewhat  by 
its  memories. 

REMEMBER  Louise  Glaum,  the  bold  bad 
vamp  of  the  dear  dead  days? 
Louise  left  Hollywood  some  years  ago  and 
ran  a  moving  picture  house  in  National  City, 
down  near  Agua  Caliente.  Now  she's  back 
running  a  playhouse  in  Hollywood,  producing 
her  own  shows  with  maybe  just  a  faint  eye  to 
the  movies. 


Marcel  Lamaze,  owner  of  the  popular  Cafe  Lamaze  in  Hollywood,  tries 
to  tempt  Marlene  Dietrich  and  Fritz  Lang  with  his  choicest  grapes, 
but     they    apparently    are    interested     in    the    aged    and    bottled    variety 


PHOTOPLAY   MAGAZINE  FOR   DECEMBER,    1935 


113 


The  Shadow  Stage 


CONTINUED  FROM  PAGE  69 


THE  LAST  OUTPOST— Paramount 

THE  age-old  triangle  crops  up  in  India  this 
time  with  Cary  Grant  as  the  officer  who 
unknowingly  falls  in  love  with  his  best  friend's 
wife,  Claude  Rains  and  Gertrude  Michael, 
respectively.  But  the  real  stars  are  the  co- 
directors,  Louis  Gasnier  and  Charles  Barton, 
and  the  scenarist,  who  throw  in  elephant 
stampedes,  mountain  climbing,  swollen  rivers 
and  death  in  the  desert,  making  Tarzatis 
adventures  look  like  fun  in  the  Zoo  in  compari- 
son.    Just  a  fair  picture. 

KING   SOLOMON   OF   BROADWAY— 
Universal 

WHILE  this  mildly  musical  melodrama 
has  nothing  to  do  with  Haile  Selassie's 
ancestor,  it's  full  of  wise  guys  and  queens  who 
put  all  the  answers  up  to  Edmund  Lowe,  a 
smooth  night  club  boss.  The  wise  men  covet 
his  club  and  the  queens  his  heart — and  keep- 
ing both  is  some  fun.  Pleasing  ditties  now  and 
then  by  Pinky  Tomlin  help  a  pointless  story. 

RED  SALUTE — Reliance — U.  A.  Release 

THERE'S  just  enough  red  youth  in  this  to 
justify  the  title.  Mostly,  it's  an  amusing 
boy  and  girl  cross-country  flight  a  la  "It 
Happened  One  Night."  Barbara  Stanwyck, 
exiled  by  her  army  dad  to  Mexico  away  from 
radical  crush  Hardie  Albright,  lures  dough- 
boy Robert  Young  into  desertion  and  whole- 
sale grief  before  he  makes  her  see  the  patriotic 
light. 


ALIAS  BULLDOG  DRUMMOND- 
British 


-Gaumont 


AN  exciting  and  plausible  detective  yarn 
done  in  the  traditional  British  fashion, 
interspiced  with  bits  of  humor  and  breathless 
thrills  but  lacking  the  salient  features  of 
American  mysteries  makes  this  just  another 
detective  story.  Jack  Hulbert  goes  through 
his  bag  of  comic  antics  as  he  rescues  Fay 
Wray  and  recovers  stolen  gems  from  a  gang  of 
thieves. 

TWO   SINNERS— Republic 

OTTO  KRUGER  and  Martha  Sle«per  are 
the  principals  in  this  tedious,  tear-inducing 
account  of  an  ex-convict's  attempt  at  rehabil- 
itation. Complications  arise  when  Kruger 
finds  himself  in  love  with  Martha  Sleeper  and 
is  impelled  by  a  sense  of  righteousness  to 
divulge  his  past.  Cora  Sue  Collins  plays  the 
(inevitable)  brat  but  adds  the  necessary  and 
welcome  relief. 

THE   AFFAIR   OF   SUSAN— Universal 

^ASU  PITTS  in  an  amusing  "lonelyhearts" 
^comedy  with  Hugh  O'Connell.  Hugh  works 
in  an  auto  assembling  plant  putting  tail 
lights  on  cars;  ZaSu  sticks  tails  on  chocolate 
scotties  in  a  candy  factory.  Coney  Island 
provides  the  background  for  most  of  the  film, 
with  the  new  lovers  separated  when  a  chute- 
the-chute  capsizes.  Walter  Catlett  is  the 
romance  disturber. 

THE    BISHOP    MISBEHAVES— M-G-M 

TATHEN  an  adventurous  bishop  mixes  in  a 

**  robbery  plot  with  Liniehouse  crooks,  a 

beautiful  girl  and  a  daring  young  American, 


you  can  expect  most  anything.  In  this  case, 
you  can  expect  a  neat  British  farce  dripping 
with  Cockney  brogue  and  swiftly  paced  with 
side-splitting  complications.  Edmund  Gwenn 
is  the  meddling  clergyman.     Fast  and  funny. 

IT'S   IN   THE   AIR— M-G-M 

TTOU  don't  have  to  be  a  Benny  fan  (but 
*  aren't  we  all?)  to  pile  up  a  week's  good 
humor  from  this  harmless  concoction.  There's 
Ted  Healy,  too,  Una  Merkel  and  Nat  Pendle- 
ton. Jack  and  Ted,  a  leap  ahead  of  the  law, 
invade  a  swank  desert  resort,  pose  as  high 
flyers  and  have  to  make  good  in  a  stratosphere 
balloon.  It's  terrific!  Benny's  first  starring 
part. 

LITTLE   AMERICA— Paramount 

THE  magnificent  adventure  and  heroism  of 
the  second  Byrd  Antarctic  Expedition  has 
been  strikingly  captured  and  asssembled  into 
a  thrilling,  educational  and  important  picture. 
The  why  and  how  of  the  trip,  related  by  vivid 
photography  and  instructive,  chatty  narra- 
tion affords  a  tremendous  screen  experience 
you  shouldn't  miss.  Admiral  Byrd  makes  a 
personable  and  handsome  actor.  The  stark 
beauty  of  the  ice  barriers  is  unforgettable. 
Full  picture  length. 

MELODY   TRAIL— Republic 

GENE  AUTRY  just  about  proves  himself 
to  be  the  perfect  man  to  have  around  the 
house — what  with  his  versatile  abilities  in 
breaking  broncos,  cooking  biscuits,  crooning 
lullabies  to  screaming,  attention-demanding, 
infants;  catching  cattle  rustlers,  and  winning 
the  hearts  of  ladies.  He  does  all  this  in  a  slow- 
moving  and  unexciting  film 

THE  BIG  BROADCAST  OF  1936— Paramount 

TALENT — great  big  bundles  of  it — singing, 
dancing,  musical  talent,  spiced  with  in- 
imitable nit  wits  and  fun  fanatics  makes  Para- 
mount's  annual  film  revue  a  solid  wow — 
right  down  to  the  last  stanza  of  extravaganza. 
The  story  is  mainly  about  a  great  radio  lover 
lured  to  the  island  villa  of  a  beautiful  and 
modern  Circe  who  loves  'em  and  slays  'em. 

REMEMBER  LAST  NIGHT— Universal 

REMEMBER?  You'll  never  forget  it!  The 
wildest  party  you  ever  saw,  some  beautiful 
hangovers,  four — count  'em — four  murders  and 
a  suicide,  with  a  whole  batch  of  people  to 
suspect.  That's  this  super  mystery  dish  which 
either  burlesques  or  openly  copies  "The 
Thin  Man"  style.  Drawn  out  and  over- 
complicated but  with  its  moments  and  a 
swell  cast  including  Edward  Arnold,  Con- 
stance Cummings,  Sally  Eilers,  Robert  Young, 
Robert  Armstrong  and  Reginald  Denny. 

STORMY— Universal 

HERE'S  one  of  the  finest  horse  pictures 
ever  made.  Spectacular  action  photog- 
raphy and  wide  range  Western  beauty — 
with  a  tender,  touching  story  of  a  boy's  love 
for  his  horse,  lifting  it  high  above  the  "horse 
opera"  class.     Noah  Beery,  Jr.,  looking  like 


Evening  Jewelry 

A   touch   of  youthful  gaiety  distinguishes 
these  cabochon  moonstone  links, 
studs  and  vest  buttons  for 
evening  wear 


Set  illustrated 
$5.00 
others  up  to  $35. 


Personalized  Jetvelry 

FASCINATING   GIFTS  FOR  A   MAN 
This  smart  belt  buckle/ cravat  chain  and 
money  klip  are  given  personal  significance 
by  a  man's  own  initials. 


Belt  Buckle. 
Boxed         $1.00 
Sterling     $3.50 


'Personalized 
Ensemble 

Belt  Buckle. 
Cravat  Chain, 

Money  Klip, 
Boxed     $3.50 


*At  Jewelers  and  %Men,s  Shops 

THE   BAEH  a  WILDE   COMPANY.  ATTLEBORO.  MASS. 

SUDflliniK 


114 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,    1935 


An  extra   dividend   for  you 


—this  stunning  "powder  box" 

You'll  adore  this  smart  box  with  its  gleaming 
black  enamel  cover,  embossed  with  a  dainty 
silver  design,  that  makes  such  a  handy  pow- 
der box  for  your  dressing  table,  purse,  or  the 
office.  Each  contains  a  buckram  powder  sift- 
er, and  the  ribbon  is  wrapped  in  Cellophane, 
keeping  the  inside  of  the  box  immaculate. 

Carter's  Ideal  Typewriter  Ribbons  write 
beautifully  and  give  long  service.  They  come 
for  all  machines.  Ask  for  Carter's  Ideal  Rib- 
bons and  get  this  lovely  box  for  yourself! 

CARTER'S  Ideal 

Typewriter  Ribbon 


RILL  THE  HAIR  ROOT 


My  method  positively  destroys  the  hair 
roots.  Safe,  easy,  unfailing.  Use  it  pri- 
vately, at  home.  The  delightful  relief  will 
bring  happiness,  freedom  of  mind  and 
greater   success. 

Backed  by  35  years  of  successful  use  all 
over  the  world.  Send  6c  in  stamps  TO- 
DAY  for   Illustrated    Booklet. 

We  Teach  Beauty  Culture 

D.  J.  MAHLER  CO.,  Dept.  5T5P,   Providence,  ft.  I. 


ITCHING 

TORTURE  STOPPED  in  one  m/nute! 

For  quick  relief  from  the  itching  of  pimples,  blotches, 
eczema,  rashes  and  other  skin  eruptions,  apply  Dr. 
Dennis'  cooling,  antiseptic,  liquid  D.  D.  D.  Pre- 
scription. Its  gentle  oils  soothe  the  irritated  and 
inflamed  skin.  Clear,  greaseless  and  stainless — dries 
fast.  Stops  the  most  intense  itching  instantly.  A  35c 
trial  bottle,  at  drug  stores,  proves  it — or  money  back. 

D.D.D.    PAzAcSvL&tioTA. 


HOLLYWOOD'S  GUARDED 

BEAUTY  SECRET 
REVEALED! 


New  easy  home  treat- 
ment works  wonders  for 
flabby  chin  and  neck 
muscles,   wrinkles,   etc.- 


AT  last  Hollywood's  method  of  youthify- 
**ing  chin  and  neck  muscles  is  made  known 
to  the  women  of  America!  It  is  the  inven- 
tion of  Francess  Kable,  noted  English 
beautician,  and  is  used  and  endorsed  by  famous  stage 
and  screen  stars.  Results,  many  users  say,  are  startling. 
This  new  way  brings  five  youthifying  results: 

1.  Firms  flabby  neck  and  facial  muscles 

2.  Corrects  under-chin  heaviness 

3.  Builds  up  receding  chin 

4.  Smooths  away  wrinkles 

5.  Creates  and  protects  the  youthful  contour 
Why  let  your  neck   and   contour  lose  its  youthful  line? 
Whypayfor  costly  massage?  Francess  Kable'a  home  treat- 
ment is  so  simple  you  can  learn  it  in  three  minutes'  time. 

FREE  — Francess  Kable's  Instruction  Folder  and  spe- 
cial Introductory  Offer.  Just  send  your  name  and  ad- 
dn  BS,  and  learn  how  easily  you,  too,  may  have  a  firm, 
youthful  chin  and  neck  contour. 

FRANCESS  KABLE,  INC. 
400  N.  Michigan  Avenue,  Dept.  104,  Chicago,  Illinois 


a  future  star,  and  Rex,  a  magnificent  animal, 
are  the  principals.  Jean  Rogers  is  the  sweet 
romance;  Fred  Kohler  the  meanie.  Heartily 
recommended  to  all  animal  lovers.  Must 
for  the  children. 

WINGS  OVER  ETHIOPIA— Paramount 

TATITH  all  the  fireworks  going  on  you'll 
"  "  want  to  know  your  Ethiopia — and  here's 
your  chance.  Graphic,  colorful,  accurate  and 
comprehensive,  well  narrated  and  assembled, 
this  timely  full  length  travelogue  is  exactly 
what  you'll  be  wanting  to  see  to  understand 
what  it's  all  about  over  there.    It's  a  raw  film 


cross-section  of  a  primitive  land,  so  expect  a 
few  chills,  thrills  and  shocks  in  Selassie's 
Land.     Good  photography. 

HIS    FAMILY   TREE— RKO-Radio 

A  SLIGHTLY  absurd  and  ridiculous  com- 
**  edy  brings  James  Barton  back  to  the 
screen  again.  The  story  itself,  involving  a 
mayoralty  campaign  which  hinges  upon 
whether  or  not  the  candidate  changed  his 
name  from  Murphy  to  Murfree,  is  without  a 
redeeming  feature  and  runs  through  a  series  of 
too  familiar  situations  in  which  the  humor 
fails  to  register. 


Divorce  Taught  Them  How  Truly 
They  Were  Married 

[  CONTINUED  FROM  PAGE  51  ] 


course;  and  smoothly,  too.  Both  at  home  and 
in  public  places  the  newlyweds  were  to  be 
found  together,  usually  alone,  sometimes  with 
another  young  married  couple  happily  mated 
like  themselves.  If  Adrienne  went  on  a  visit 
to  the  folks  at  home,  Bruce  ate  his  meals  in  a 
restaurant  alone.  If  Bruce  was  away  on  loca- 
tion, Adrienne  didn't  go  out  at  all. 

Then,  kerplunk,  separation — followed  by 
rumors  of  divorce! 

THE  news  didn't  cause  the  sensation  it 
might  have,  because,  matrimonially  speak- 
ing Hollywood  has  been  passing  through  a 
hard  couple  of  years.  Bill  Powell  and  Carole 
Lombard  had  gone  Reno-ing.  Kenneth  Mac- 
Kenna  had  gone  to  New  York  while  Kay 
Francis  stayed  in  Hollywood.  Claudette  Col- 
bert and  Norman  Foster  had  decided  to  put 
their  separate  establishments  on  a  permanent 
basis.  Jean  Harlow  had  married  her  camera- 
man and  divorced  him.  Richard  Dix  had 
divorced  his  wife  and  married  his  secretary. 
Virginia  Bruce  had  extended  Jack  Gilbert's 
series  of  matrimonial  debacles  to  four.  Lila 
Lee  had  married  and  divorced  Jack  Paine. 
And,  most  engrossing  of  all,  our  Mary  had 
divorced  her  Doug. 

In  the  wake  of  all  this  excitement,  nobody 
stopped  to  analyze  the  reason  for  the  apparent 
failure  of  a  less  spectacular  marriage  which 
had  started  off  so  auspiciously.  If  anybody 
had,  he  would  have  found  that  it  was  a  reason 
which  is  causing  misunderstanding,  worry, 
anguish,  tragedy  in  thousands  of  homes  which 
are  basically  no  different  from  Adrienne's  and 
Bruce's. 

Stephen  Ames  was  not  only  a  very  rich  but 
a  very  generous  husband.  He  had  given  his 
wife  a  veritable  mansion  in  Beverly  Hills. 
Adrienne  loved  that  house.  Any  girl  would. 
So  it  was  natural  that  she  should  persuade 
her  new  husband  who  had  no  permanent  home 
of  his  own,  to  pack  up  his  few  bachelor  be- 
longings and  bring  them  from  his  simple  dig- 
gings to  the  big  house  on  the  hill.  And  it  was 
natural  that  the  new  husband  should  let  him- 
self be  persuaded. 

Neither,  apparently,  gave  a  thought  as  to 
how  such  a  home  or  such  a  scale  of  living  was 
to  be  maintained — except  by  the  age-old  mis- 
take of  living  beyond  their  income,  the  mis- 
take which  the  youthful  Cabots  forthwith 
made. 

Adrienne  had  never  done  much  actual  work 
in  pictures.  She  was  known  as  the  rich  girl 
who  got  her  break  in  Hollywood  by  paying  a 


famous  photographer  a  thousand  dollars  for 
one  devastatingly  beautiful  sample  photograph. 
This  reputation  hurt  her  in  the  honest  efforts 
she  later  made  to  show  her  real  ability.  So, 
naturally,  did  the  fact  that  she  didn't  need 
the  money.  As  a  result,  by  the  time  she  mar- 
ried Bruce  Cabot  she  had  become  almost  the 
forgotten  woman  of  the  studio  casting  offices. 
Her  earnings  were  practically  nil. 

Cabot  had  fared  better.  Staggering  out 
from  under  the  handicap  of  having  been  hailed 
as  "another  Clark  Gable,"  he  had  managed  to 
stand  on  his  own  capable  legs,  and  to  keep 
fairly  busy  in  moderately  important  parts. 
But  he  was  far  from  being  what  Hollywood 
calls  "in  the  money."  He  may  have  gotten 
five  hundred  a  week — when  he  got  it.  But 
his  year's  earnings  would  scarcely  have  paid 
the  expenses  of  the  family  motor  cars  and  the 
taxes  on  the  family  estate. 

In  short,  the  Cabots  were  broke. 

"It  was  all  my  fault,"  said  Bruce,  "for  not 
telling  Adrienne  in  the  very  beginning  that  I 
couldn't  afford  the  upkeep  on  that  sort  of 
thing." 

I  suppose  he  saw  from  my  silence  that  I 
agreed  with  him. 

"Why  didn't  I  tell  her?  Well,  you  must  re- 
member that  I  was  terribly  in  love  with  a  girl 
who  had  been  used  to  everything  under  the 
sun  in  the  way  of  material  comforts  and 
luxuries.  Perhaps  I  was  a  little  stubborn  in 
my  determination  to  keep  them  up  for  her 
when  I  knew  that  our  bank  balance  couldn't 
possibly  stand  the  strain. 

IT  wasn't  the  sort  of  life  I  liked,  it  wasn't 
the  sort  of  life  I  would  have  chosen  for  my- 
self. But  I  thought  that  it  was  as  much  a  part 
of  Adrienne's  happiness  as  my  small  house  and 
inexpensive  clothes  were  of  mine.  So  I  didn't 
in  any  way  indicate  that  I  was  out  over  my 
head. 

"I  guess  we  both  knew  instinctively  that 
there  was  something  wrong  with  the  set  up. 
But  we  chose  exactly  the  wrong  way  of  trying 
to  remedy  things.  We  took  to  buying  the 
most  costly  and  unnecessary  gifts  for  one  an- 
other, things  that  neither  of  us  really  needed." 

"That  last  statement  strikes  a  responsive 
chord,"  I  ventured,  for  I  knew  from  experience 
that  many  a  young  couple  had  made  just  this 
human  and  thoroughly  understandable  mis- 
take. 

"As  time  went  on  and  I  was  going  nearly 
crazy  trying  to  figure  out  how  I  was  going  to 
make  both  ends  meet,  I  still  didn't  take  the 


PHOTOPLAY  MAGAZINE  FOR  DECEMBER,   1935 


simple  way  of  having  a  heart-to-heart  talk 
with  Adrienne.  Instead,  I  took  to  running 
away  from  what  had  become  our  white 
elephant,  our  home.  I  spent  every  day  I 
could  on  the  golf  links. 

"Who  can  blame  Adrienne  for  becoming  re- 
sentful? I  couldn't  explain  that  I  wasn't 
really  trying  to  avoid  her,  that  I  was  merely 
escaping  from  the  worry  of  the  bills  I  knew  I 
couldn't  meet.  That  was  my  big  mistake,  I 
wasn't  honest  with  her. 

"As  the  bills  continued  to  mount  and  prey 
on  my  mind,  I  suppose  I  became  a  pretty 
tough  guy  to  live  with.  Little  things,  absurd 
things  began  to  vex  me  out  of  all  proportion. 
We  began  to  get  on  each  other's  nerves.  To 
be  perfectly  truthful,  I  really  wasn't  surprised 
when  Adrienne  came  to  me,  just  before  I  was 
to  start  on  that  long  location  trip,  and  told  me 
she  thought  our  marriage"  had  been  a  failure 
and  that  she  was  thinking  of  filing  suit  for 
divorce  while  I  was  away." 

As  I  listened  to  this  simple,  ingenous  tale 
of  two  young  people  caught  in  a  trap  which 
has  been  set  for  so  many  newly  married  couples 
since  the  beginning  of  matrimonial  time,  I 
asked  myself: 

"Can  this  be  Hollywood?" 

OF  course  it  can,  and  was.  For  this  was  the 
story  of  two  average  youngsters  of  an  aver- 
age town.  And  Hollywood  is  definitely  average. 
People  who  don't  know  it  very  we'l  are  apt 
to  regard  it  as  a  place  apart.  They  look  at  it 
through  Klieg  lights  of  curiosity  and  poly- 
chromatic lenses  of  gossip.  They  emphasize 
and  exaggerate  faults  and  foibles  which  pass 
unheralded  in  Toledo  or  South  Bend.  But 
Hollywood  is  an  even  more  accurate  cross- 
section  specimen  of  average  America  than 
either  of  these  typical  mid-western  cities. 
Hollywood  is  Toledo  and  South  Bend;  but  it 
is  also  Boston  and  San  Francisco,  Seattle  and 
Miami,  Carson  City  and  Baton  Rouge. 

Obviously,  the  misfortune  which  overtook 
Bruce  and  Adrienne  Cabot  might  have  over- 
taken them  in  New  York  or  Chicago  or  Sum- 
mit, New  Jersey.  The  rocks  on  which  their 
marriage  had  split  might  have  strewn  any 
road  to  marital  success. 

In  their  case,  the  rocks  happened  to  be 
financial  ones.  In  many  cases,  they  do!  But 
they  might  have  been  social  ones,  or  domestic 
ones,  or  political  ones,  or  just  plain  gas- 
tronomic ones. 

They  might  have  been  the  way  she  made  up 
her  eyes  and  the  color  she  daubed  on  her  nails. 
They  might  have  been  the  way  he  blew  his 
nose  or  the  angle  at  which  he  wore  his  derby 
hat. 

They  might  have  been  any  two  or  twenty 
of  the  reasons  why  a  young  wife  looks  at  a 
young  husband  or  a  young  husband  looks  at 
a  young  wife,  and  asks: 

"Am  I  really  in  love  with  that?" 

You  may  have  read  in  the  paper  about  a 
school  teacher  wife,  who  took  a  good  look  at 
her  husband  and  gave  him  seventy-three  de- 
merits. But  the  husband  was  not  crushed. 
Being  an  accountant  by  profession,  he  started 
adding  up  his  wife's  deficiencies  and  totalled 
forty-three. 

Well,  if  any  one  or  any  twenty  of  those 
marital  failings  had  existed  even  in  the 
imagination  of  Bruce  or  Adrienne  Cabot,  one 
or  the  other  of  them — matrimonial  times  being 
what  they  are — might  have  rushed  headlong 
into  the  divorce  courts — even  as  you  and  I! 

Well,  Adrienne  did  sue  for  divorce,  and  got 
it  on  one  of  the  stock  Hollywood  grounds 
permitted  by  the  hospitable  California  courts. 
In  this  case,  I  believe,  it  was  something  about 


Bruce's  not  liking  her  family!  Then  followed 
the  telephone  recourtship  which  Bruce  has 
described,  and  an  interlude  in  which  both 
members  of  the  temporarily  disrupted  firm 
began  making  a  strenuous  effort  literally  to 
balance  their  books. 

Adrienne  moved  from  the  big  house  to  a 
much  more  modest  home,  drove  a  flivver  instead 
of  a  Rolls,  messed  around  the  kitchen  as  she 
used  to  do  before  she  became  the  rich  Mrs.  Ames 
and  the  famous  Mrs.  Cabot,  and  made  a  serious 
business  and  definite  success  of  her  renewed 
work  in  the  studios.  She  was  good  in  "  Har- 
mony Lane,"  excellent  in  "Woman  Wanted." 

Bruce's  professional  progress,  as  we  have 
seen,  was  even  more  marked.  He  began 
getting  bigger  and  better  roles  and  playing 
them  in  a  bigger  and  better  way.  He  had  a 
wonderful  chance  in  "Snatched,"  for  which  he 
was  loaned  by  his  own  studio.  And  financially 
he  made  all  the  progress  that  could  be  expected 
of  a  firm  determination  bulwarked  by  a  strict 
regime  of  economy. 

"Things  were  a  little  more  involved  with 
me,  of  course,"  he  explained.  "I  hadn't 
realized  how  deeply  I  had  managed  to  plunge 
into  debt.  It  was  necessary  to  borrow  money 
to  bring  my  obligations  up  to  date  and  I  am 
now  paying  that  back  out  of  my  salary — 
which  means  that  I  am  budgeted  right  down 
to  the  quick.  But,  I  am  sure  that  by  the 
first  of  the  year  I  shall  have  paid  off  the  last 
installment  on  our  first  year  of  marriage. 

"That  was  the  reason  for  the  delay,  the 
reason  we  didn't  hurl  ourselves  back  into 
marriage  the  way  we  hurled  ourselves  out  of 
it,"  he  continued  calmly.  "When  we  tried 
again,  both  Adrienne  and  I  wanted  the  slate 
wiped  clean  of  all  past  mistakes  and  debts. 
We  wanted  to  start  out  absolutely  free  of  all 
the — well,  all  of  the  things  that  separated  us 
before." 

And  what  chance  have  they  of  success  in 
their  new  venture? 

Very  good,  I  should  say — they  being  the 
kind  of  simple  folk  they  are.  They  aren't 
Beacon  Hill  Cabots  or  Ameses,  you  know. 
They  weren't  born  to  the  purple  or  in  a  Rolls. 
They  haven't  been  accustomed  from  birth  to 
the  luxuries  which  fate  thrust  temporarily 
upon  them.  Adrienne  is  just  a  pretty  little 
Texas  girl  who  happened  to  attract  the  atten- 
tion of  a  rich  young  man.  Bruce  is  a  Canadian 
country  boy  who  has  maintained  himself  for 
many  years  in  many  jobs — one  of  them,  if  my 
memory  serves  me,  that  of  bouncer  in  a  cafe. 

WHY  shouldn't  they  find  happiness,  these 
two? 

Why  shouldn't  any  married  couple  who  face 
their  problems  as  frankly  and  as  fearlessly  as 
Bruce  and  Adrienne  are  facing  theirs? 

Even  in  Hollywood? 

Certainly. 

Marriage  is  not  necessarily  a  failure  in  the 
Hollywood  hills.  Stable  Hollywood  unions 
outnumber  unstable  ones  in  about  the  same 
proportion  that  they  do  in  any  other  com- 
munity. The  picture  business  presents  dif- 
ficulties, of  course.  The  hours  are  long,  and 
annoyingly  uncertain.  Wives  can't  plan  trips 
to  Europe  or  dinner  parties  or  even  picnics 
with  any  assurance  that  their  actor  husbands 
will  not  be  held  for  re-takes  at  the  studio. 
But  all  businesses  have  some  drawbacks,  and 
so  do  all  towns — even  an  average  town  like 
Hollywood. 

If  Adrienne  and  Bruce  have  really  learned 
the  lesson  which  some  of  us  learn  in  marriage, 
and  others  apparently  only  in  divorce — that 
love  is  the  only  thing  that  counts — they  have 
learned  the  only  lesson  that  counts. 


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Addresses  of  the  Stars 


HOLLYWOOD,  CALIF. 

Paramount   Studios 


Benny  Baker 
George  Barbier 
Wendy  Barrie 
Mary  Boland 
Grace  Bradley 
Carl  Brisson 
Kathleen  Burke 
Burns  and  Allen 
Kitty  Carlisle 
Claudette  Colbert 
Gary  Cooper 
Bing  Crosby 
Katherine  DeMille 
Marlene  Dietrich 
Frances  Drake 
Mary  Ellis 
W.  C.  Fields 
William  Frawley 
Trixie  Friganza 
Cary  Grant 
Julie  Haydon 
Samuel  Hinds 
David  Holt 
John  Howard 
Marsha  Hunt 
Helen  Jepson 
Roscoe  Karns 
Rosalind  Keith 
Walter  C.  Kelly 
Jan  Kiepura 
Baby  LeRoy 

20th  Century-Fox  Studios,    1401    N.  Western 
Ave. 

Paul  Kelly 


Carole  Lombard 
Ida  Lupino 
Fred  MacMurray 
Marian  Mansfield 
Herbert  Marshall 
Gertrude  Michael 
Raymond  Milland 
Joe  Morrison 
Jack  Oakie 
Lynne  Overman 
Gail  Patrick 
Elizabeth  Patterson 
Joe  Penner 
George  Raft 
Jane  Rhodes 
Lyda  Roberti 
Charlie  Ruggles 
Marina  Schubert 
Randolph  Scott 
Alison  Skipworth 
Sir  Guy  Standing 
Fred  Stone 
Gladys  Svvarthout 
Akim  Tamiroff 
Kent  Taylor 
Lee  Tracy 
Virginia  Weidler 
Mae  West 
Henry  Wilcoxon 
Toby  Wing 


Astrid  Allwyn 
George  Arliss 
Mona  Barrie 
Warner  Baxter 
Thomas  Beck 
William  Benedict 
Barbara  Blane 
John  Boles 
Rita  Cansino 
Ronald  Colman 
Jane  Darwell 
Alan  Dinehart 
James  Dunn 
jack  Durant 
Alice  Faye 
Stepin  Fetchit 
Ketti  Gallian 
Janet  Gaynor 
Frances  Grant 
Harry  Green 
Jack  Haley 

Edward  Everett  Horton 
Rochelle  Hudson 
Arline  Judge 

RKO-Radio    Pictures,    780   Gower   St 


Edmund  Lowe 
Fredric  March 
Nino  Martini 
John  J.  McGuire 
Victor  McLaglen 
Frank  Melton 
Frank  Mitchell 
Warner  Oland 
Pat  Paterson 
Regina  Rambeau 
Bill  Robinson 
Gilbert  Roland 
Tutta  Rolf 
Simone 

Slim  Summerville 
Shirley  Temple 
Andrew  Tombes 
Claire  Trevor 
Edward  Trevor 
Henry  B.  Walthall 
Jane  Withers 
Loretta  Young 


Walter  Abel 
Fred  Astaire 
Lucille  Ball 
James  Barton 
John  Beal 
Willie  Best 
Eric  Blore 
Helen  Broderick 
Margaret  Callahan 
Dave  Chasen 
Richard  Dix 
Steffi  Duna 
Irene  Dunne 
Hazel  Forbes 
Preston  Foster 
Helen  Gahagan 
Wynne  Gibson 
James  Gleason 
Betty  Grable 
Margot  Grahame 
Alan  Hale 
Jane  Hamilton 
Margaret  Hamilton 
Ann  Harding 

United  Artists  Studios 
Eddie  Cantor 
Charles  Chaplin 
Douglas  Fairbanks 

Columbia   Studios 
Robert  Allen 
Jean  Arthur 
Michael  Bartlett 
Wyrley  Birch 
Tala  Birell 
Nana  Bryant 
Leo  Carrillo 
Nancy  Carroll 
Andy  Clyde 
Walter  Connolly 
Douglas  Dumbrille 
Leon  Errol 
Thurston  Hall 
Arthur  Hohl 
Victor  Jory 


Katharine  Hepburn 
Maxine  Jennings 
Molly  Lamont 
Helen  Mack 
Ray  Mayer 
Raymond  Middleton 
Helen  Parrish 
Evelyn  Poe 
Lily  Pons 
Gene  Raymond 
Virginia  Reid 
Erik  Rhodes 
Buddy  Rogers 
Ginger  Rogers 
Anne  Shirley 
Lionel  Stander 
Barbara  Stanwyck 
Kay  Sutton 
Frank  Thomas,  Jr. 
Helen  Westley 
Bert  Wheeler 
John  Wood 
Robert  Woolsey 


1041    N.  Formosa  Ave. 
Miriam  Hopkins 
Joel  McCrea 
Mary  Pickford 

1438  Gower  St. 

Fred  Keating 
Arthur  Killian 
Peter  Lorre 
Marian  Marsh 
Ken  Maynard 
George  McKay 
Robert  Middlemass 
Geneva  Mitchell 
Grace  Moore 
George  Murphy 
Lloyd  Nolan 
Arthur  Rankin 
Florence  Rice 
Ann  Sothern 
Raymond  Walburn 

Walter     Wanger     Productions,      1040     North 
Las   Palmas 

Alan  Baxtei  Henry  Fonda 

Joan  Bennett  Frances  Langford 

Charles  Boyer  Sylvia  Sidney 

Peggy  Conklin 


CULVER  CITY,  CALIF. 

Hal  Roach   Studios 

Don  Barclay  Patsy  Kelly 

Billy  Bletcher  Stan  Laurel 

Charley  Chase  Billy  Nelson 

Billy  Gilbert  Our  Gang 

Oliver  Hardy  Douglas  Wakefield 


Metro-Goldwyn 
Prian  Aherne 
Elizabeth  Allan 
Lionel  Barrymore 
Granville  Bates 
Wallace  Beery 
Robert  Benchley 
Constance  Bennett 
Virginia  Bruce 
John  Buckler 
Ralph  Bushman 
Charles  Butterworth 
Bruce  Cabot 
Mary  Carlisle 
Constance  Collier 
Cicely  Courtneidge 
Joan  Crawford 
Live  de  Maigret 
Dudley  Digges 
Nelson  Eddy 
Stuart  Erwin 
Madge  Evans 
Louise  Fazenda 
Betty  Furness 
Clark  Gable 
Greta  Garbo 
Gladys  George 
Igor  Gorin 
Jean  Harlow 
Frank  Hayes 
Helen  Hayes 
Louis  Hayward 
Ted  Healy 
Louise  Henry 
William  Henry 
Jean  Hersholt 
Irene  Hervey 
Gyles  Isham 
Allan  Jones 
June  Knight 
Otto  Kruger 


Mayer  Studios 
Myrna  Loy 
Paul  Lukas 
Jeanette  MacDonald 
Mala 

Marx  Brothers 
Una  Merkel 
Robert  Montgomery 
Frank  Morgan 
Chester  Morris 
Edna  May  Oliver 
Maureen  O'Sullivan 
Reginald  Owens 
Cecilia  Parker 
Jean  Parker 
Nat  Pendleton 
Rosamond  Pinchot 
Eleanor  Powell 
William  Powell 
Luise  Rainer 
May  Robson 
Mickey  Rooney 
Shirley  Ross 
Rosalind  Russell 
Norma  Shearer 
Frank  Shields 
Harvey  Stephen 
Henry  Stephenson 
Harry  Stockwell 
Lewis  Stone 
Gloria  Swanson 
William  Tannen 
Robert  Taylor 
Franchot  Tone 
Spencer  Tracy 
Charles  Trowbridge 
Henry  Wadsworth 
Lucille  Watson 
Johnny  Weissmuller 
Diana  Wynyard 
Robert  Young 


UNIVERSAL  CITY,  CALIF. 


Universal 


Baby  Jane 
Binnie  Barnes 
Willy  Castello 
June  Clayworth 
Andy  Devine 
Jean  Dixon 
Irene  Dunne 
Marta  Eggerth 
Sally  Eilers 
Valerie  Hobson 
Jack  Holt 
Buck  Jones 
Boris  Karloff 
John  King 


Studios 
Frank  Lawton 
Edmund  Lowe 
Bela  Lugosi 
Henry  Mollinson 
Hugh  O'Connell 
Dorothy  Page 
Marina  Passerowa 
ZaSu  Pitts 
Jean  Rogers 
Cesar  Romero 
Gloria  Stuart 
Margaret  Sullavan 
Clark  Williams 
Jane  Wyatt 


BURBANK,  CALIF. 


Warners-First  Na 
Eddie  Acuff 
Ross  Alexander 
John  Arledge 
Mary  Astor 
Robert  Barrat 
Joan  Blondell 
George  Brent 
Joe  E.  Brown 
James  Cagney 
Hobart  Cavanaugh 
Colin  Clive 
Ricardo  Cortez 
Joseph  Crehan 
Marion  Davies 
Bette  Davis 
Olivia  de  Haviland 
Paul  de  Ricou 
Dolores  Del  Rio 
Claire  Dodd 
Robert  Donat 
Maxine  Doyle 
Ann  Dvorak 
John  Eldredge 
Gordon  Elliott 
Patricia  Ellis 
Helen  Ericson 
Florence  Fair 
Glenda  Farrell 
Errol  Flynn 
Kay  Francis 
William  Gargan 
Virginia  Grey 
Hugh  Herbert 
Leslie  Howard 
Warren  Hull 
Ian  Hunter 
Josephine  Hutchinson 


tional  Studios 
Sybil  Jason 
Allen  Jenkins 
Al  Jolson 
Ruby  Keeler 
Anita  Kerry 
Guy  Kibbee 
Joseph  King 
Margaret  Lindsay 
Anita  Louise 
Helen  Lowell 
Barton  MacLane 
Everett  Marshall 
Frank  McHugh 
James  Melton 
Martha  Merrill 
Jean  Muir 
Paul  Muni 
Pat  O'Brien 
Henry  O'Neill 
Dick  Powell 
Phillip  Reed 
Philip  Regan 
Edward  G.  Robinson 
Mary  Russell 
Joseph  Sauers 
Louise  Seidel 
Winifred  Shaw 
Eddie  Shubert 
Lyle  Talbot 
Verree  Teasdale 
Martha  Tibbetts 
Genevieve  Tobin 
June  Travis 
Mary  Treen 
Rudy  Vallee 
Warren  William 
Donald  Woods 


Lloyd  Hughes,  616  Taft  Bldg.,  Hollywood,  Calif. 

Harold  Lloyd,  6640  Santa  Monica  Blvd..  Hollywood, 

Calif. 

Neil  Hamilton,  351  N.  Crescent  Dr..   Beverly  Hills, 

Calif. 

Ned  Sparks.  1765  No.  Sycamore  Ave.    Hollywood. 


PHOTOPLAY  MAGAZINE  FOR   DECEMBER.    1935 


117 


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|  CONTINUED  FROM  PAGE  52  ] 

He  was  clad  in  high  and  dirty  boots,  open 
shirt,  and  wicked  looking  hunting  knife.  Clark 
Gable  had  nothing  on  this  beauteous  he-man. 
Hollywood  had  come  to  Alaska — I  would  bring 
Alaska  to  Hollywood!  And  wouldn't  he  make 
a  sensation! 

"Wouldn't  you  like  to  come  to  Hollywood?" 
"Hollywood?"    he    snorted.     "Why,    I   go 
there  every  winter  and  work  in  the  Ambas- 
sador Hotel  .  .  .  say,  how's  the  old  Cocoa- 
nut  Grove,  anyway?" 

THEN  came  Vancouver,  and  who  should  I 
meet  but  Robert  Cromie,  famous  publisher 
of  the  Vancouver  Sun,  and  his  charming  family. 
From  them  I  learned  that  Norma  Shearer  is 
Canada's  pet — and  that  ended  that!  No  more 
movie  discussions!  Until  next  day.  At  their 
cocktail  party.  Young  thing  No.  1  grabbed 
my  shoulder  and  begged,  "What  does  Freddie 
March  look  like?  Is  he  really  that  handsome?" 

"Well,"  I  began,  when  Young  Thing  No.  2 
bombasted  me  with: 

"No,  tell  me  about  Merle  Oberon!  Is  she 
really  and  truly  so  exotic  looking?" 

"She's  very — '  I  started  when  another 
swooped  down: 

"  Oh,  tell  me  everything  about  Shirley  Tem- 
ple— is  she  actually  as  darling  in  real  life?" 

I  crawled  under  the  couch  and  stayed  there. 
After  all,  this  was  supposed  to  be  a  vacation! 

But  I  must  tell  you  ...  On  the  train  to 
Seattle  a  nice,  elderly  man  came  and  sat  with 
me  while  his  berth  was  being  made  up.  The 
more  we  chatted  the  more  I  noticed  a  peculiar 
thing.  He  looked  exactly  like  Will  Rogers. 
Finally  I  told  him  so.  He  said  that  many 
people  had  remarked  about  it. 

"Did  you  know  him?"     I  asked. 

He  smiled  sadly.  "Yes,"  he  answered,  "I 
guess  I  did  .  .  .  for  nearly  twenty-five  years. 
My  name  is  Reverend  Brougher.  I  just  buried 
Will." 

How  would  you  like  to  take  a  little  jaunt  to 
Europe  that  cost  you  seventeen  thousand  five 
hundred  dollars  before  you  even  got  started? 
Nope!  I'm  not  loony,  but  that's  how  Douglass 
Montgomery  just  lost  .  .  .  and  all  because 
he's  superstitious. 

For  a  long,  long  time  Doug  has  wanted  to 
take  a  trip  to  Europe,  but  everytime  he  even 
dared  to  dream  about  it,  something  came  up 
to  stop  him,  which  was  swell,  for  that  some- 
thing was  usually  a  juicy  job.  Recently,  how- 
ever, our  blond  boy  finished  "  Harmony  Lane" 
(which  is  the  life  of  Stephen  Foster  who  wrote 
all  the  delightful  old  Southern  melodies)  and 
went  right  out  and  bought  his  tickets.  "  Now," 
said  he  firmly,  "I've  got  to  go,  no  matter  what 
happens,  because  it's  bad  luck  to  cancel  reser- 
vations." 

So,  what  happens?  First,  Columbia  offers 
him  twenty-five  hundred  dollars  a  week  with 
a  six  week  guarantee,  to  do  "Song  of  the 
Damned."  Our  iron-chinned  boy  turns  it 
down.  Second,  in  Washington,  they  beg  him 
to  take  fifteen  hundred  dollars  to  come  out 
and  make  one  personal  appearance  with  "Har- 
mony Lane;"  but  Doug  again  shakes  his  noodle. 
Unh-uhn!  He'll  not  get  to  N.  Y.  in  time  if  he 
stays  over.  Finally,  in  New  York  he  is  offered 
one  thousand  berries  to  do  a  single  broadcast, 
but  this  is  out  or  Douglass  will  miss  his  boat. 


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118 


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Now,  get  busy  on  your  little  adding  machine, 
and  you  will  learn  that  Mr.  Montgomery  could 
ha'  made  hisself  $17,500.  But —  he  had  to  see 
Yurrup! 

Another  gent  what's  travelling  these  days  is 
Edward  Arnold,  or  will  be,  any  moment  that 
Mrs.  "Diamond  Jim"  can  finish  all  her  shop- 
ping. "You'd  think,"  sighed  the  gent,  "that 
we  were  going  to  take  a  trip  around  the  world 
instead  of  going  to  Honolulu  for  a  week."  The 
missus  looked  around  at  all  the  trunks  and 
suitcases  and  boxes  and  parcels  that  overflowed 
the  room.  "What  are  we  going  to  do  with  it 
all?"  she  sighed. 

Mr.  Arnold  grinned.  "I'd  suggest  that  we 
leave  it  at  home!" 

Traditions  of  the  theater  are  not  lost  in  the 
movies.  The  show  must  go  on.  Herbert 
Mundin,  that  excellent  little  comedian  with 
the  heavy  eyebrows  and  the  expressive  nose, 
started  doing  a  hilariously  funny  scene  at  nine 
sharp  one  morning  last  week  in  "Charlie 
Chan's  Secret."  At  the  same  moment  his  very 
beautiful  wife  was  lying  on  a  hospital  operat- 
ing table  for  an  appendectomy! 

ONCE  upon  a  time,  my  child,  there  was  a 
little  boy  who  lived  in  Springfield,  Illinois. 
(Pome!)  He  always  used  to  gaze  at  the  statue 
of  Abe  Lincoln  on  the  State  House  grounds 
.  .  .  and  he  used  to  go  into  the  President's 
old  house  which  was  open  to  the  public  and 
sort  of  look  around  and  absorb  things.  The 
little  fellow  grew  up  and  went  on  the  stage. 
He  played  homey,  lovable  characters.  And 
in  the  Ziegfeld  Follies,  in  the  midst  of  riotous 
laughter  and  pageants  of  lovely  ladies,  he  did 
a  touching  act  in  which  he  played  an  old  vet- 
eran who  knew  Lincoln.  He  played  it  so  well, 
and  so  sincerely  that  the  house  always  turned 
to  tears,  and  their  applause  would  ring  to  the 
roof.  And  then  this  man  went  into  the  movies. 
He  still  gave  his  homey  characterizations  of 
country  folk,  and  he  did  a  lot  of  writing  on  the 
side.  He  won  a  great  place  in  the  hearts  of  the 
American  people.  And  then  came  the  realiza- 
tion of  a  dream.  Metro-Goldwyn-Mayer  picked 
him  to  play  the  part  of  Lincoln  in  a  short, 
based  on  "The  Perfect  Tribute"  by  Mary 
Shipman  Andrews.  Sister  Ruth  Cummings 
made  the  adaptation  which  turned  out  so 
beautifully  that  when  Mrs.  Andrews  saw  the 
completed  picture  in  the  projection  room  she 
remarked  that  she  wished  she  had  thought  of 
writing,  in  her  book,  some  of  the  sequences 
added  in  the  short. 

As  if  this  wasn't  praise  enough,  the  Governor 
of  Illinois  saw  the  little  picture,  realized 
what  a  gem  it  was,  and  invited  the  portrayer 
of  Lincoln  to  come  to  Springfield  during  a  com- 
ing Lincoln  celebration;  live  in  the  Executive 
Mansion,  and  make  a  personal  appearance 
when  the  short  is  shown !  Said  portrayer  wants 
to  bring  his  pa  and  ma  with  him,  although 
they're  getting  pretty  old  to  make  the  journey 
.  .  .  and  then  he  wants  to  take  another  look 
around  where  he  was  born  and  say  howdy  to 
his  old  friends  who  probably  haven't  forgotten 
Chic  Sale. 

Laff  ?  I  thought  I'd  turn  myself  into  a  per- 
manent wave!  Went  to  see  the  Duncan  Sisters 
last  week  at  a  downtown  theater,  and  they 
were  sweller  than  ever.  Later,  back  stage,  we 
met  the  tiny  Evelyn,  daughter  of  Vivian  and 
the  divorced  Nils  Asther.  Evelyn  is  the  picture 
of  daddy  and  the  sweetest,  most  well  bred 
babe  I've  ever  met.  We  all  drove  back  to  their 
hotel,  and  while  the  young  one  napped,  we  sat 
around  and  yarned  and  gossiped  and  dished 
the  dirt  about  old  times. 

We  parted  with  the  promise  to  get  together 
the  next  P.M. 


But  next  A.M.  I  got  a  surprise.  A  postcard 
with  an  imposing  picture  of  the  Normandie. 
On  the  back  was  the  following: 

"Just  wanted  to  say  hullo.  On  my  way  to 
London  to  make  a  picture.  Regards  to  mother. 
Nils  Asther."! 

Still  in  Babyland,  lambie.  And  will  you  let 
me  take  time  off  to  chuckle  in  my  long  gray 
beard?  I'm  thinking  of  Evelyn  Venable  who 
is  soon  to  have  a  wee  one.  Just  recently  a 
friend  of  hers  came  calling. 

In  answer  to  his  ring,  the  maid  opened  the 
door  and  the  visitor  proceeded  directly  to  the 
living  room. 

There  sat  Evelyn,  totally  unaware  that  she 
had  a  caller,  struggling  to  pin  a  diaper  on  a 
life  size  baby  doll! 

When  she  saw  she  had  company,  she  chucked 
the  diaper  quick  under  a  sofa  pillow,  but  for- 
got to  take  the  safety-pin  out  of  her  rosebud 
mouth! 

The  friend  busted  out  larfing  and  the  actress, 
sunset-hued  with  confusion,  explained  that  she 
felt  she  might  as  well  learn  a  few  tricks  ahead 
of  time.  Even  though  she'd  have  a  nurse  to 
care  for  the  baby,  smiled  Evelyn,  breathed 
there  a  mother  with  soul  so  dead,  who  never 
to  herself  hath  said,  "This  is  my  child,  my 
only  one,  and  I'll  get  this  diaper  on  if  it  takes 
till  Kingdom  Come!" 

Hey,  you!  Dig  into  your  money-bags  and 
mail  a  buck  to  Gene  Raymond  for  the  World's 
Most  Embarrassing  Question.  Then  slip  in 
another  one  for  the  Prize  Comeback.  And 
now  that  you  are  penniless,  I  shall  explain. 
First  off,  Monsieur  Raymond,  when  he  was  on 
Broadway,  was  a  smoothie  for  comedy  roles. 
Oh,  no,  he  hasn't  played  a  funny  man  in  pic- 
tures, but  that's  what  he  should  be  doing. 
Well,  one  day  along  comes  a  lady  interviewer 
who  plied  him  with  questions  on  thisathing 
and   thatathing 

Just  toward  the  end  she  thought  of  a  bright 
one. 

"  What,"  she  shot  joyously,  "is  your  opinion 
of  a  trial  honeymoon  properly  chaperoned?" 

"My  dear  lady,"  lighteninged  Gene,  "what 
is  your  opinion  of  a  trial  chaperon  properly 
honeymooned ! " 

WHICH  reminds  me  of  my  pal,  Nelson 
Eddy!  And  the  Haunting  Spectre  of  the 
Might-Have-Been!  Yesterday  I  bumped  into 
the  singer  in  the  mail  department  of  his  home 
studio,  just  as  he  was  in  the  midst  of  collect- 
ing fan  mail  which,  if  laid  end  on  end,  would 
stretch  to  ...  .  There! 

"I  thought  you  were  in  Alaska?"  he  ques- 
tioned. 

"I  thought  you  were  in  Lake  Tahoe  making 
'Rose  Marie',"  I  twittered  right  back. 

"Going  this  evening,"  said  Nelson.  "Couldn't 
you  take  another  holiday  and  come  along?  " 

Regretfully  and  mournfully  I  shook  my 
head.  Nelson  sighed.  "Well,"  he  said,  "I 
guess  I'll  have  to  spend  my  time  answering 
fan-mail  in  my  compartment,  instead  of  talk- 
ing to  you."  He  packed  his  load  of  two  thou- 
sand letters  under  his  arms,  grabbed  his  coat 
and   suitcase  and   started  off. 

"Well,  bye-bye,"  he  grinned,  "if  you 
change  your  mind,  Mitzi,  it's  the  six-twenty 
at  Glendale." 

Weeps  and  wails,  I  couldn't  go  to  Tahoe; 
but  at  least  I  could  send  a  message.  And  this 
was  it:  "Mr.  Nelson  Eddy,  car  26,  care  con- 
ductor, Southern  Pacific,  Glendale,  California. 
'If  you  had  been  a  little  more  persuasive  you 
might  have  had  help  with  your  fan-mail  ex- 
clamation point  stop  anyway  the  mostest  of 
the  bestest  signed 

Naughty  Mitzi." 


PHOTOPLAY   MAGAZINE   FOR   DECEMBER.    1935 


119 


Jean  Arthur  Charms  Men 


CONTINUED  FROM  PAGE  44 


director  wound  up  and  put  through  a  scene.  1 
got  very  stubborn  with  myself  I  made  up  my 
mind  to  find  out -why  I  didn't  click.  I  know 
now  what  the  matter  was.  I  know  it's  the 
finest  thing  in  the  world  if  anyone  can  be  com- 
pletely herself  at  any  time.  But  I  don't  think 
Hollywood  is  the  place  to  be  yourself.  There 
are  too  many  formulas  in  pictures.  The  in- 
dividual ought  to  find  herself  before  coming  to 
Hollywood.    Then  she'll  have  a  chance. 

"  So  I  muddled  along.  I  didn't  improve.  I 
was  completely  frustrated.  And  then  I  real- 
ized that  if  I  ever  expected  to  be  any  good  in 
pictures  I'd  have  to  grow.  I  threw  up  my  con- 
tract and  decided  to  go  back  to  New  York. 

"  It  wasn't  easy  to  get  a  job  on  the  stage  that 
winter  of  1931-32.  There,  were  too  many 
capable,  experienced  people  haunting  the  book- 
ing offices,  glad  to  get  any  kind  of  a  part.  But 
finally  I  did  land  a  job.  On  the  stage  I  found 
myself  in  a  different  world.  The  individual 
counted.  The  director  encouraged  me  and  I 
learned  how  to  be  myself." 

IF  the  words  sounded  a  bit  egotistical  they 
were  belied  by  the  honest  smile  with  which  she 
accompanied  them.  She  leaned  over  and  held 
a  match  to  my  cigarette. 

It's  pleasant  for  a  man  to  have  his  cigarette 
lighted  by  a  shapely  feminine  hand  on  which 
the  nails  preserve  the  natural  rosy  hue  of 
dawn.  Jean  Arthur  knows  that  men  hate 
women's  nails  that  are  enameled  to  resemble 
the  claws  of  a  boiled  lobster.  Instinctively  she 
knows  this  little  item,  just  as  she  knows  dozens 
of  other  trifles  that  make  an  impression  on  the 
opposite  sex.  Her  whole  life — not  consciously, 
but  so  directed  just  the  same — has  been  a  busi- 
ness of  handling  men.  And  men  are  her  best 
audience  when  she  appears  on  the  screen 
Women  are  not  so  enthusiastic  about  Jean 
Arthur.  Many  frankly  dislike  her.  No 
wonder.  In  learning  how  to  handle  the  clumsy 
but  necessary  male,  Miss  Arthur  has  made  her- 
self a  formidable  competitor  in  that  feminine 


struggle  always  going  on — the  struggle  to  win 
recognition  in  a  world  controlled  by  men. 

Nature  did  her  part  in  equipping  Miss 
Arthur  for  this  struggle.  The  young  woman 
reclining  against  the  canary  pillows  on  the 
wicker  lounge  possessed  compact  curves.  The 
curve  of  her  naturally  red  lips  was  provoking 
to  say  the  least.  But  curves  are  not  enough  to 
win  other  than  the  shallowest  of  victories  in  the 
battle  of  the  sexes.  Brains  are  essential. 
Brains  she  has. 

Many  women  give  a  man  the  feeling  he 
should  be  on  his  guard.  But  there  is  a  boyish 
quality  about  this  young  woman  that  instantly 
disarms  the  male.  He  doesn't  feel  her  to  be  an 
alien  creature. 

Jean  Arthur  has  been  terribly  frustrated  in 
this  battle  for  recognition  but  she  has  refused 
to  accept  defeat.  Instead,  she  has  set  up  a 
defense  and  perfected  her  essentially  feminine 
technique.  The  defense — outcome  of  her  frus- 
tration— is  the  thing  that  makes  her  unpopular 
sometimes.  Around  the  studios  Miss  Arthur 
has  the  reputation  of  being  "hard  to  handle." 
She'll  fight  like  a  wildcat  for  what  she  wants  in 
a  certain  scene.  But  she  fights  for  it  because 
she  knows  it  will  help  her  to  give  the  best  pos- 
sible performance  in  that  scene.  This  means 
she  is  always  fighting  for  an  individual  char- 
acterization— against  the  convenient  formula 
system  that  is  such  a  dead  weight  in  pictures. 

We  had  come  that  afternoon  from  a  set  on 
which  Miss  Arthur  was  working  at  Columbia 
in  "Lady  Beware."  Her  blond  bobbed  hair 
waved  at  the  ends  and  parted  on  the  side;  in  a 
cheap  white  satin  blouse  and  black  skirt  she 
was  playing  one  of  those  hard-boiled  ingenue 
roles  she  seems  always  fated  to  draw.  The 
producers  have  her  pegged  for  this  type  and  she 
is  still  frustrated,  still  fighting  for  the  mature 
parts  she  feels  she  is  now  capable  of  handling. 

Meanwhile  she  does  the  best  she  can  with 
these  hard-boiled  flappers  who  so  persistently 
run  to  type  in  a  movie  script — trying  to  differ- 
entiate them — to  give  each  girl  her  particular 


take  a  Beauty  Laxative 


If  you  want  to  keep  the  sparkle  in  your  eye 
and  the  peaches  and  cream  in  your  complex- 
ion, get  rid  of  accumulated  body  waste  regu- 
larly. If  Nature  fails  to  maintain  a  regular 
schedule,  take  a  beauty  laxative. 

Olive  Tablets  are  just  the  thing  for  the 
purpose.  Gentle  and  mild,  easy  to  swallow, 
non-habit-forming,  they  assist  nature  in  her 
work  of  house  cleaning. 

Keep  tab  on  yourself.  If  more  than  a  day 
goes  by,  take  a  beauty  laxative — Olive  Tab- 
lets. Three  sizes—  1 5«- 30«i-60«l.  All  druggists. 


_  DR.  EDWARDS 

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Songs,  Make-up  Goods. 
Catalog  Free 
T.S.Donison&Co.623  S.Wabash,  Oept.  76,  Chicago 

ARTIFICIAL 


DENISON'S 

PLAYS 


LASHES 

BROUGHT  TO  YOU  FOR  THE  FIRST 
TIME   AT   A   REASONABLE    PRICE! 


The  secret  of  the  captivating  beauty  of  movie 
stars!  Long.  dark,  lustrous  lashes  that  transform  eyes  into  b*w'tch- 
ing  pools  ->f  irresistible  fascination.  Makes  the  eyes  look  larger,  more 
brilliant,  and  far  more  expressive.  Try  a  pair  of  these  wonderful 
lashes  and  you  will  be  surprised  ate"*-* 
quired.  Quickly  put  on  by  anyor 
and  again.  Mailed  promptly  on  r 

MITCHELL  BEAUTY  PRODUCTS.1005-N.4162  Washington, St.Louis,  Md, 


..  _. agic  charm  t  _ 

olutely  safe,  can  be  used  again 

)ipt  of  price.  35c  pair,  3  pair  $1.00. 


The  screen"  s  newest  romantic  combination,  Miriam  Hopkins  and  Joel 
McCrea.  who  did  so  admirably  in  "Barbary  Coast/'  are  to  appear  to- 
gether   again    in    "Splendor,"    which    Samuel    Goldwyn    is    now    producing 


Stop.. 

WORRY  OVER 

tiMtate, 

GRAY 
HAIR 


Now,  without  any  risk,  you  can  tint  those  streaks  or 
patches  of  gray  or  faded  hair  to  lustrous  shades  of 
blonde,  brown  or  black.  A  small  brush  and  Browna 
tone  does  it.  Prove  it— by  applying  a  little  of  this 
famous  tint  to  a  lock  of  your  own  hair. 

Used  and  approved — for  over  twenty-four  years 
by  thousands  of  women.  Brownatone  is  safe.  Guar- 
anteed harmless  for  tinting  gray  hair.  Active  coloring 
agent  is  purely  vegetable.  Cannot  affect  waving  of 
hair.  Is  economical  and  lasting — will  not  wash  out. 
Simply  retouch  as  the  new  gray  appears.  Imparts 
rich,  beautiful  color  with  amazing  speed.  Just  brush 
or  comb  it  in.  Shades:  "Blonde  to  Medium  Brown' 
and  "Dark  Brown  to  Black"  cover  every  need. 

BROWNATONE    is   only    50c— at   all  drug  and 
toilet  counters — always  on  a  money-back  guarantee. 


personality.    And  she  had  been  arguing  on  the 
set  about  that  very  thing. 

While  people  on  the  set  went  about  shaking 
their  heads,  whispering  something  about  her 
being  temperamental. 

Her  scene  began.  The  little  flapper  walks 
slowly  from  one  room  of  her  small  apartment 
to  another.  She  is  still  dazed  by  the  tragic 
revelation  of  a  previous  scene  in  which  her  boy 
friend  told  her  he  was  through.  Suddenly  two 
burly  men  confront  her. 

"What  do  you  want?" 

The  voice  uncomprehending,  pitiful.     The 
burliest  of  the  men  sticks 
out  his  fist,  a  gold  badge 
glittering  in  his  palm. 

"Homicide  squad." 

The  blue  eyes  widen, 
the  hand  goes  instinc- 
tively to  the  head,  ruffling 
the  waved  blond  hair.  The 
knowledge  that  she  is  sus- 
pected of  a  murder  comes 
slowly  into  the  dazed  face 
of  the  little  flapper. 

"Get  your  hat  on." 

BRUSQUELY  the 
^heavy-footed  detective 
takes  her  arm.  They  lead 
the  little  flapper  off  to 
prison. 

She  may  be  what  they 
call  temperamental  in 
Hollywood  —  but  Arthur 
troups.  All  afternoon  un- 
der the  boring  lights,  get- 
ting arrested  over  and 
over  by  those  two  per- 
spiring, heavy-handed 
dicks. 

We  escaped  towards 
evening  to  the  cool  retreat 
of  a  screened-in  porch  that 
overlooks  a  patio  planted 
with  shubbery  and 
flowers. 

The  blond  hair  was 
combed  out  now,  the 
blouse  and  skirt  replaced 
by  a  simple  garment  that 
zipped  up  the  front,  some 
rough  material  that  never- 
theless knew  how  to  cling 
— for  it  was  a  Jean  Arthur 
dress. 

We  sipped  cold  beer. 
Around  us  was  the 
radiance  of  a  California 
day.  Nestled  in  this 
radiance  of  eternal  sum- 
mer the  bungalow  in 
Beverly  Hills  lifted  white 
stucco  walls.  Tall  palm 
trees  lined  the  street  and 
waved  about  the  patio 
wall.  This  is  a  home  Jean 
Arthur  has  made  a  re- 
flection of  herself — of  that 
persistent  femininity  that 
is  her  stock-in-trade. 

"Nice?"  she  smiled. 
"Yes,  I've  remodeled  the 
place  to  suit  myself — 
though  we  only  rent  it.  I  love  a  house.  I  like 
to  decorate  and  arrange  interiors.  I  never  go 
into  a  room  without  saying  to  myself: 'How 
lovely!'  Or,  'Wouldn't  this  be  charming  if 
they  would  only  change  the  drapes!'  " 

She  was  so  innocent  of  the  forces  that  have 
moulded     her    into    this    perfectly    feminine 

120 


creature  who  yet  retains  an  almost  boyish 
charm.  I  studied  her,  this  Viking  girl,  whose 
pale  but  warmly  colored  tints,  whose  soft 
white  skin — soft,  but  gilded  by  the  shadows,  by 
I  know  not  what  vaporous  effusion  of  femi- 
ninity— glowed  as  though  with  reflected  rays  of 
color  and  light.  •       ' 

Jean  Arthur  seems  created  for  charming 
the  opposite  sex  by  a  particular  effort  of  nature. 
But  it  is  not  so.  Beauty  nature  gave  her,  yes. 
But  it  was  what  happened  to  her  in  her  earliest 
childhood  that  made  Jean  Arthur  into  a  woman 
who  is  able  to  offer  that  impression  of  boyish 


All  Hollywood's 

Playing 

This  Game 


Remember  "Murder"?  Well,  murder  will  out — pardon — 
murder  is  out.    That  is,  it  is  in  Hollywood. 

It  is  a  grand  game.  But  instead  of  enacting  a  crime  you  detect 
the  criminal  of  an  already  cooked-up  crime. 

Here's  the  rule  book.  Assuming  you  and  your  playmates  are 
all  settled  in  one  room,  you  pick  two  of  the  gathering  and  send 
them  out  of  the  room. 

While  they're  out,  the  rest  of  the  party  cook  up  a  murder  story 
— just  like  you  read  it  in  the  papers.  "Joseph  Xavier  Doakes 
found  dead  on  the  back  porch  of  his  home.  He  was  shot  through 
the  ear.  The  body  was  in  an  upright  position.  The  socks  were 
gone.  His  watch  had  stopped  at  12  midnight" — and  so  on — all 
the  details  of  the  crime. 

Then  you  take  two  slips  of  paper.  On  one  the  details  are  written. 
The  other  is  blank.  Put  the  papers  in  a  hat.  No  one  in  the  room 
is  to  know  which  is  the  real  one  and  which  is  the  blank  piece. 
Call  in  the  victims,  have  them  draw,  and  then  send  them  out  again, 
this  time  to  separate  rooms  (so  they  can't  compare  notes). 

Now  the  stage  is  set.  No  one  in  the  room  knows  which  one 
knows  the  details — but  the  one  who  does  (that  is,  the  one  who 
has  drawn  the  paper  with  the  crime  information  on  it)  is  the 
guilty  one. 

The  object  is  to  discover  him.  So  both  are  haled  back  in  again 
on  the  carpet  and  the  whole  room  gets  a  round  of  questions  to 
ask  them  both. 

The  one  who  knows  what  it's  all  about  is  going  to  lie  to  defend 
himself.  And  the  one  who  doesn't  know  anything  is  bound  to 
give  ridiculous  answers. 

So  it's  up  to  the  crowd  to  find  out  which  one  knows  and  is  there- 
fore guilty  of  the  bloody  deed. 

There  will  be  all  sorts  of  dissenting  opinions  so  the  best  way  to 
get  the  verdict  is  to  take  a  vote. 

If  the  verdict  is  all  wet,  the  drinks  are  on  the  crowd.  If  it's 
right,  the  murderer  is  sentenced  to  a  round  of  whatever  is  left 
in  the  house.  And  you  don't  get  that  sort  of  service  at  every 
murder  trial. 


years  older  than  I  was.  It  was  like  having  four 
fathers.  They  all  told  me  what  to  do.  I  was 
entirely  dependent  on  their  opinions.  Even 
after  I  was  fully  grown  up,  I  always  deferred  to 
a  man,  to  any  older  man." 

"And  you  never  played  with  girls,  did  you?" 

"Why,   no.      I   was  a   regular  tomboy.     I 

played  with  the  boys  all  the  time.    I  loved  the 

game  of  Indians  and  cowboys.     I  loved  dolls 

too,  but  I  never  liked  to  play  with  them  with 

other  girls.    I  got  along  with  girls  all  right,  but 

I  never  belonged  to  girls'  clubs,  that  sort  of 

thing.    Even  now  I  don't  like  hen  parties.    I 

talk  about  clothes  with  a 

lot  of  other  women." 

"What's  the  first  thing 
you  remember  as  a  little 
girl?" 

She  laughed  a  gay 
tinkle.  "What  makes  you 
ask  that?  I  have  a  very 
vivid  memory  of  some- 
thing when  I  was  only 
four  years  old.  I  remem- 
ber walking  to  church 
with  my  mother.  I  had  a 
little  taffeta  petticoat.  It 
rustled  when  I  walked  and 
I  thought,  'How  like  a 
grown-up  lady!'  " 

Artlessly  she  went  on  to 
tell  about  her  earliest  am- 
bition. To  be  a  tight  rope 
walker.  To  wear  a  short 
ballet  skirt,  which  at  that 
early  age  little  Miss 
Arthur  believed  to  be 
made  of  mosquito  netting. 
To  balance  herself,  hold- 
ing a  white  parasol,  high 
above  the  heads  of  the 
admiring  throng  below. 

Could  anything  be  more 
expressive  of  the  proto- 
type, the  pattern  for  her 
future  life,  which  this 
young  lady  was  forming? 
Her  goal  was  already  fixed 
when  she  was  rustling  the 
taffeta  petticoat  and  in 
her  dreams  seeing  a  daz- 
zling vision  of  herself  in  a 
fluffy  skirt,  high  over  the 
heads  of  the  crowd.  Jean 
was  already  headed  for 
the  stage. 


comradeship  which  is  most  attractive  to  man. 

It  all  came  out  the  moment  I  asked  her  what 
I  already  suspected,  if  she  hadn't  been  the  only 
girl  in  the  family. 

"Why,  yes,"  she  said  with  a  little  pucker  of 
surprise.  "That's  right.  I  was  the  only  girl. 
I  had  three  brothers.    The  youngest  was  ten 


IMAGINE  the  situation 
of  this  pretty  blond 
child,  undoubtedly  petted 
and  "spoiled,"  the  only 
girl  in  that  household  with 
her  "four  fathers."  Her 
actual  father  was  an  artis- 
tic individual,  a  photog- 
rapher who  painted  a  little 
on  the  side.  Her  oldest 
brother,  almost  a  man 
when  she  was  a  tiny  mite, 
felt  it  incumbent  to  watch 
over  his  small  sister.  He 
bossed  her.  The  other 
boys  also  bossed  her  and 
combined  to  suppress  the 
only  girl  in  the  family. 

The  oldest  brother  continued  to  boss  his  little 
sister,  while  she  was  in  high  school  and  posing 
— along  with  a  schoolmate  by  the  name  of 
Norma  Shearer — for  commercial  photographs. 
When  Jean  took  the  train  for  Hollywood,  the 
brother  decided  she  was  headed  straight  for  ruin ! 


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